Four dancers in black attire pose in a line against a dark background, raising their left legs and extending their right arms forward and left arms back, creating a dynamic, synchronized formation on a wooden floor.
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Pittsburgh hosts 35th Annual IABD

LEGACY IN MOTION

By Kojo Ade

I would like to share my extraordinary experience at the 35th Annual International Association of Blacks in Dance Conference (IABD), hosted in collaboration with The Hill Dance Academy Theatre (HDAT), in Pittsburgh on Jan. 22-26, 2025. Guided by the theme “The Bridges We Build: From Revolution to Legacy”, the IABD Conference featured Black Dance excellence from across the country and around the world. The theme embodied the Sankofa concept that we use our talents and gifts to build bridges for ourselves and for the younger generations.

Three people sit at a table with microphones in front of them, smiling. They wear colorful, patterned clothing with distinct headwear and accessories. Papers and a phone are on the table. The background features a beige wall and a curtain on the left side.
“Pittsburgh Black Dance Panel”
From left to right: Norma Jean Barnes, Xpressions Art & Movement, Erin Perry, Executive Dtr, The Legacy Arts Project; Nana Malaya Rucker, Dance Historian, Nubian Theater Company

IABD preserves and promotes dance by people of African ancestry or origin, and assists and increases opportunities for artists in advocacy, audience development, education, funding, networking, performance, philosophical dialogue and touring. The IABD Conference was attended by over 900 persons representing a diverse Black Dance ecosystem. During the conference attendees met trailblazing dance legends, aspiring teen dancers, college dance majors, artistic directors, arts administrators, dance critics, choreographers and master teachers.

Among the honorees were Ronald K. Brown, Evidence, and Assane Konte, KanKouran West African Dance Company, who both received the Joan Myers Brown Keeper of the Flame Award for sustained artistic excellence.

Dr. Ayisha Morgan-Lee, founder & CEO of HDAT, partnered with IABD, to bring the conference to Pittsburgh. Dr. Morgan-Lee, IABD board chair, felt honored to host the conference and was thrilled to bring the best of Black Dance to Pittsburgh to showcase, network, collaborate, rejuvenate and unite in one place. Participating organizations included the August Wilson Center, Pittsburgh Ballet Theatre, Point Park University, The Pittsburgh Cultural Trust and PPS Creative and Performing Arts School, which hosted master classes, residencies, auditions and performances. The conference was a full-circle moment for Dr. Morgan-Lee, who attended the IABD Conference as a teen, and as a result, chose dance as her life’s work. Later, as a Dance major at Howard University, she helped coordinate the IABD Conference at Howard under the direction of Dance Professor Dr. Sherrill Berryman Johnson. In 2025, HDAT celebrates its 20th anniversary and makes history by hosting the IABD Conference in Pittsburgh for the first time.

Two people stand smiling in front of a banner that reads "The International Association of Blacks in Dance." One is wearing a black sweatshirt and gray pants, the other a blue sweatshirt and gray joggers. The background is a patterned carpet.
IABD Professional Dance Auditions

IABD offered an array of panels on arts education, archives/documentation and more. I attended “IABD in the Future” with IABD’s legendary founders, Joan Myers Brown, Philadanco!; Debbie Blunden-Diggs, (Jeraldine Blunden, founder deceased) Dayton Contemporary Dance Company; Cleo Parker Robinson, Cleo Parker Robinson Dance; Lula Washington, Lula Washington Dance Theatre; and Ann Williams, Dallas Black Dance Theatre. The founders discussed the importance of knowing your audience, and preparations to pass the torch. Another panel, titled “Black Dance in Pittsburgh” gave me a broad, historic understanding of dance development in Pittsburgh. The session was facilitated by dance professionals Norma Jean Barnes, Nana Malaya Rucker, Linda Imani Barrett and Erin Perry. Spotlighted were the artistic ancestors and dance innovators in Pittsburgh on whose shoulders the community stands.

A large group of dancers in a rehearsal studio practices with energetic arm movements. Each wears a numbered tag. People seated on the right observe. The spacious room has large windows and a high ceiling. The atmosphere is lively and focused.
IABD Professional Dance Auditions – Pittsburgh Ballet Theatre

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On Saturday, I attended the Asante Sana Honoree Luncheon, which honored trailblazers in dance, education and philanthropy. Among the honorees were Ronald K. Brown, Evidence, and Assane Konte, KanKouran West African Dance Company, who both received the Joan Myers Brown Keeper of the Flame Award for sustained artistic excellence. Of special note was the presentation of the Joan Myers Brown “Keeper of the Flame” award by Dr. Joan Myers Brown to Ronald K. Brown. A conversation with Joan and Ron enlightened me on how special this moment was, in that awarder and awardee were both alive and present to give and receive. Other luncheon highlights included thrilling performances of Black Dance excellence by Jamel Gaines’ Creative Outlet Dance Company (Brooklyn, NY) and Kevin Iega Jeff’s Deeply Rooted Dance Theatre (Chicago).

