HOLLA'! Cheer and Dance Magazine - SPRING 2020

TM

SPRING 2020

SEASON

Competition ACTION! Keeping YOU Competition

FIT

and Tips from Coach Karriem HOLLAblack Feedback Our readers’ chatter on a few cheer and dance matters!

Talking OUR Black Business Inside the Brand of

CHEER LIVES MATTER Black-Owned

SPIRIT SPORTS EVENT PRODUCERS HOLLA’! On Point!

OUR BROTHERS IN THE SPOTLIGHT

Glenndale TAYLOR III Camal “C-Note” Pugh Ayden Gerlach and more!

Celebrating Y YOUR Black Excel xcellence

Image credit: Dance Savannah

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Coach Karriem Kar Is Back!

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Our Colleg llege Brothers

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This issue’s ’s Fix F It feature has Coach Karriem Sha habazz with three basic tips to help lp up your tumbling technique! e! Check out how it can give you the egde for those big upcoming g final f events!

We celebra rate a few of our cheer brothers in college c preparing to conquer the world with the benefits off being b a cheer athlete toward their eir success.

HOLLA’!! On Point!

We share some so of the voices from black-owne ned spirit event producers and a added our say to the convers ersation.

Dance Savannah ▪ Kil Killa Beez Sa Savannah, GA

By Dan Dan’ Ella Westlark During the time this article was written, Dance SSavannah was on their way to Las Vegas, NV, to compete. Amo mong the teams competing included a team of four young me men, who have been having a sensational season!

Antoni onio Armstrong, Cameron Harper, Samuel Thomas, and Reg eginald Haskins (pictured counterclockwise) are the member bers of Dance Savannah’s Killa Beez. The team name itself defin efines that these young men are slaying on the stage and nd stinging the competition!

PG 20

na Jordan, who Killa Beez is the creation of Coach Tysheena immediately saw the potential in these four boys oys as they were frequent staples at the studio. Beyond the bo bond the boys formed, Coach Jordan was able to inspire their eir purpose and talent for dance. Once these young men unders erstood the total vision of their opportunities, she admits that she he could hardly keep them out of the studio. Keeping their acad cademics strong along with the championship accolades, these se boys still find time for their personal activities away from the stud studio.

As Killa Beez is just one of the successful team eams within the Dance Savannah family, Coach Jordan is making king sure that her members are aware of all the opportunities avai vailable beyond the studio. She has made it possible for her me members to see beyond what they admire to actually experienc ncing that they are the ones to indeed be admired. Along with ith all the teams under the Dance Savannah umbrella, Killa Beezz a acknowledges what they earn is the result of committed pract actices and the openness to learn new techniques and skills. ch Jordan wants To enhance the solid bond of Killa Beez, Coach the boys to have a male coach as part off th the continued mentorship the program offers. Yet, their prio riority is looking forward towards their final season event at th the U.S. Finals National Championship in Louisville, KY, in April.l. R Rest assured, if you follow Dance Savannah on social media,, yo you are sure to see the continued success of these young brothe thers among all the winners of their extended dance family. ■

Page 21 HOLLA’! 2020 Spring Issue | 1

Publisher Not otes Volumee 7 Edition 3 Publisher Founding Editor-in-Chief Business Manager Copy Editor Contributing Writers Contributing Photographers

Office and Editorial Staff General Graphics and Video Editing Public Relations Marketing and Advertising HOLLA’! Street Crew Website Developer and Host

INSIDE CHEER LIVES MATTER

HOLLA’! Cheer and Dance Mag agazine™ Deedra A. Morley-Artis Leroy T. Artis Maude Campbell Adia Boyd ▪ Irina Muñez ▪ Heat eather Sprivage ▪ Dan’Ella Westlark Ebonice “Ebo” Atkins ▪ Stacyy B Bernstein ▪ Oscar Demurè ▪ Jerry Hughes ▪ Saint int Kemar ▪ Randy Singleton ▪ Kevin Waters ▪ Kyle yle Okita ▪ 2C2K Photography Adia Boyd ▪ Heather Sprivage Kevin Boyd ▪ Raeheem Washin hington ▪ Fivvr.Com HOLLA’! General Staff Allyson Brinson ▪ Ashlin Price Network Solutions, Inc.

“You deserve the he celebration of YOU!” Deedra dra Morley-Artis HOLLA’! Cheer and an Dance Magazine™ Publisherr | Editor-in-Chief Image cred credit: Oscar Demurè

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Celebrating 7 years yea of celebrating YOU!

On the Cover: Glenndale Lewis Taylor III photographed by Ebonicee ““Ebo” Atkins on location at Walt Disney Concert Hall, Los Angeles, CA.

Produced and Printed in the USA HOLLA’! Cheer and Dance Magazine™ www.HOLLACheerDanceMagazine.com m Letters to the Editor and Feedback editor@HOLLACheerDanceMagazine.com m PLEASE PROTECT THE PLANET AND RECYCLEE TH THIS ISSUE.

