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VOLUME 01

DATE 07/05/2017

LIFE INSIPRATION MAGAZINE

INTRODUCTION

OUR MSSION STATEMENT Fusion Magazine is dedicated to creating a platform that highlights and celebrates the diverse world in which we live. By celebrating the work of all those in the creative arena who are impacting individuals,communities and the world through their chosen art form. By celebrating their work, we celebrate those who inspire and lead us towards a better future.

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PAGE OF CONTENTS

EDITOR’S NOTE Editor’s note to our beloved readers .

BLACK IRIS PROJECT Black iris Project founder Jeremy tells us how Ballet is changing lives of black youth.

PAPI OJO “THE BLUEMAN” “The Blue Man “ Stephen (papi) Ojo, tells us how he ended up dancing side by side with Queen B in “Black is King.”

VOICE KIDS UK JOSHUA REGALA Joshua Regala, shares his Voice Kids UK journey.

RANDOLPH MATTHEWS The performer , musician , singer.

TRE MAJOR Creations of Tre Major | Celebrity Hairstylist.

PORTLAND PROTEST Sunny September gives insight into how a community strive towards positive change amidst the tear gas and rubber bullets.

MUSIC FOR WATER J. BONDOLO Meet our partners for the Music for Water Campaign.

FUSION MAG

DEL RAY’S ANCIENT VOICE Navajo nation photographer Del Ray explains how his work is inspired by the beauty of his heritage.

ENIGMA BY ROCKY GATHERCOLE The Enigma that is Celebrity Designer Rocky Gathercole.

BEHIND THE LENS Join a well known photographer Charles Winslow as he tells his journey in photography.

MARIANNA’S JELWELLERY DESIGNS Marianna Hairanutian tells us about the her custom jewellery. Sought after by some of the biggest celebs in the world.

BERNY MARTIN Catou an international brand for men and women | Designer to the Stars.

OPLA EYES | SPIRIT SINGERS A celebration of the human spirit by Dana Pauzauskie.

YOUNG CHANGE MAKERS Meet young Designer Maiya Mcmonagle as she shares her ten tips to becoming a sustainable Fashion Brand.

EDITOR’S NOTE There’s no real way to explain

at Fusion are dedicated to sharing

partners to know Dondolo and the Music

the excitement that comes at the

these stories.

for Water Campaign

beginning of a new project. That

Each one, brings a special ingredient to We want to give. A special thanks to

flutter of nerves or the anticipation of

help create what we feel is something

Jessica Spencer who is like the

the finished result mixed with a hint

quite magical.

proverbial fairy godmother. Waving her

Of fear about how your “baby “ will

It is hugely important to us to share

magic wand and making things happen.

be received once it leaves the safety

stories

We will always be grateful for her.

of the nest.

inspiration

incredible

To all of you who are working to make

Well, our baby is Fusion Mag and it is

resilience of the human spirit! We try to

positive changes in your lives and the

the culmination of a vision that started

accomplish this by offering a platform

lives of others. We thank you! Dana

a few years ago. The vision was the

through which to share the work of the

compassion, and

the

strength,

desire to share the amazing stories of

Pauzauskie, Sunny September, and amazing change makers and creatives Albert Fontanilla, our contributing

the many talented people from very

whose stories breathe life into the

writers thank you for sharing our vision and

diverse backgrounds and cultures

pages of this Magazine.

sharing your valuable content in Fusion.

throughout the world. Artists and

So many inspiring stories sending so Benedict Salvacion needs a special

creatives who are impacting the lives

much positive energy into the world.

of others and challenging outdated

It is a joy and an honour to have have been possible.

social constructs. Using their creative

interviewed many of the artists who

To the artists and creatives who agreed

platforms to share the beauty of the

chose to share their energy and

to share their work with us. Thank you.

world we live in while exploring some

passion with Fusion Mag. It is also

of the issues affecting us all. Our team

a pleasure to have become media

MAIGHREAD NI MHAONGHAIL EDITOR OF FUSION MAGAZINE 6

mention, without him Fusion would not

Together all things are possible. X

TEAM FUSION

#fusionmag

Maighread Ni Mhaonghail has been working in the creative arts for over 25 years . (She began her career

