Thank You Followers

I just want to take the day to thank all the followers of Dancing in Dark Skin who still come and check out this page and what we have to offer.

Please enjoy this throw back video from my New York dancer grind days choreographed by Marc Kimelman.


I do not own the rights to this music.


Race and Dance: an entry way

I have thought long and hard about different topics to write about on this website. So here is some word vomit on my initial thoughts on race and dance at 12 am.  

Dance is a visual apparatus first but then from dance we can be taken on different avenues such as music, theatrics and politics. This website was started based on my race, black, and one of my passions, dance, and how those two interact with each other almost constantly. Actually not almost, always. Being a professional dancer you will not only get hired based on skill but also physical appearance. So for the black dancer there is no avoiding, there is confronting and accepting as a part of identity. For some black dancers who have been raised in the white studio system from birth this thought might not cross there mind on a consistent basis based on the environment they were raised up in, but for other black dancers the sight of white dancers filling an audition hall might make them turn around or re-think their place.  

I want this website and platform to be a haven and if you are the dancer who felt like they didn’t belong, I am living proof and all of your favorite professional dancers are living proof that you belong in all the rooms.

Go into those rooms with your heads held high, we got your back!

Hello Dark Skin Dance Lovers

This website has been up since 2014. There were not post in the year 2018. I have been dancing on a cruise ship leaving access to the site and access to dance culture very slim to non existent. This year I am just going to write, do my best in editing and get content out. Whether it be a thought, a phrase, a sentence, something off topic but still related, I am going to do my best to give it do you. I am going to share some of my favorite videos and photos and I hope that you all will get your dancing in dark skin fix for the day. So after over a year and a half of silence, this site is now going to actually be live with content. Feel free to look back at previous post as well and take a look at our youtube page and do some reminiscing because we are coming back. 

Thanks for staying with us,


The Little Spark of Firebird

On April 14, 2017 at 8pm I made my way to the Cobb Energy Performing Arts Centre to watch the Atlanta Ballet perform Firebird. I arrive to the theatre 45 minutes early, which was to my advantage because I was able to go to a pre-talk in the theatre before the show. The talk was hosted by the general manager of Atlanta Ballet, Bradley Renner, and assistant to the choreographer for Petite Mort, Elke Schepers. Schepers revealed that the process of developing Petite Mort with Jiri Kylian was difficult and slow. She told us that it was hard to move forward because she was too much in her head and Kylian had to break her out of her shell so she could be a free dancer. She told the pre-show crowd that each dancers has to bring something personal to the piece but remain in the original frame of the work. Schepers answered a question from the audience telling us that there is no narrative or plotline to look for. Petite Mort is an abstract and sensual piece about connecting and disconnecting. The most difficult part for the dancers is dancing with the fencing foils and working with the dress props.

A lot of audience members were confused and thought that they were only coming to see Firebird, as did I. The first piece danced was Allegro Brillante choreographed by George Balanchine. There were ten dancers total in this piece. It was refreshing to see such a diverse cast on stage; my eye was drawn to the black ballerina. I also noticed different body shapes; some of the girls were bustier than your typical ballerina body. This piece was cute and predictable. None of the formations were revolution or different from the typical two staggered lines, a circle and diagonals. This piece followed all the rules of ballet probably because the man who set the rules for ballet choreographed it. I felt like the dancers were in a forest and garden based off of their costumes.

The second piece was Petite Mort choreographed by Jiri Kylian. This dance was a delightful and much appreciated contrast to the first piece. The last time I saw this piece performed was on Alvin Ailey American Dance Theatre. The question that I kept on ask myself throughout this piece is what makes it a contemporary ballet piece instead of just a contemporary piece. They are not wearing ballet shoes and their lines are perfect like in the first piece. Perhaps it is because it was choreographed by a ballet choreographer on a ballet company. There were a lot of turned in and turned out positions as well as connecting and disconnecting. It took me a moment to see where the support was happening it almost seemed like a magic balancing act. There was suspension in this piece, a lot of floating of men, women and limbs in mid air.