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2 | HOLLA’! 2020 Spring Issue | HOLLACheerDanceMagazine.com

Visit HOLLACheerDanceMagazine.com for or additional a purchasing details.

inside ISSN 2472-6494 Print | ISSN 2472-6508 Digi igital Volume 7 Edition tion 3

On the Racks acks Honest talk! The economics of cheer and dance teams continues to be a challenge for many. Coaches and parents are re becoming hip to the increasing expense of the spirit sports and they are not happy. The chatter from coaches includes the struggle to pay for events as parents are becoming increasingly concerned regarding excessive travel and missed school attendance. We have heard from several cheer athletes especially, who are just over all of it! Our editor is on it, with exploring your concerns, and, for some, overall beef with certain brands. Keep your letters, emails, and calls coming as Ms. D is not shy about letting the powers that be know what’s in the vines. ■

Let’s Be Clear. Stomp-nnShake is Cheer eer!

A cheer genre that has roots further back than all-star, ar, the latest bashing of stomp-n-shake (SNS) cheer must st stop! From a social media post we posted in 2019 showing the different styles of cheer to other social media feeds, many of the negative responses came from our own black brothers and sisters. This is not acceptable. Therefore, we’re bringing the black excellence of SNS in our Summer 2020 issue. Stay tuned! (Pictured: Indy’s Finest Stomp-n-Shake at Powerhouse Spirit DMV) ■

Update There is still time to register and be a part of the celebration of YOU at the April 4 th HOLLA’! Spirit Championship at the Ballou Senior High School arena in Washington, D.C. Due to many delays from teams with unforeseen circumstances, registration has been extended until March 15, 2020. Currently the event is slated to start at 10AM and end at 4PM. Advance tickets for spectators will be released on April 1, 2020. Visit the website at bit.ly/HOLLASpirit for complete details. ■

Contents Spring 2020 | Volume 7 Edition 3 “If you are looking for the one person that will change nge your life, look in the mirror.”

—Unknown

HOLLA’! Hype 1

Celebrating YOUR Black Excellence: Dance ce Savannah Killa Beez

3

Inside the HOLLA’!

5

HOLLA’! Happenings

6

HOLLA’! Black

8

Editor’s HOLLA’!

HOLLA’! 4 U! 10

HOLLA’ Fit: Fitness Intensity

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oach Karriem Let’s Fix…Your Tumbling Technique with Coa

HOLLA’! About U 12

HOLLA’! In Step with Camal “C-Note” Pugh

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HOLLA’! to Our College Cheer Men

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Behind the Brand: Cheer Lives Matter

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Lil HOLLA’s | December 2019- February 202 020

21

H’! featuring Ayden Gerlach

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ry 2020 2 HOLLA’! Stars | December 2019- February

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HOLLA’! On the Cover: Glenndale Lewis Taylor Tay III

HOLLA’! Doing U 28

2020 Cheer and Dance Competition Highli hlights

HOLLA’! On Point!

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A Look at Black-Owned Spirit Event Produce cers and Their Share in the Competition Market

HOLLA’! Cheer and Dance Magazine™, Volume 7, No 3 is a trademark of and published publ quarterly by HOLLA’! Cheer and Dance Magazine | PO Box 6358 ▪ Annapolis, MD 21401. Telephone (443) 225-5792. Pleas ase address all editorial and advertising mail to the relevant address listed at www.HOLLACheerDanceMagazine.com. HOLLA’! Cheer Che and Dance Magazine™, is not responsible for loss or damage of any unsolicited material. Any content in whole or part appea ppearing in HOLLA’! Cheer and Dance Magazine™ may not be reprinted without permission. All right ights reserved.

Copyright © 2020 by HOLLA’! Cheer and Dance nce Magazine™ For advertising information and rates, e-mail ads-production@HOLLA OLLACheerDanceMagazine.com.

For subscriptions, contact subscriptions@HOLLACheerD erDanceMagazine.com.

All advertising is subject to approval before acceptance. HOLLA’! Cheer and Danc nce Magazine™, reserves the right to refuse any ad for any reason. Prior publication does not constitute any agreement for cont ontinued publication in any form. Advertisers certify that the descriptions of the products or services advertised are factuall in all respects and HOLLA’! Cheer and Dance Magazine™, assumes no liability for the content of the advertising, guarantees es made, or the quality and/or reliability of the products or services offered in such advertisements. Information provided by advertisers is provided on an “as is” basis without guarantees of any kind, either expressed or implied, including but not limited lim to the implied guarantees of the fitness and merchantability for a particular purpose. HOLLA’! Cheer and Dance Maga agazine™, expressly disclaims any and all responsibilities for any and all direct, indirect and consequential loss or damage, ge, included but not limited to loss or damage to property or for loss of profit business, revenue, goodwill or anticipated savings ngs resulting or arising from the information contained in the advertisements appearing ng herein.

The instructions and advice presented are in no way intended as a substitute for or professional pr training and instructions. If you – the reader or any persons engage in any exercise program or activity presented d herein, you agree that you do so at your own risk, are voluntarily participating in these activities and assume all risk of injur njury to yourself. HOLLA’! Cheer and Dance Magazine™, disclaims any liabilities or loss in connection with the exercises and nd advice herein. Further the views expressed within this edition’s content are not solely endorsed by the editor or publisher her of this publication, its events or sponsors.