Editor in Chief

in Theatre as a Facilitator & Arts Director ) Her writing career began in earnest almost eight years ago when she began working as sub-editor and a contributing writer with several magazine and Newspaper Publications. During this time she also Co. Founded a sustainable Fashion Brand. Her educational background in the creative arts and journalism has given her a broad base from which to approach many topics. (Maighread has a degree in English Language & Literature, a post grad in Innovation & Enterprise, an M.A in Drama therapy and she also studied M.A Theatre Studies .) Her writing skills may be found in Flawless Magazine, MilliOn Air Global, Maganda Magazine, Lifestyle Monthly UK & Africom.com. Maighâ€™s work in the creative arts has always been about promoting the stories which are at the heart of our society. Fusion Magazine was created specifically, to do just that.

Jessica Spencer is a Production Manager , booking agent & Events Coordinator who is co- owner of

Complexion Model agency & Fusion Magazine.. Having spent nearly a decade as a producer on Fashion shows, photo shoots, music videos & working as a casting agent Jessica has extensive knowledge & experience of the entertainment & Fashion industry. Her work as Director of New York Fashion Week, Co-Ordinator of The Vogue experience project, & her work on international projects makes her an invaluable resource for any client.

Project Manager Benedict Salvacion is the creative director and is one of the co-owners of Fusion Magazine. Having a

decade of experience in shooting fashion and commercial as a photographer, he is in charge of the overall look and layout of the magazine with the help the team. Aside from his wide experience in photography, he also directed several videos. His experience in the industry of arts and entertainment will bring more spice on every issues of the magazine.

CONTRIBUTORS

Creative Director Sunny September is a Professional Photographer. She is from NJ and lived in TX and CO before making Portland home. Sunny has a degree in Public Relations, a minor in Philosophy, and is a Certified Fearless Living Coach. She also spent many years as a Restaurant Manager. Most often you can find her outside taking photos of nature, writing, and exploring Portland.

Correspondent

Dana Pauzauski Writer Health and Wellness Albert Gonzales Fontanilla Writer (Enigma) Jun V. Lao Producer (Enigma) Above Ground Ortigas Malick James Hilado Head HMUA

Dana Pauzauskie is bridging the micro individual within the macro world we share, which she has spent the last 18 years exploring in experiential & intellectual capacities. Dana has been on a journey of discovering her own ancestral roots, while finding sanity through it all in yoga studios where she practices and teaches TRUE love.

Writer

Rapsie R. Mallorca, Justin Gumara Dela Cruz, Aj Laylo Asst HMUA Marco Paulo Castro Head Video BTS Marvin Bosque Video BTS Dee Assuncion Photo Editor (Enigma)

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BLACK IRIS PROJECT Fusion Magazine caught up with Founder of the amazing Black Iris Project, Jeremy McQueen, a gifted choreographer responsible for founding the collaborative of black ballet professionals who create classical ballets rooted in black history and the black experience. His passion for what he does and why he does it is evident As he shares his story with us. It is easy to see why this incredible artist is winning awards and changing lives.

Jeremy for our Readers who may not be aware of your work, can you tell us a little bit about yourself? Who is Jeremy McQueen? I’m a highly driven, motivated and unapologetically Black male choreographer from San Diego, California in the United States. I was about eight years old when I first started dancing. My mom took me to see the national tour of the Broadway musical the Phantom of the Opera. From the very moment the performance started, I loved everything about it. We sat on the last row of the balcony inside a huge theater. We sat so high up that my mom rented binoculars so I could better see the performance and enjoy the experience. I loved the experience so much I told my mom I wanted to be a part of something like what I had seen. My parents were by no means wealthy, but I’m so grateful that they made financial sacrifices to expose me to music, dance and theater. In addition to dancing, I grew up studying music (the violin, flute and piano). Anything I wanted to explore, I was given the opportunity to try it. But dance was the artistic outlet that really stuck with me the most. I really loved being able to lock myself in my bedroom with my stereo and my catalog of CDs and just dance my heart out. While in my bedroom, I also spent time choreographing different types of numbers and imagining the type of productions that I would one day create. Dancing on Broadway was always a huge dream of mine as a child, so I moved to New York after high school to further my studies and chase my dream. After graduating from college, I eventually danced in a number of Broadway productions including Wicked and The Color Purple. It’s been truly amazing to be able to see some of my wildest dreams become realities.

