NDEO鈥檚 Guest Blog Series features posts written by our members about their experiences in the fields of dance and dance education. We continue this series with a post by Weiselande 'Yanui' C茅sar, Educator, Scholar, Executive Founding Director.听 Guest posts reflect the experiences, opinions, and viewpoints of the author and are printed here with their permission. NDEO does not endorse any business, product, or service mentioned in guest blog posts. If you are interested in learning more about the guest blogger program or submitting an article for consideration, please click here.听听听听
HAITIAN FOLKLORIC DANCE LEADERS ANCHORED IN ITS HEALING FORCES: WHY WE PRAY TO NOT BE PREY
In these extraordinary times, it's crucial for practitioners and leaders of Haitian folk dance to avoid acting out of desperation and to remain vigilant against divide and conquer tactics. The richness found within the movements of folkloric dance is abundant enough to support our community. This artistic expression empowers everyone by harnessing the holistic healing properties of its core movements, especially ,when accompanied by live drumming. Dance and performances are vital forms of healing process and praise.
CULTURE VULTURES: PREYING ON HAITIAN FOLK DANCE
There exists a great importance and respect in activism through arts and culture. When we engage our talents and creativity in activism, we cannot remain silent. Lately, my prayers have included the request for discernment. Among our own community, the challenge often lies in gaining recognition. In one of my weekly Sunday Quote, I highlighted how **colorism** and **classism** have no place in our culture, particularly in relation to our folklore. Yet, they persist. We should also address issues like **sex appeal** and the **general lack of respect**. You may be with the Haitian Kreyol proverbs: "*Se bon k猫 krapo ki fe l san tet*'' (It's the frog's kind heart that makes it headless) and "*Pale franse, pa vie di lespri*'" (Being able to speak French does not equate to wisdom). To put it simply, some people prefer the superficial.
There have been many instances where TLL Dance Ensemble, the performance group of Tradisyon Lakou Lakay (TLL), has engaged in pro bono work, offering services to fellow artists in genuine need, and providing significant discounts to non-profit organizations and educational institutions. TLL, Inc. LAKOU, its beloved name, is now a registered, trademark company to also include TLL Dance Ensemble. Such acts of kindness do not diminish our value. However, discernment is crucial; some individuals will PAY for something they could receive for FREE simply because the provider speaks French (literally or figuratively) or possesses a certain appearance or charm. These tactics are in place, but with a fresh approach to further create DIVISION. There is some beauty in differences, which is strikingly different from dividing with the quest to conquer.
TLL Inc. and its performing group, TLL Dance Ensemble, are not here to merely meet basic needs. Our work is a **rare commodity** that deserves the same level of accommodations and respect. Conversely, when a high-profile event arises (or one perceived as such by the community), it is often other artists, who are flown in, with requested accommodations and honorariums.
But let me be clear: it's never just about the money; it's about **respect**! The proverb "Santi bon koute ch猫" can be interpreted at your own discretion. To smell good, is costly." We still can smell good without the super luxury brands. It's all depending on the choice we make and the available resources. For example, one may choose to smell good/fresh using Florida Water as opposed to wearing Coco Chanel. In addition, this may be situational because one may not wear Florida Water to an event which may be deemed upscale; but may splash it on at a cultural event more fitting for that scent.
THE BODY AS A PRIMARY TEMPLE I SACRED SPACE FOR CREATIVE HEALING
I am actively developing my style and continually honing my skills. Currently, I am focused on my unique approach, the ''Yanui Techniques," rooted in the Yanvalou tradition. By nature, through historical ties, DNA , and astrological influences, I identify with water, which informs my connection to its essence. This aligns ,with the saying, "Still waters run deep.''
In my teaching of Haitian Folkloric dance, I incorporate intentional or somatic movements, creating space for solos within performance pieces. I believe that during these moments, artists are liberated from traditional choreography, allowing them to express their true essence through unrestricted movements.