Further HOLLA’! Cheer and Dance Magazine™ and its affiliates will not be liable le for f any content errors within this publications or affiliated electronic and social media entities. ent

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HOLLA’! Cheer and Dance Magazine™ is available in print format via subscri cription through HOLLA’! Cheer and Dance Magazine™ and individual print sales through MagCloud | Blurb®. The publication ation is available digitally through Magzter.com and MagCloud.com. Complimentary digital issues are available to potentia ntial advertisers by contacting the office.

Background photo credit: 2020 UDA College Nationals in n Orlando, O FL. | Kyle Okita

HOLLA’! 2020 Spring Issue | 3

Steel Town Sh Showdown Pittsbu sburgh, PA February ry 29, 2020 ▪ Great Lakes Champi pionships Erie, PA March rch 7, 2020 ▪ Queen City National Champ mpionship Orchard dP Park, NY March ch 14, 2020

Cherry Blossom Champions onship Landover, MD March 21, 2020 ▪ Cleveland Rocks! D2 Nation ional Championship Cleveland, OH March 28, 2020 ▪ The Big Apple Classic Natio ational Championship New York City, NY April 18, 2020

w www.SHOUTCheer.com ● (716) 640-3085

olla’! appening nings!

h

Compiled by HOLLA’! Staff aff

April 2020

March 2020

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1 CIAA Cheerleading Exhibition

Ballou HS Arena | Washington, D.C. Visit the website at bit.ly/HOLLASpirit for complete event details.

Battle in the Apple 2020 New York City, NY Email bkunitedmb@gmail.com to register.

8 NCA & NDA Collegiate National Championship | Daytona Beach, FL For details, go to www.Varsity.com.

USASF Cheerleading and Dance Worlds |Orlando, FL For details, go to www.USASF.net.

Silence is NOT golden in 2020.

SHOP TODAY bit.ly/Shop-n-HOLLA

25 Prelude Urban Dance Competition Boston, MA Visit www.PreludeDanceCompetition.com for complete details and additional dates.

Super Saturday Charlotte, NC Visit www.CIAA.org for details and complete schedule.

May 2020 1-4 Varsity Cheer and Dance Summit | Orlando, FL For details, go to www.VarsityAllStar.com.

Image credit: Andrew Walters

ACTIVISM ACTIVATED!

Image credit: Randy Singleton

24-26

8-10 Monsters of Hip-Hop A-List Vancouver, WA

13-14 The Quest Varsity Recreational Championship Orlando, FL Visit VarsityAllStar.com for more information.

18-22 Alvin Ailey American Dance Theater Los Angeles, CA

For more information, visit the website at www.MonstersDance.com.

Tickets and information available at www.musiccenter.org.

16 14th Annual Dance Parade and Festival 2020| New York City, NY

21 Powerhouse Spirit National Stomp-N-Shake Cheer & Dance Championships Petersburg, VA

Details for this FREE event are available at www.mommypoppins.com/event.

June 2020 26-28

2020 USASF National Meeting New Orleans, LA Visit USASF.net for details.

Does your event need a HOLLA’!?

HOLLA’!?

Do you need a correspondent to cover your event?

Contact the editor to submit your event information at editor@HOLLACheerDanceMagazine.com.

?

HOLLA’! 2020 Spring Issue | 5

Visit PowerHouseSpiritNC.com for event details.

HOLLA’!bl black l

YYOUR FEEDB ACK

Get in on This!

I loved the art article about Azza Henry! It was great to read dh how involved her parents are with her being ing an all-star cheerleader and how they keep ep her abreast of what is really happening. This his girl will go far in anything she accomp mplishes. Godspeed Miss Azza!

The deadline for the HBCU Dance™ Scholarship is April Ap 1st. Sponsored by HBCU Dance Corporation, the scholarship provides p financial assistance to Afric frican American female dancers who strive trive for greatness in the classroom and d during d halftime. The scholarship mayy be b applied to tuition, books, meal plan lans, room and board, and travel. Forr complete co details, visit the website we at hbcudance.com om/page/scholarships.

■

Tamara LaCosta, Detroit, MI

I disagreed w with the writers of the column about activism [Ac [Activating Our Activism | 2019 Winter Issue].. I d don’t think a cheer or dance routine is the right ht place to protest. I don’t think we need to involve kids in serious issues in a p place where it should be fun.

Image credit: iStockphoto

Ja’Nevah Mims, Lake Mary, FL

She, He, Me, and We! Tennessee state legislator Representative Bru Bruce Griffey (R-Paris) introduced a bill that would ld require elementary and secondary school student nt athletes to compete in sports based on their biological sex at birt birth. We asked several in the cheer industry to give feedback reg regarding this stance on competitive cheer. Below are a few snippet ets.

HOLLA’! at the Edit ditor

Image credit: Facebook personal feed

Image credit: Canstockphoto edited

“We know that one addition to a team can change ge a whole routine for the better, which is why placing a trans[female] on a coe coed team would be the best possible solution for everyone.”

“An athlete should be placed where they identify the themselves as. It should not be based on making someone feel comfortable. It shou hould be the comfort of the athlete and the comfort of their self-esteem.” heat’. IMO [in my opinion] “Coaches would use this as an advantage [to] ‘chea whatever gender they were born with, they should co compete with. [On] coed teams [it doesn’t] matter because it’s coed. Unless it’ it’s small coed, then you would count that person as a male.”