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piano). Anything I wanted to explore, I was given the opportunity to try it. But dance was the artistic outlet that really stuck with me the most. I really loved being able to lock myself in my bedroom with my stereo and my catalog of CDs and just dance my heart out. While in my bedroom, I also spent time choreographing different types of numbers and imagining the type of productions that I would one day create. Dancing on Broadway was always a huge dream of mine as a child, so I moved to New York after high school to further my studies and

Jeremy for our Readers Jeremy for our Readers who who may not be of your notmay be aware ofaware your work, can you tellwork, us a little about canbit you tell yourself? us a little Who Jeremy McQueen? bitisabout yourself? Who is Jeremy McQueen? I’m a highly driven, motivated andI’m unapologetically male and a highly driven,Black motivated choreographer from San Diego, unapologetically Black male choreCalifornia in the United States.California I was ographer from San Diego, about eight years old when I first started in the United States. I was about eight dancing. My mom took me to see the years old when I first started dancing. national tour of the Broadway musical My mom took me to see the national the Phantom of the Opera. From the tour of the Broadway musical the very moment the performance started, Phantom of the Opera. From the very I loved everything about it. We sat on moment the performance started, I the last row of the balcony inside a loved everything about it. We sat on huge theater. We sat so high up that the last row of the balcony inside a my mom rented binoculars so I could huge theater. We sat so high up that better see the performance and enjoy my mom rented binoculars so I could the experience. I loved the experience so better see the performance and enjoy much I told my mom I wanted to be a part the experience. I loved the experience of something like what I had seen. My so much told momwealthy, I wantedbut to parents wereI by nomy means be a part of something like what I had I’m so grateful that they made financial seen. My parentsme were by no means sacrifices to expose to music, dance wealthy, but I’m so grateful that they and theater. In addition to dancing, made financial sacrifices expose I grew up studying music (thetoviolin, topiano). music, Anything dance and theater.to fluteme and I wanted In addition to dancing, I grew up to explore, I was given the opportunity studying music (the violin, flute and

try it. But was thegraduating artistic outlet chase mydance dream. After that stuck with me the most. in I fromreally college, I eventually danced really loved being able to lock myself a number of Broadway productions in my bedroom with my stereo and including Wicked and The Color Purmy catalog of CDs and just dance my ple. It’s been truly amazing to be able heart out. While in my bedroom, I also to see some of my wildest dreams spent time choreographing different become realities. types of numbers and imagining the type of productions that I would one You started the Black Iris Proday create. Dancing on Broadway ject in 2016, what inspired you was always a huge dream of mine as to do so? a child, so I moved to New York after high school to further my studies and I was at a dream. place inAfter my life where I rechase my graduating ally wanted stretch outdanced my wings from college,toI eventually in and challenge myself in new ways. a number of Broadway productions So, I decided it was time toColor take a leap including Wicked and The of faith and start my own organization. Purple. It’s been truly amazing to I had already be able to seebeen somechoreographof my wildest ing professionally around dreams become realities. the city in between performing jobs. But I felt

You the Black Irisa Project like Istarted was constantly hitting wall, and in 2016, whatmany inspired you to do I was not given opportunities so? to grow as a choreographer. I felt like something was missing, but I really Ididn’t was atknow a place in to mymove life where I how from one really wanted to stretch out my wings step to the other. and challenge myself in new ways. So, I decided it was time take a leap In 2012, my mother was to diagnosed with breast cancer, and I was deeply