Two people stand on a carpeted stage, speaking into microphones. The person on the left wears a striped suit and hat, holding a wooden cane. The person on the right wears a dark jacket with gold stripes. A backdrop with geometric patterns is behind them, under a ceiling with bright, decorative lights.
Joan Myers Brown, Founder, Philadanco! & IABD; Ronald K. Brown, Founder & Artistic Director, Evidence

Dance education opportunities, from beginner to professional level, were abundant. Surely, attendees were truly inspired to study and be mentored by master dance teachers. The Midnight African Bantaba Dance class taught by Baba Assane Konte, continued a tradition of late-night dance started by the late Baba Chuck Davis, founder of Dance Africa and the African American Dance Ensemble. Auditions were available for dance companies, summer intensives and college scholarships. From the auditions, thousands of dollars in scholarships were awarded to dancers at the end of the conference.

Each day at IABD was capped by nightly performances at the August Wilson Center and Benedum Performing Arts Center by Pittsburgh’s dance community, college dance companies and established professional dance companies. On the final night of performances, dance royalty and brilliance were displayed by Cleo Parker Robinson Dance, Dance Theatre of Harlem, Dayton Contemporary Dance Company, Forces of Nature Dance Theater, KanKouran West African Dance Theater, Lula Washington Dance Theatre, Philadanco!, and EVIDENCE, A Dance Company. During the performance it occurred to me that we were the only city in the United States, and perhaps the world, experiencing a collective moment of Black Dance in its variety and beauty.

IABD created a sacred space to honor dance ancestors such as Judith Jamison, Louis Johnson, Katherine Dunham, Bob Johnson, Shona Sharif, Chuck Davis, Pepsi Bethel, Sammy Davis Jr., Eleo Pomare, Charles Moore, Walter Nicks, Joe Nash, Alvin Ailey, Pearl Primus, Arthur Mitchell and other legendary artists, educators and innovators.
Lastly, I had the opportunity to speak with dance legends Dr. John Parks, Jamel Gaines and Abdel Salaam about the importance of IABD, and the need for male dancers to study dance and to consider an arts career. They explained how dance had enriched their lives in a complete and purposeful way. Another thought was the importance of support for the arts to move our society forward, highlight today’s issues and to improve our communities in a love supreme.

I highly recommend the IABD Conference to arts lovers and dancers. IABD’s 36th Conference takes place Feb. 4-8, 2026 in Atlanta, GA. The theme is “From Soul to Sole, The Black Dance Homecoming.” For information, visit www.iabdassociation.org.

Two smiling individuals stand indoors. The person on the left wears a black cap, coat, and scarf, holding a water bottle. The person on the right has a white hat, colorful patterned attire, and holds a book titled "The Bridges of B.B. Hill: From Revolution To Literacy.
Abdel Salaam, Executive Artistic Director, Forces of Nature Dance Co.
Kojo Ade, Audience Development Consultant

AUTHOR INFO

KOJO ADE
Bio & Personal Story – A Life in the Arts

  • Kojo Ade was born on August 8, 1949 at Harlem Hospital to parents Eunice and Horace
    Booker. He attended school at Frederick Douglas Middle School and Taft High School.
    Kojo was an excellent student and graduated from high school near the top of his class.
    From an early age Kojo had a passion for the arts which he expressed through choral
    singing, and acting. His parents, extended family, and the Harlem community instilled in
    him a sense of purpose, spirituality, and pride in African and African-American history and
    culture. As a young adult, Kojo attended City College of New York majoring in Africana
    studies and Swahili. His studies at City College along with studies in Ghana and Nigeria,
    fueled his development as a global citizen interested in world culture, history and politics
    with a specific focus on the African continent. He also attended photography and arts
    marketing courses at AJASS and Third World Cinema.

    Kojo is a people person who enjoys building bridges and fellowship among many people.
    He is known in New York City and beyond as a griot, communicator and Ambassador for
    the Arts. He is a linguist, and is able to greet persons in Swahili, Yoruba, Spanish, French,
    Russian and Japanese.

    Kojo has served many individual artists, writers, and arts organizations with professional
    services in audience development, group sales, public relations, and marketing. In this role,
    Kojo is a highly recognizable figure at Broadway and off-Broadway venues, festivals, and
    conferences throughout New York and nationally. Some of these organizations include:
    New York African Film Festival, The Dance Theater of Harlem, Alvin Ailey American Dance
    Theater, Dance Africa Brooklyn Academy of Music, Urban Bush Women, Ronald K. Brown
    Evidence, New Federal Theatre, World Music Institute, The National Black Theatre, The
    Apollo Theater, Paul Robeson Foundation, The National Black Arts Festival, and the
    Medgar Evers College-Center for Black Literature.

    Kojo served as a licensed, bonded group sales agent for Broadway and off-Broadway
    productions such as Jelly’s Last Jam, Fences, Jitney, Ma Rainey’s Black Bottom,
    Joe Turner’s Come and Gone, Sarafina, Gospel at Colonus, Fela, Death & the King’s Horsemen,
    and other productions.

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