“I think now that you see girls doing stunts that were re tr traditionally done as coed, I don’t think it really matters. Even with baskets that nee need some upper-body strength from the bases; girls have pretty much gotte otten equal to guys.”

“Cheerleading has sadly feminized too many of our ur young black men and it is sad that laws like this have to be put in place at all. You are what you are based on the parts you were born with and you should play lay your sports based on what you were born as.” ■

Ourr Daughter’s D Hair Our hair continued to be e a topic of discussion into the new decade. de The reactions were mixed d on our social media feeds regard arding one cheer and one dance scenario. sce The story of Niemah Young ng and her dismissal from her Colorad rado all-star team for refusing to wear ar a hairpiece versus her natural hair garn arnered support for rocking her natural nat crown.

However, the reaction was as opposite regarding two black girls ls who w were banned from performing g in a production of Black Nutcra tcracker, in Harlem, NYC, because their the hair Pictured: Divine Ellington of was in braids. Although the CEA MD All-Stars braided hair could be configured in the required ed bun style for the performance, many expressed support rt for fo the required style criteria for the performance.

Visit our Instagram feed @ @hollacheeranddancemagazine to see the comments. ■

Feelin elings on Fiyah!

We love our ur HBCU auxiliary dancers, yet these ima ages posted of the fabulous Southern ern University Dancing Dolls on social media me ignited some feelings.

“I know w it's it a sign of the times and I don't embrace e it. i I just roll with it. That's the world we live in now. no Those ladies are legal adults.

But when I see e our o younger queens embracing the crotch popping po and gyrating associated with this style yle of dance, it makes me cringe.”

“Why do peo eople always try to see our style as trash shy when it has our cultural roots?”

This is YOUR magazine for YOUR UR voice. Join the celebration and connect!

“There is a disconnect dis here plain and simple!

This is too burlesque for the classinesss th that is supposed to be part of our HBCU history.”

Send in your letters to editor@HOLLACheerDanceMag agazine.com.

“We are living in the cancel culture. Som Something like this is not helping to address the predatory dilemma a toward black women and girls.”

6 | HOLLA’! 2020 Spring Issue | HOLLACheerDanceMagazine.com

Editor’s

Take the celebration cele of

Celebrating Our Kings!

YOU YO

HOLLA’!

We don’t talk often enough in the media aboutt th the great work our brothers are doing in society in general. Sadly, we hear more about how ow our black boys and men are targets of more negative coverage than any demographic cg group of the human race. That’s why the celebration of our black boys and men in this issue ue is important.

When the Netflix docuseries Cheer aired recently, ly, iit gave insight on two black young men who had different perspectives, experiences, and nd approaches to the sport. One of the black male athletes had to discover how his nega egativity could affect his opportunities with the Navarro Colle ollege cheer team. The other black male “With the guys all you athlete profiled maintained perseverance to gain the spotlight on the e mat and beyond. Although both had need to know is if they challenging exp xperiences that shaped their lives, the can do the skills. But representation of these athletes of color in an entity and setting that ten tends to be devoid of their ancestry, with the girls, more represented the e black excellence we as a community like their weight, the celebrate. The em media and spirit industry are celebrating way they look and are these young bla black men and well-deserved accolades and opportunities ties have been unending. built, and other stuff

factors in with their skills. Add some melanin and coils to that mix and what do you think?”

VISIT VI US HOLLA OLLACheerDanceMagazine.com

What is often no not shared in the media is how many of these kings are e h having a positive impact on our young black royalty. With groups such as Black Boys Dance Too and Black Boys ys C Cheer, we see how the generation of talent from black ck boys and men has squashed negative connotations fro from those who would inhibit their greatness.

Despite the stupid pid (yes, I truly mean stupid), negativity we as a people face regarding our hair, our features, and even some pushback regarding our genre diversity of cheer and dance styles, it rema ains interesting how our greatness is often imitated (yeah we caught that WSSU “eeyoop” in the doc!) and eventually diminished for credit. I was not surprised when a prominent blac lack male spirit industry insider shared with me how in both cheer and dance it’s almost easie asier for a black male than it is for a black female to be prominent and influential. “With the eg guys all you need to know is if they can do the skills. But with the girls, more like their weigh eight, the way they look and are built, and other stuff factors in with their skills. Add some me elanin and coils to that mix and what do you think?”

Sometimes all I can say is a long drawn-out “WOW OW!” Yet, not in this issue. In this issue, we HOLLA’! loudly not only for the greatness highlighted ted, but the greatness they represent in the cheer and dance sports in general. With a little touc ouch from the ladies added in this issue, I hope you will join me and share in the celebration of the young m men featured and those we continue to celebrate thro through the seasons.

Deedra Morley-Artis Publisher | Editor-in-Chief

FOLLOW FOL US

Chat with Ms. D Tell Ms. D what at cheer and dance issues are important to you in person! on! She will continue to be at various events throughout the season!

8 | HOLLA’! 2020 Spring Issue | HOLLACheerDanceMagazine.com

The Congressional Black Caucus (CBC) Spouses Foundation awards the Performing Arts Scholarship to African American full-time college undergraduates with majors in dance and the performing arts.