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of faith and start my own organization. Ishaken had already up bybeen all ofchoreographing it. My mother has professionally around the city been such a dynamic force in in my life. between performing jobs. But I felt like I I was really depressed, but a friend was constantly hitting a wall, and I was encouraged me to meet him for a not given many opportunities to grow trip to the Metropolitan Museum of as a choreographer. I felt like something Art. While I was there I fell in love was missing, but I really didn’t know how with a painting by Georgia O’Keeffe to move from one step to the other. entitled Black Iris III. The beauty of the painting really struck me in ways I In 2012, my mother was diagnosed with have never been struck by a painting. breast cancer, and I was deeply shaken Because of the painting, I immediately up by all of it. My mother has been such with in mymy younger-self and aconnected dynamic force life. I was really my first experience seeing the Phan-me depressed, but a friend encouraged tom of the Opera. The more I looked to meet him for a trip to the Metropolitan at the painting, more I thought Museum of Art. the While I was there I fell in love with a painting by Georgia O’Keeffe entitled Black Iris III. The beauty of the painting really struck me in ways I have never been struck by a painting. Because of the painting, I immediately connected with my younger-self and my first experience seeing the Phantom of the Opera. The more I looked at the painting, the more about myI thought mother. about my mother. Around Aroundthis thistime timeIIhad hadan anapplication application due for the Joffrey Ballet’s due for the Joffrey Ballet’sannual annual Choreographers Choreographersof ofColor Color[Winning [Winning Works] Award. The award was an Works] Award. The award was an expense paid opportunity to create an expense paid opportunity to create original ballet for the Joffrey’s Ballet’s an original ballet for the Joffrey’s Baltrainees. As part of the application let’s trainees. As part of the applicaprocess you have to describe the type of tion process you have to describe work you would create. I decided to take the type of work you would create. how I was feeling about my mother and I decided to take how I was feeling her courageous strength, the dynamic about my mother and her courapainting that I had just viewed at the geous strength, the dynamic painting museum and channelled my depression thataI proposal had just viewed at athe museum into to create ballet in and channeled my depression into a tribute to my mother, god-mother and proposal to create a ballet in tribute aunt (three Black women in my life who to myhelped mother, god-mother andhave aunt have raise me and who (three Black women in my life who truly demonstrated the definition of have helped raise me who haveIris,” #BlackExcellence). Myand ballet, “Black truly demonstrated the definition of premiered in March 2013; during that #BlackExcellence). Myaballet, process I bonded with young“Black dancer Iris,” premiered in March 2013; named Nardia Boodoo. She wasduring a young Black womanI who waswith very amuch that process bonded young discouraged byNardia the challenges dancer named Boodoo. she Shewas facing in ballet. We bonded over my was a young Black woman who sharing with herdiscouraged my experiences of often was very much by the being one of very few Black dancers challenges she was facing in ballet. in

We bonded over my sharing with her my experiences of often being one of very few Black dancers in the ballet schools and the professional companies I’ve worked with. It was really wonderful being able to share so much of my experience and to help encourage another Black artists in a way I had never done before. The entire experience of creating “Black Iris” inspired me to create a greater dialogue in the ballet community to truly help diversify not only the works that are presented onstage but to create a greater sense of racial equity for the ballet schools and the professional Black artists. In 2015, shortly after companies I’ve worked with. It was really I was not given a renewal contract wonderful being able to share so much for a performing job I had with the of my experience and to help encourage Metropolitan Opera, I decided it another Black artists in a way I had never was time to stop making excuses done before. The entire experience and to take matters into my own of creating “Black Iris” inspired me to hands and create my ballet create a greater dialogueown in the ballet collaborative which would bring community to truly help diversify not artiststhat together from various onlyBlack the works are presented companies create originalsense ballets onstage but to to create a greater of rooted in Black history and/or the racial equity for Black artists. In 2015, Black experience. shortly after I was not given a renewal contract for a performing job I had with theWhat Metropolitan Opera, I decideddid it was kind of challenges timeyou to stop making excuses and to take face at that time? matters into my own hands and create my The ownbiggest ballet collaborative which would challenge that I faced bring Black artists together from various was fundraising. I knew nothing companies to create original balletsa about raising money or starting rooted in Black history and/or the Black company. experience. My college education completely failed me in this area

What kind of challenges did you and in the area of getting people to face at that time?

