Nimbaya! beats the odds — and the drums

Boston Globe, February 10, 2012

The tremendous swirl of color and rhythm; the rich layering of djembe drums with the kora lute and marimba-like balafon; storytelling theater that starts as gentle conversation and escalates into a dance party that pulls the audience out of their seats: Nimbaya!, the dance and drumming troupe from Guinea, delivers all you expect from a top-notch African dance event.

Plus something more.

In an unusual departure from tradition, Nimbaya! consists of only women – not just the dancers, but also the musicians. The troupe’s very existence stands as a rebuke to the ancient custom that reserves drumming for men, and regards a woman on djembe as nearly taboo.

Founded in 1998, the troupe takes its name from the Nimba mask of Guinea’s Baga people – a symbol of fertility, beauty, and female power. The troupe’s own power is manifest in the school it runs in Conakry, Guinea’s capital, where around 50 young women at a time are training as professional dancers and musicians.

FLY: Five first ladies of dance

WNYC News, May 29, 2009


Five black women at the top of their field. Germaine Acogny, Carmen de Lavallade, Dianne McIntyre, Bebe Miller and Jawole Willa Jo Zollar are dancer-choreographers who are pioneers in the dance world. They perform this weekend in a rare program of solo pieces, at the Kumble Theatre in Brooklyn.

Master’s love for Indian kathak dance is in his eyes

Boston Globe, October 5, 2006

NEW YORK—After a long day teaching workshops in the ancient dance form of which he is considered the greatest living master, Birju Maharaj emerges into the glare of the lobby of the Alvin Ailey studios here, amid a cluster of students and musicians. A small man, and at 68 advancing in years, he appears tired from the hectic schedule of his US tour. People touch his feet in respect as they take their leave. He gives a thin smile, and stares into space.

To many, the Delhi-based Maharaj, who performs at the Somerville Theatre on Sunday, embodies kathak, the main classical dance of North India. Having evolved from Hindu temple to Muslim court to the modern stage, kathak is a dance equivalent of Indo-Persian miniature paintings, with which it shares elegance and extreme precision. Performing solo to a tabla drum, the dancer uses heavy ankle bells to echo and refine the beat. The arms and face tell a story, traditionally based on myth. A minute eyebrow gesture endows a character with personality and intent.

“The eye movement is the color of the dance,” Maharaj explains later at his hotel. “Without that, nothing. The footwork and the hands is not enough. We use the big brush to paint the sound: that’s the jingles. The hand for [smaller] things. And the color the last. The structure is OK, but the color comes from your eyes.”

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