Deadline April 3, 2020 Phone: 202.263.2800 | Email: scholarships@cbcfinc.org Visit the CBC Spouses Performing Arts Scholarship website at www.cbcfinc.academicworks.com/opportunities/694 for complete details including eligibility requirements.

This page is informational content from HOLLA’! Cheer and Dance Magazine™ and not an official advertisement from CBC..

HOLLA’! 2020 Spring Issue | 9

FITNESS Intensity

Basic tips to help increase your performance endurance!

Compiled by Adia Boyd

■ Give It A Rest! ■ Endurance allows athletes to perform at a certain intensity or for an extended amount of time (Think 2:30 routine time!) While you’re pushing for intensity by pushing a hard-core workout, remember your muscles need to rest and recover. A smart combination of hard (intense) days and R&R days can actually be beneficial to both your intense workout and your performance endurance.

■ O2 Consumption ■ The best way to build your cardio respiratory endurance (CRE) is by improving your body's consumption of oxygen. Performing exercise at a moderate level of intensity begins with a reasonable warm-up of the muscles. Add 20 minutes of moderate-level exercise for intensity and then allow for a cooling down period to get your heart rate at resting levels. This allows oxygen to go to your heart to be distributed throughout your body. The oxygen in your muscles will burns fat and carbohydrates for fuel. The more fuel the muscles use, the better the endurance with the intensity!

Image credit: iStockPhoto/Randback

■ Strengthen Up ■ Don’t forget to strengthen up. Working intensity with cardiovascular exercise only cuts off the full benefit for endurance. You also need strength training to build and maintain muscle! Make sure you are including at least 60 minutes of strength training a week to gain the benefits of endurance with intensity. ■

Always consult with your physician before starting any exercise, nutrition, or fitness regimen.

Interns Wanted

GET YOURS TODAY AT

CHEERCLOCKS.COM 10 | HOLLA’! 2020 Spring Issue | HOLLACheerDanceMagazine.com

HOLLA’! Cheer and Dance Magazine™ is seeking college interns for the 2020-2021 season.

Visit the website for complete details at HOLLACheerDanceMagazine.com.

Let’s Fix Your

●

TUMBLING

Technique

Believe in Yourself

Coach Karriem Shabazz is back offering words of wisdom to help with your tumbling technique.

Somewhere in your thoughts if you THINK you can do it, something inside says “I’m going to try it!” Consider, if you will, a person that can type; not text, type on a keyboard.

Suppose you ask that same person with working fingers to play the piano, guitar, or flute. Same finger motions for each yet different keys. Surely if you were taught the keys to a guitar then you would play. This means you can tumble! The only thing that is needed is for you to learn the key.

●

Muscle Control

●

No Shortcuts

Compiled by Adia Boyd Vector image created from Jerry Hughes Photography Always consult with your physician before starting any exercise, nutrition, or fitness regimen.

Mind Control

FYI

One of the most important keys to tumbling is controlling the muscles. By doing so, you are making your muscles do a specific thing and not hoping they do it. This control is established by flexibility.

Flexibility simply defined means the ability to flex, which means bend and move, which is a verb showing action. While learning a tumbling technique, to comprehend what the coach says to do is one thing; making the body do it is another thing. So as you sit and stand to stretch, don’t just go through the motions of stretching; actually stretch! The end result is that you will get better. Better control means better technique.

Don’t shortcut the technique. If it’s hard, try harder. Just because it didn’t work the first time or the 101st time doesn’t mean you can’t do it. Fixing the technique requires comprehension of a set skill, and the patience with learning that set skill. I know - I hear you thinking, “Easier said than done.”

Truth is everything is easier said than done. It is easier to say the word BREATHE than it is to actually breathe. However, we are not talking about discussing tumbling. We are talking about actually doing it! So let’s do it! Let’s fix it!

Success is the progressive realization of a worthy idea. ■

If you read Coach Karriem’s tips carefully, the power to successful tumbling is controlling your brain to tell your body what to do! Your brain is an organ with muscle tissue that also needs care. Make sure your brain is getting what it needs with regular exercise and plenty of sleep. Staying positive with daily affirmations and declarations can also help with brain health! Remember, if your brain has control, you can succeed!

GET YOURS TODAY AT

DANCECLOCKS.COM HOLLA’! 2020 Spring Issue | 11

Compiled by Irina Muñez Images by Saint Kemar Not allowed to dance as a child, Camal “CNote” Pugh is in the spotlight experiencing his hidden childhood dream. Ten years ago this alumni of the University of Maryland, Baltimore County brought his passion out of the shadows to become one of the most sought-after dance talents in the United States. Combine that passion as a dance educator, program innovator, and choreographer, C-Note is doing it all! Interviewing C-Note was a great conversation that could last for days. Therefore we bring you C-Note - in his own words.

12 | HOLLA’! 2020 Spring Issue | HOLLACheerDanceMagazine.com

Q. Camal, you mentioned to our Editor-in-Chief that you actually started your professional career “late” in your life. Tell us how that could actually be encouraging to a fellow dance artist who has studied the art but has not had his breakthrough moment at the time you had yours.