believe in me and my vision. As a rela-

tively “unknown” choreographer, The biggest challenge that I faced was I found it to be a tremendous fundraising. I knew nothing about raising challenge. But I was incredibly money or starting a company. My college driven. education completely failed me in this I focused on reading self-help and area and in the area of getting people how-to books; I reached out to mento believe in me and my vision. As a tors and people who I admired in my relatively “unknown” choreographer, I community support and guidance. found it to be a for tremendous challenge. Next, I frequently spent time brain-on But I was incredibly driven. I focused storming in myand journal, and of course reading self-help how-to books; I made plenty of mistakes along reached out to mentors and peoplethe who way.AsinI tell partner constantly, I admired my my community for supportI

fail something every single day. But andatguidance. Next, I frequently spent I’m with it because thejournal, failures and and timeok brainstorming in my of coursetruly made plenty mistakes help me of to mistakes learn and to alongin the way.I never As I tell my partner grow ways really thought I constantly, I fail at something every could. single day. But I’m ok with it because the failures and mistakes truly help me to learn and to grow in ways I never really thought I could.

Do those challenges still exist? Absolutely! I have been so blessed to have had a number of organizations and individuals make contributions to my organization, and they continue to assist me in growing my organization. But, I’m not a big name [yet], and I understand that New York City is such a saturated market with dance and the arts. My faith in myself and in my mission has truly kept me going. The outpouring of support I have received from the community, including kind words of encouragement, has been so amazing, and it has helped propel me forward as I continue to explore the best ways to grow as a choreographer and to grow The Black Iris Project.

You have said that The Black Iris Project is designed as a collaborative not a company, howthose does challenges that work? still exist? Do

my mission to make The Black Iris Project aYou full-time company because have said that The I truly believe order foris true diversity, Black that IrisinProject designed inclusion and equity tonot occur in these as a collaborative a company, antiquated, exclusive ballet how does elitist that and work? companies (that are primarily white dominated) have tocompany continue which to have We are not we a full-time our Black dancers’ voices and talents means we do not have represented inexclusively those companies. It was dancers that dance for us never my goal to segregate the dancers. for long periods of time. Nor do I desire That doesn’t help move culture and to ever be a “full-time” company like humanity forward. In order to achieve the American Ballet Theatre or New York true definition of diversity, we need those City Ballet. What we do is we specifidancers to stay in those companies, but cally bring in dancers, from different it’s also equally as important that we professional companies from around have spaces to be able to come together the country, during their layoff periods to build our community, to celebrate and (which are generally in the summer) share or voices and stories, to give back to be able to create original ballets to our communities and speak candidly and to share our works with Black and about our experiences as Black people communities around the country toBrown encourage, motivate and strengthen in an effort to uplift and encourage the next generation of artists and arts them, and to create a greater sense of patrons. community amongst Black artists. It’s never been my mission to make The

“frequently spent time brainstorming true diversity, inclusion and equity to in my journal, and occur in these antiquated, elitist and of course made exclusive ballet companies (that are primarily whiteof dominated) we have to plenty mistakes continue to have our Black dancers’ along the way” voices and talents represented in those Black Iris Project a full-time company

because I truly believe that in order for

companies. It was never my goal to segregate the dancers. That doesn’t help move culture and humanity forward. In

We are not aI have full-time company which Absolutely! been so blessed to means weado not have dancers that have had number of organizations exclusively dance for us for long and individuals make contributions to periods of time. Nor do I desire to my organization, and they continue to ever be a “full-time” company like assist me in growing my organization. American Ballet Theatre or New But, I’m not a big name [yet], and I York City Ballet. What we do is we understand that New York City is such specifically bring in dancers, from a saturated market with dance and different professional companies the arts. My faith in myself and in my from around the country, during their mission has truly kept me going. The layoff periods (which are generally outpouring of support I have received in the summer) to be able to create from the community, including kind original ballets and to share our works words of encouragement, has been so with Black and Brown communities amazing, and it has helped propel around the country in an effort to me forward asencourage I continue them, to explore the uplift and and to best ways to grow as a choreographer create a greater sense of community and to grow Theartists. BlackIt’s Irisnever Project. amongst Black been

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order to achieve the true definition of diversity, we need those dancers to stay in those companies, but it’s also equally as important that we have spaces to be able to come together to build our community, to celebrate and share or voices and stories, to give back to our communities and speak candidly about our experi-

ences as Black people to encourage, motivate and strengthen the next generation of artists and arts

Why did you focus on Ballet as a Dance form specifically?