Indeed, dance is a form of healing, and the body retains its memories. In Haitian folkloric dance, we are fortunate to use sound healing through drums and intentional movements that originate from various parts of the body, where memories - both joyful and traumatic - are stored. We can draw from these experiences to enrich our creative processes.
The community desires to engage in authentic work. However traditional, there is a need for fresh, scholarly, and innovative work. This creates a sense of communal belonging and purpose. TLL vows to create, develop, and collaborate to provide a safe space for educational, empowering, entertaining and elevating programs to uplift people's spirit. TLL's ongoing Haitian Folkloric Dance Class provides physical, mental and spiritual health. TLL approaches are holistic. Dance is not just about movements, but also serves to elicit spiritual growth and connect one to their roots and the ancestors. Dance tells a story. Dance is the language of the soul.
PURPOSEFUL PRODUCTION: MAKING FOLKLORE CONTEMPORARY
Is "Time" Exact?
Time is often viewed as an abstract concept, which can be interpreted as either positive or negative. Phrases like "Time heals," "In due time," "Time will tell," " Running out of time," and one of my favorites, "Nothing happens before its time," all reflect the significance of time and humanity's perception of it. Where does a moment fit within the realm of time?
I intentionally leave space in choreographies for development and evolution, allowing the performance to unfold naturally within the "moment" of the actual day. Some may refer to that has 鈥渋mprovisational鈥� and others 鈥渆xperimental dace/performance鈥�. I refer to this concept in dance as "free flow." I also trust that as a dancer we are constantly experimenting with the body as it relates to how we can expand a movement to its maximum height and/or depth. Energy shifts and flows differently at various times. It's clear that art transforms over time, even the most traditional forms undergo changes. According to TLL, Inc.'s mission, all performances incorporate live drumming, fostering authentic and contemporary connections between drummers, dancers, and the audience.
Thoughts on Haitian Heritage month
In my view, Haitian Heritage Month serves as a great starting point, but our authentic cultural selves extend far beyond May. I often remind students that we are descendants of royalty, and our existence and history go far beyond the era of slavery or the confines of Black History Month in February.
We must emphasize our contributions, not just the struggles and fights, as these elements have shaped us into resilient people. However, over time, "resilience" can easily slip into "complacency." We are also aware that rest is resilience. We also must be cognizant of the countereffect of having to go into 鈥渢he cocoon鈥� or the 鈥渋nnerself鈥� too often and for too long. It's essential to shift the narrative and tell our stories across a multitude of platforms. The newly coined phrase "Bwa Kale" in Haitian Creole, emerging from current social and political unrest is not unfamiliar; l perceive it as "Bwa Kayiman鈥�, or into the woods and into the 鈥渢hick of it鈥� for reflection and real work.
Weiselande 'Yanui' C茅sar is a multidisciplinary artist residing in Miami. Dr. Cesar is a Barry University's Alumni, with a Bachelors of Arts in Theatre, and Dance Minor, Masters of Science in Exceptional Students Education and a Specialist in Educational Leadership. In 2021, she completed her Ph.D in Human Services Public Health from Walden University. Dr. C茅sar is aMDCPS educator. She is the Founding Executive Director of Tradisyon Lakou Lakay Inc. Her literary work includes three self published books and articles. Recently published in the National Dance Education Organization was her blog, "Demystifying Haitian Folkloric Dance through Pedagogy and Performance Art". Her much inspiring and uplifting workshop, Haitian Folkloric Dance LAB, was presented at the National Dance Education Organization Conference in October 2019 at the Hyatt Regency, Miami. Her work ranges from collaboration to independent projects, lending her in a 2018 production with Berlin based choreographer/experimental artist, Isabel Lewis, during Faena's commissioned Art Basel Festival. Yanui's choreographed piece, directing TLL Dance Ensemble, led the group to cast in "Colors" Jason Derulo 2018 music video. In 2019, she was featured in VoyageMIA magazine, and TLL Concert Series debuted at Julius Littman Performing Arts Theater, commissioned by the City of North Miami Beach.
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