I didn’t begin taking dance seriously and considering it as a career until after college. I dedicated a lot of my life to sports, especially track and field, before I even knew what dance truly was. Once I began to really train and take it serious, that’s when doors began to open for me. I didn’t see a breakthrough in my career until 2013. Despite starting late, I knew that I really wanted to be a professional dancer and I had to work twice as hard since I got started late in the business. In my opinion, it’s never too late to pursue a career in dance. Put in the work, pray, and stay consistent. There are so many avenues to go down, whether it be a creative director, choreographer, instructor, etc. If you have the passion and it’s a burning desire that God has placed in you, go for it!

Q. Tell us about the program you created at Hart Middle School in Washington, D.C. Also elaborate on the importance of including dance arts in our schools and why it is especially important for African American children.

I’m so grateful to have had the opportunity to create a dance program at Charles Hart Middle School in Washington, D.C. It is going into its sixth year of existence and I’m so thankful for Principal Charlette Strickand for helping this happen.

Being a versatile dancer is the thing I want people to know in this industry. It will keep you working, expand your knowledge, and keep you sharp.

The students learned all dance styles as well as the history of dance. I had a great team in Tierra Parham and Christin Harris, who assisted in training and teaching the students to be future professional dancers if they desired to be.

With this program we have taught over 100 students, many of whom have gone on to attend the Duke Ellington School of the Arts, become captain of the popular Ballou Majorette dance team, dance for Raw Element Dance Company, and many more opportunities. When Principal Strickland approached me, we both had the same goal in mind and that was to bring dance into the school. It is very important for kids to be exposed to dance in schools. It allows them to get the same training and information that other dance studios offer but for free. Because of this, we get so many students who have the talent and drive to perform and we are able to provide them opportunities that might be a challenge for them to get anywhere else.

Dance also helped strengthen the students’ retention and memory skills that helped in other subjects within the school’s curriculum. Hart Middle School is located in Ward 8 of Washington, D.C., with 95% of their students as African American.

My goal has been to really train up these students and equip them with the tools and training to succeed in the dance world.

Representation matters and I believe when they see people like me and others doing what they love that helps give them the courage to do it as well. These students have become my kids and I want them to be the best. Once you instill that confidence and love into them, they begin to flourish and that is one of the greatest accomplishments I can ask for in my career.

Q. You are currently in a whirlwind of opportunities for a male artist. You stated that your multitalented portfolio has been a positive factor. In conjunction with the first question, what is it about YOU that gets the roles you seek? Help our readers understand the importance of a diverse artistic portfolio.

Got questions for Camal?

|

I honestly don’t know what it is about me that gets me some of these roles and gigs that I’ve done. If I had to guess, I would say God’s favor, my versatility, and eagerness to learn something new. I’m thankful for my teachers Shawn, Neil, and Steven for instilling in me the importance of being a versatile dancer. Since becoming more than a hip-hop dancer, I’ve been able to do many jobs that have required me to partner with other dancers, sing, and dance with other dance genres. Being a versatile dancer is the thing I want people to know in this industry. It will keep you working, expand your knowledge, and keep you sharp. It makes you look appealing to casting directors and choreographers who can use you in other projects or bring you in to do another style of dance if the one you want to do is maxed out with the dancers they already have. In my opinion, a versatile dancer has a greater chance at a longer career.

Q. The Editor-in-Chief and you have mutual concerns regarding some of the popular dance genres and technique issues. How would you convey to those who practice and/or coach those popular genre dances the importance of emphasizing technique and the benefit of technique for that genre of dance? What could they be doing to make it better visually with better technique?

One thing I would say to teachers who are teaching the dance styles that are popular now is that you have to emphasize and stress technique. For instance, I think the band dancing and majorette dancing is fire, but it is your job as a teacher and coach to make sure your students’ feet are pointed, complete lines, are they turned out in their plié to make sure they are not getting injured in the long run, etc. Yes, you can throw steps on a dancer but it’s your job to make sure the student is learning the fundamentals of dance. My favorite majorette instructor is “SupaBlack Girl” (Traci Young-Byron) and her majorette high school team in Florida. Everybody has seen them! Their famous struts onto the football field, their stand routines are very technical, and all the girls have lines and extensions. She makes sure those girls are trained in all styles of dance. It shows in their performances because they are clean! Even if you are a coach who was not technically trained but wants your kids to buck, it is your job to bring in someone to teach them proper technique so they can be able to do other things besides majorette dancing. Becoming more technical will make the team look better across the board.

Just look at “SupaBlack Girl’s” team and tell me they are not crisp, clean, and with feet pointed. Don’t get me wrong, there’s nothing wrong with just doing or teaching majorette but why limit yourself or limit your kids? Once you become a coach or teacher, you take on the responsibility to make sure your kids are equipped with the tools to succeed. ►

Email Camal at c.notedance@gmail.com.

HOLLA’! 2020 Spring Issue | 13

I would honestly say my experiences as a black male dancer have been good until I began to cross over into the musical theatre and contemporary dance world in L.A. It is one thing when you are one of hundreds of African American dancers in a hip-hop call and it’s another when you are one of two black guys in a musical theatre call. This was something I wasn’t used to seeing on the East Coast. That messed with my head a little bit, I’m not going to lie. I would walk into these auditions and feel like all eyes were on me or I didn’t belong. Sometimes I would be cut and confused as to why when I knew I killed the combo or was the best in the group. Then those thoughts of, “Is it my complexion that kept me from booking that job?”