patrons. Why did you focus on Ballet

I’ve always appreciated ballet since I was really young. I wasn’t always very good at it, but I have always respected many of the values and the structure of ballet.

as a Dance form specifically? I’ve always appreciated ballet since I was really young. I wasn’t always very good at it, but I have

What was the first Ballet you ever saw? How did that shape your concept of the art form?

always respected many of the values and the structure of ballet. What was the first Ballet

I have fond memories of watching Pacific Northwest Ballet company’s Nutcracker on television as a child. It came on almost every year, and my favorite scene was the Arabian scene. It had a stunning female dancer dressed as a peacock, and I loved the way she danced on her toes with so much power. As I got older I loved watching other full length classics I could rent from the library- such as Don Quixote, Le Corsaire and Swan Lake.

you ever saw? How did that shape your concept of the art form? I have fond memories of watching Pacific Northwest Ballet company’s Nutcracker on television as a child. It came on almost every year, and my favorite scene was the Arabian scene. It had a stunning female dancer dressed as a peacock, and I loved the way she danced on her toes with so

Can you tell us about A Mother’s Rite, what was the inspiration behind that production?

much power. As I got older I loved watching other full length classics I could rent from the library- such as Don Quixote, Le Corsaire and

With A Mother’s Rite I was purely inspired by Black mothers I have constantly seen on television speaking about the devastating injustices that occurred to their children. They often shared much information about their children and honored their legacies by continuing to fight against systemic racism and brutality against Black lives. But I didn’t often get to hear the mothers speak about their experiences and how they are grieving through it all. I became intrigued about wanting to know more about the grieving process. In 2016, I lost my father and that was the most significant loss I had ever encountered in my

Swan Lake. Can you tell us about A Mother’s Rite, what was the inspiration behind that production? With A Mother’s Rite I was purely inspired by Black mothers I have constantly seen on television speaking about the devastating injustices that occurred to their children. They often shared much information about their children and honored their legacies by continuing to fight against systemic racism and brutality against Black lives. But I didn’t often get to hear the mothers speak about

surprised by that? presentation, I was in a really boring business meeting and happened to look I foundI noticed out the Kennedy Center atWhen my phone. I had received

their experiences and how they are life. From just observing grieving grieving through it all. Imy became process and understanding intrigued about wanting tohow know more traumatizing and sudden all ofInthat about the grieving process. 2016, was for me, I empathized so much with I lost my father and that was the most these countless mothers and just how significant loss I had ever encounchallenging any grief process is, let tered in my life. From just observing alone having to go through it so publicly. my grieving process and understandThese mothers not only lost children, ing how traumatizing and sudden all but suddenly had cameras in their face of that was for me, I empathized so and journalist constantly asking for much with these countless mothers interviews. I often wondered how the and just how challenging any grief mothers were really doing, and what process is, let alone having to go were their lives like “behind the scenes.” through it so publicly. These mothers As With A Mother’s Rite I wanted to shine not on only lost children, butpublic suddenly light a process that the is often had cameras in their face and journalnot privy to, in an effort to be able to ist constantly asking for interviews. shine light on grief and mental health in I often wondered how mothers Black communities, and the to also navigate weretoreally and what were ways bringdoing, communities together liketo “behind the encourage scenes.” totheir rallylives around uplift and So I started timeto infight these mothersinvesting as we allmuch continue researching whatever accounts I for social change. could find of mothers speaking about

The a howfilm theyadaptation were feelingreceived and how theses 2020 Emmyhave Award nomination, experiences changed their lives how didWith you Afeel aboutRite that, you forever. Mother’s I wanted must have been incredibly proud? to shine light on a process that the public is often not privy to, in an effort I was humbled and brought to beincredibly able to shine light on grief and tomental tears when I found out that our film health in Black communities, had nominated a New York andbeen to also navigatefor ways to bring Emmy® Award. The nominations were communities together to rally around announced on one of our local television to uplift and encourage these mothers stations. Luckily, I had scheduled the as we all continue to fight for social recording of the telecast ahead of time. change. After I heard our film’s title, the first one