I remember calling my mentor, Shawn, venting and telling her about what was going on and she said, “You’re the only black guy in the room?

That’s fine. You’re in a room where you always dreamt of being in. So now go book the job.” She literally had to remind me there’s nothing wrong with being the only African American in the room.

After that my mindset changed and things started happening.

To look at the choreographers and casting directors when I walked in, I could see some of them already making assumptions. Then when the music comes on and I dance, their faces would be priceless.

This past fall I auditioned for The Music Man and I got it. It’s a period show so I didn’t go in with any expectations. I was the only African American male dancer selected from one of four minorities in the entire cast. There’s always going to be a push for inclusion in some shows that might not normally cast a specific race, size, etc. Castings are always going to want people that fit a specific type. That’s when we can’t get too in our feelings. This has been happening in the ballet world for years and people are still breaking down those barriers to this day. It’s up to you to leave it on the floor so at least you know it’s not you if you don’t get it. I encourage people to go to those auditions even if you feel you will be the only minority. Know who you are and love who you are. It’s a tough world, especially as a black dancer, but when you love what you do and trust God anything is possible. All it takes is a mustard seed of faith. ■

HOLLA’!

Our College Men in The Cheer Spotlight!

A sophomore cheer athlete at Winston-Salem State University, cheer is a prominent part of Tavis Mack’s life. Also a cheer athlete with Cheer Extreme All-Stars in Kernersville, NC, Tavis started cheer in his junior year of high school. “Ever since then it has been the peace in my life.” As he acknowledges that cheer has taught him to be a better man, he is taking this gratitude and putting it toward a postcollegiate career in recreational therapy for disabled children. ■

Tavis Mack Winston Salem State University ▪ Winston Salem, NC Image credit: Garret Gams and Tavis Mack

Stingray All-Star alumni Cameron Baisden is just coming off a championship season with the University of Central Florida cheer team.

Matriculating with aspirations for a career in public relations, he plans to maintain a strong presence in the cheerleading community. He is a strong believer that there is more to life than supporting oneself. As a champion athlete at every competition he has competed at, “I realize that I have much more to offer to this sport than simply being a cheerleader.

I want to be a role model in this community and groom the next generation of athletes to set the bar much higher than I have!” ■

Cameron Baisden University of Central Florida ▪ Orlando, FL 14 | HOLLA’! 2020 Spring Issue | HOLLACheerDanceMagazine.com

Image credit: Kyle Okita

Q. There are more articles addressing racism in the dance arts. As a black male dancer, tell us your experiences, if applicable, and share advice with our readers on your outlook regarding diversity in the dance arts, especially regarding the more classical genres for both male and female artists.

With nine years of cheer in his portfolio, Dominique Turner has earned his bronze and silver medals from the USASF Cheerleading Worlds Championship. A cheer athlete member of Stingray All-Stars – Rust, he is pursuing a degree in business management at the University of Georgia in Athens. For Dominique cheer has helped him discover his true self. As a first year ambassador for Black Boys Cheer, he enjoys being able to inspire others as well as the camaraderie of the brotherhood formed with his fellow male cheer athletes. ■

Dominique Turner University of Georgia ▪ Athens, GA Image credit: Dominique Turner

FREE MONTHLY NEWSLETTER! Get more of the celebration of

YOU in between issues!

Image credit: Kyle Encar

Darell Honora, Jr., loves the family vibe of his cheer team. With plans to attend law school for a career in business or sports law, cheer has helped elevate his leadership skills. Currently a student at Loyola University in New Orleans, Darell is majoring in sociology with a concentration in law crime and social control. The life lessons he has gained from cheer of sacrifices, dedication, and hard work is key to his continued successes.

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Special acknowledgments to ▪ Christian Dixon from Black Boys Cheer ▪ Tahvyea Rains from Powerhouse Spirit NC ▪ Rickey Hill Head Cheer and Dance Coach Loyola University in New Orleans

Darell Honora, Jr. Loyola University ▪ New Orleans, LA HOLLA’! 2020 Spring Issue | 15

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HOLLAâ&#x20AC;&#x2122;! 2020 Spring Issue | 39

HOLLA’!

On Point!

Our Say Our Way A Look at Black-Owned

SPIRIT SPORTS EVENT PRODUCERS and Their Share in the Competition Market What was supposed to be an in-depth article regarding blackowned competition companies receiving less than 2% of the spirit sports industry market revenue, evolved into a strong sound off.

Several black-owned event producers (EP) shared their concerns regarding not just their lack of revenue share of the billion-dollar spirit athletic industry, but their strong refute of the black-owned competitive programs, lack of support. We must inform you as readers that most of the conversations were directly referenced to the cheer industry. In addition, to balance the results of our research and feedback from the black-owned event producers who offered their data, we furthered our outreach to several predominantly black-owned cheer programs.

In August 2019, Varsity Brands, Inc., the largest and currently most influential company in the competitive spirit industry, reported an estimated annual revenue of $1.6 billion. Currently, the leading blackowned event-producing companies in the United States had an estimated annual revenue of significantly under $1 million collectively in 2019. Although being in a niche market for a specific genre of cheer breaks that company out of the average for most blackowned event producers, their white or female minority status owned event producers in comparison continue to fall short of their share of the total market for cheer. With an unscientific estimate of black Americans’ contributions at 30% and climbing of that market participation, the revenue received from black-owned event producers does not equate to more than 3% of the market share of the total industry. With the total market revenue of approximately $2 billion, as stated previously, Varsity Brands, Inc., commands over 80% of the market total revenue share.

It must be noted that Varsity Brands, Inc., implemented a masterful marketing strategy to dominate those numbers. It understood the programming needed to have coaches, parents and athletes crave the status of their championship brand titles to validate their programs. The emphasis to compete at the big named finals was intentional and continues to be a driving force for the rationale for parents to spend tens of thousands of dollars.

Partnering with world-renowned venues at popular vacation resorts adds to the appeal for the athletes as a perk for their patronage.

Many black-owned event producers do not possess the marketing advantage that Varsity Brands, Inc., has mastered. When discussing the data with a few small black-owned event producers, one of the disadvantages that they face is the funds to produce a comparable event. Many stated that their estimated cost to produce their events runs between $5000 $10,000. Compared to the average cost to produce a minimum quality filled event at $20,000, it is easy to see one of the first areas of concerns. When speaking to the coaches with prominent black majority participating programs that frequent major competition events about some of the smaller black-owned competition events, a clear majority was not familiar with those companies. Regarding the overall content of the events, of the black-owned EPs we spoke to, many cited that they do not factor in many of the popular perks as their budgets are limited.

Overwhelmingly, the main factor that concerned black-owned event producers was the lack of patronage from black-owned or majority black participant programs. Consider the assessment from one black-owned EP: If I were to offer a specific event say for black history month and offered all the bells and whistles that Varsity offers, I would be lucky if 10 teams showed up. But if Varsity or some of these other white-owned brands offered that same event with the same ideas, every black team would register in a minute!

Therefore, is the common concern of lack of supporting black businesses a factor that should be considered as well? Consider also the following opinion: What they have done is made people think that in order for your program to be considered legitimate, you have to do certain competitions. They own those certain competitions and those competitions lead to the big championships that put your teams on the map. So if I need that to keep the lights on, guess where I’m going? If I don’t do those competitions, I don’t survive.

That sentiment was shared from a former all-star program owner.

From a coach’s perspective, he shared that throughout his season his teams competed at eight events. Trying to be considerate of parental contributions for competition expenses and travel, most of their competitions were local and at smallerproduced events. They were frequent winners and local favorites at those events. They saved two events for out-of-state travel. Yet, once his athletes started excelling in skills beyond the majority of the athletes in his program, they moved on to bigger gyms that did the larger more well-known events. Soon others followed and closing the doors to his program was inevitable. “The kids and parents I think got bored with the local circuit. They wanted to be on the big stage under the big lights at the big venues. I wanted them to progress to get there. They wanted it when they wanted it. I couldn’t compete with that desire.”

The success of what Varsity Brands, Inc., has accomplished stems from the fact that they understood not just the competitiveness of the sport, but they also understood the competitive psyche of the athlete, the coaches, and the parents of the athletes. As one marketing strategist, who asked to remain anonymous, stated, “Varsity means it when they say ‘We are cheerleading!’ They have wrapped everything around that concept. That includes not just their competitions, but the rules, the judging criteria, the look, the styling, and even the bows! With that concept they’ve told every cheer athlete that that is what they should aspire to be and look like. It’s actually quite brilliant!

With black folks, the common thought is, you gotta be like the white folks and get included to show you are equal to what they are offering. To do anything less would be beneath your equal opportunity to be rightfully included. So to do a lesser known event brand would not be worth their time or money because it’s not part of the plan to fit in and be represented.”

It has been suggested by several marketing experts that the key to success as any event producer in the competitive sports is to discover a specific niche. Yet several opinions suggested that black-owned event producers refrain from blaming their challenges on being black-owned. “It’s not a racial issue. It’s a business issue pure and simple. As with any business, you have to find that niche that sets you apart. Many of the independent event producers who are not part of the Varsity Brands, such as Cheer and Dance Extreme, Americheer, and even the black female owned Powerhouse Spirit NC, continue to excel in the market.”

In general, we could not come to a consensus on the research, feedback, and data as to what factors are indeed at play with the market of competitive spirit sports. In regards to black-owned event producers, it is our belief that more observation is warranted in order to form a firm conclusion, if any exists. Developing and changing trends are emerging, which may decide the direction of the market. Therefore we are left with perhaps a “wait and see,” stance on this in-depth topic. ■

“With black folks, the common thought is, you gotta be like the white folks and get included to show you are equal to what they are offering. To do anything less would be beneath your equal opportunity to be rightfully included.”

Varsity Responds

Varsity Brands, Inc., was extended a pre-press preview of this commentary. See their response on the HOLLA’! website.

40 | HOLLA’! 2020 Spring Issue | HOLLACheerDanceMagazine.com

Celebrating rating YOU!

4.4.20 .2020

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