called in our category, I had to stop The film adaptation received the recording and play it back just a 2020 Emmy Award nominato make sure I heard it correctly. tion, how did you feel? Though we did not win the award that, you must have been incredibl in our category, I still believe that I was incredibly humbled and receiving the nomination was a brought to tears when I found out huge win. I always remember my that our film had been nominated for younger-self dreaming of making a New York Emmy® Award. The nomiballets in my bedroom, and then nations were announced on one of all of a sudden being able to create our local television stations. Luckily, I had scheduled the recording of the telecast ahead of time. After I heard

was considering my work for presentaan email from the Kennedy Center. I had a production at the tion,never I wasseen in a really boring business Kennedy aside from watching meeting Center and happened to look at my the annual Kennedy Center Honors phone. I noticed I had received an on television and dreaming of the day I email from the Kennedy Center. I had would their stage my never dance seen a on production at or thesee Kennedy work performed there. So when I saw Center aside from watching the annual the email I Center immediately thought it was Kennedy Honors on television junk and nearly it. Butdance and mail dreaming of thedeleted day I would something in that moment before on their stage or see my work per-I hit delete told me to open it and as soon as formed there. So when I saw the email I started to read the email, tears started I immediately thought it was junk mail streaming from my face. People in my and nearly deleted it. But something in meeting thought perhaps I had found that moment before I hit delete told me out that someone had passed. I couldn’t to open it and as soon as I started to stop crying while trying to figure out how read the email, tears started streaming this all was happening. Many months from my face. and many conversations later I received I couldn’t stop crying while trying to the official green-light. I hadn’t finished figure out how this all was happening. making the ballet yet. Nor had I formally Many months and many conversations launched The Black Iris Project publicly later I received the official green-light. when I knew we would be heading finished making the ballet toI hadn’t the Kennedy Center in 2017. That yet. Nor had I formally launched The experience was also beyond my wildest Black Iris Project publicly when I knew dreams. we would be heading to the Kennedy Center in tell 2017. experience washow Can you usThat about MADIBA, alsoitbeyond my wildest dreams. did come about?

our film’s title, the first one called in our category, I had to stop the recording and play it back just to make sure I heard it correctly. Though we did not win the award in our category, I still believe that receiving the nomination was a huge win. I always them professionally, to present remember my younger-self dreamthem over the country and to ing ofall making ballets in my bedroom, receive recognition for the workable that and then all of a sudden being I’ve labored over has just beentoa to create them professionally, humongous thatcountry I am forever present themblessing all over the and grateful for. I pinch myself every day. to receive recognition for the work that I’ve labored over has just been a

You were invited tothat perform humongous blessing I am forever your production of MADIBA, at grateful for. I pinch myself every day. the John F. Kennedy Center for the performing Arts by Misty You were invited to perform Copeland. Were you surprised your production of MADIBA, by that? at the John F. Kennedy Cent-

er for the performing Arts by When I found out the Kennedy Misty Copeland. Were you Center was considering my work for

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InCan all ofyou the shows various tell usand about MADIBA, companies that I’ve been a part of, it was how did it come about? very rare that I got to work with a creative team was primarily Black people. So In allthat of the shows and various compamy initial thought in creating MADIBA nies that I’ve been a part of, it was very was, would be ifaI creative hired an rare how that Icool got to workitwith entire creative team of Black menBlack team that was primarily Black people. costume designer, lighting designer, So my initial thought in creating MADIcomposer andcool myself choreographer. BA was, how would it be if I hired It was my goal to amplify Black voices an entire creative team of Black mennot just onstage but also behind the Black costume designer, lighting descenes. It was also important to me that signer, composer and myself choreogI told stories that are commonly not rapher. It was my goal to amplify Black shared. So I started researching historic voices not just onstage but also behind Black leaders and also researching the scenes. It was also important to me Black composers. While researching that I told stories that are commonly not choreographers, I stumbled upon a shared. So I started researching historic Black classical composer named Carman Black leaders and also researching Moore who had just premiered an Black composers. While researching orchestral work at Carnegie Hall inspired choreographers, I stumbled upon a by Nelson Mandela’s life entitled Black classical composerreached named out Car“MADIBA”. I immediately

man Mooretowho hada just to Carman set up timepremiered to meet an orchestral work at Carnegie him and to hear the recording. IHall was inspired by Nelson lifeinentiimmediately struck Mandela’s by his music tledsame “MADIBA”. I immediately reached the way I had been struck by out to Carman set upand a time meet Phantom of thetoOpera withtoBlack himIII. and to hear the recording. I was Iris I know that this was the ballet that I was destined Carman immediately struck to bymake. his music in welcomed meIwith the same way had open been arms struckand by even collaborated withand me with to expand Phantom of the Opera Black the score. Nelson Mandela’s Iris III. I know that this was thejourney ballet in South reminds me of Dr. that I wasAfrica destined to make. Carman Martin Luther Jr.’s journey in welcomed meKing, with open arms and the United States. I felt like Nelson even collaborated with me to expand Mandela’s life wasMandela’s a story that I had the score. Nelson journey never really learned about in South Africa reminds mein ofschool. Dr. I learned much more about Rosa Martin Luther King, Jr.’s journey in Parks, George Washington Carver, the United States. I felt like Nelson Frederick Douglass and others as a Mandela’s life was a story that I had child, but knew so little about Nelson never really learned about in school. I Mandela. And that’s how I knew learned much more about Rosa Parks, I wanted to help share his legacy George Washington Carver, Frederick and his teaching through ballet. It is Douglass and others as a child, but important to me that we celebrate knew so little about Nelson Mandela. his life and celebrate the amazing And that’s how I knew I wanted to accomplishments he achieved in his help share his legacy and his fight for humanity around theteaching world. through ballet. It is important to me that we celebrate andbeen celWho would youhis saylife have ebrate the amazing accomplishments inspirational figures in your life

he achieved and why? in his fight for humanity around the world. My biggest inspiration is my mother. Who you and sayhas have been She is would an educator been for inspirational figures in your over 40 years now. I am impressed life why? with and how she has learned different things, and how she continues to evolve, grow, and familiarize herself My biggest inspiration is my mother. withis technology over the years. She an educator and has beenMy for mother in the during over 40 grew yearsup now. I amsouth impressed the 50s, 70s; she often with how60s sheand hasthe learned different told meand about the struggles shetoand things, how she continues her family endured during those evolve, grow, and familiarize herself periods and the injustices that she with technology over the years. My observed as a young Black woman. mother grew up in the south during Despite everything that she’s been the 50s, 60s and the 70s; she often through, she continues to possess a told me about the struggles she and vibrant and loving spirit. I especially her family endured during those enjoy watching her when she periods and the injustices that she encourages and motivates young observed as a young Black woman. people she teaches to do their very Despite everything that she’s been best. through, she continues to possess a vibrant and loving spirit. I especially enjoy watching her when she encour-

What does dance mean to you?

ages and motivates young people she teaches do Itheir best.myself. Dance isto how trulyvery express I am thankful for dance because What does dance mean to it has allowed me an opportunity

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you? to express myself when often words weren’t possible. Dance has provided Dance is how Ito truly express myself. me a platform be able to not only I am dancebut because has healthankful my ownfor wounds to alsoit help allowed metheirs. an opportunity toallowed express others heal Dance has myself when larger often words weren’t posme to dream than my present sible. Dance hasDance instilled circumstances. hasconfidence, instilled confidence,individuality, motivation, individuality, motivation, creativity creativity andother so many other incredible and so many incredible attribattributes meI that utes withinwithin me that don’tI don’t knowknow who who or where I would be without or where I would be without dance. dance. What do you enjoy most about

What do you enjoy about choreographing ormost working

choreographing or working with with other dancers? other dancers?

I love being able to see my vision take I love being able to see my vision take shape on stage. I’ve always loved pershape on stage. I’ve always loved forming, but there’s an indescribable performing, but there’s an indescribable feeling I get sitting in the audience feeling I get sitting in the audience or standing backstage and watching or standing backstage and watching something I’ve worked so hard on something I’ve worked so hard on come to life. I haven’t always been come to life. I haven’t always been in artistic settings where I felt like my in artistic settings where I felt like my contributions were appreciated or contributions were appreciated or respected; so for for me me to to be be able able to to be be a respected; so a leader the frontofofthe theroom room and leader atat the front and to be to be able to motivate and to inspire a able to motivate and to inspire a