Firebird was the last piece of the program as it was the headlining program for the evening. Everything about this production was spectacle and over the top from the costumes, to the props, to the set. The story was cute. I didn’t really agree with the storyline all that much, I don’t understand why the prince didn’t choose the Firebird after she saved his life or why the Firebird even fell in love with him after he captured her. The three moments that stood out to me had nothing to do with the dancing. The first thing was the orange wig that Firebird was wearing. The second moment was when the Sorcerer popped out of the fog to capture the Prince and the third moment was when the Prince cracked the Sorcerer’s egg open and it was a flashing bright light. Those moments really woke me up from the stagnancy of the piece.

Dancing Double Consciousness

This is a dance review for Kyle Abraham’s performance for Food for Thought at Danspace Project in 2008 that I wrote in my Writing for Dance class.

Dancing Double Consciousness

        Turn on the news and the phrase “a black man, wearing a hoodie and baggy pants…” will most likely be followed by: “is a suspect, criminal, gang member, violent, dangerous.” At Food for Thought at Danspace Project in 2008 a black man stood center stage wearing a hoodie and baggy pants.Here he wasn’t a threat but an artist. The culprit artist was Kyle J. Abraham. Mr. Abraham is a critically acclaimed modern choreographer whose newest work is being performed by Alvin Ailey American Dance Theatre across the country. In 2008 at Food for Thought it was just him, center stage, looking like the stereotypical description of a black menace to society. And what do menaces to society in hoodies listen to? “A Milli” by Lil Wayne, which began to play. I am being facetious of course, and perhaps Abraham is too. Lil Wayne sings:

I’m a Young Money Millionaire, tougher than Nigerian hair,

My criteria compared to your career just isn’t fair,

I’m a venereal disease like a menstrual bleed

        Cockiness is cockiness is a common trait among black Americans who have reached a certain level of success (as defined by popularity, demand, and dollars). Perhaps the cockiness, or confidence rather, is justifiable for artist such as Lil Wayne and Kyle Abraham because they are able to work with their double consciousness and create art that resonates with large audiences. Double consciousness is the struggle a person feels when having to balance a multifaceted identity. If it were up to mainstream media Abraham and Lil Wayne would be dead or in jail, yet both artist took their history, identity and fate in their own hands, created art, and put it on the world stage. They both are making their way in western society but it is “tougher than Nigerian hair”, which Abraham physically demonstrates as he does the “weave tap” gesture twice in his untitled solo work.

How do Abraham and Lil Wayne feel by being wealthy black artists while police are killing other black men? Society didn’t plan on homosexuality and modern dance for Kyle Abraham. How does Kyle J. Abraham define himself to the world, since the world did not originally make space for him nor others who share his experience? He dances. The struggle and beauty of being a person of color in the LGBTQ community is defined perhaps in the hip swings and chest thrust of his solo at Food for Thought. The head bobbing and crumping expressed by Abraham introduces the audience to a different identity, and the petite allegro with pirouettes introduces us to yet another facet of his story.

       A black man in a hoodie and baggy pants stands with a slight hunch in his shoulders. His back is to the audience, full identity unknown. His hands are clasp together in front of him as the Lil Wayne starts to rap the dancer lets the weight of his hands guide him  in a bop from left to right that makes his knees bounce. As the weight in his clasped hands swings from left to right his head starts to bob up and down, left to right depending on the guidance of the arms, shoulders jumping in reaction.

If you can’t beat ’em then you pop ’em,

You can’t man em then you mop ’em,

You can’t stand em then you drop em…

As the rhythm and beat of the rap song manifest between his hands, the dancer begins to cradle the beat, as a black man would cradle the cockiness of Lil Wayne’s music. The rock motion eases along to the beat the punches aggressively like the lyrics. The aggressive cradling intensifies, giving spinal whiplash, and then transfers to his hips. The transition is seamless, a natural progression as the arms hit the pelvis awakening the hips to take on their responsibility of showing us another personality that was not present before. The hips circle at a slower beat to the floor. I’ll admit that I was staring at derrière; I think that’s what he wanted. It was a black boy magic trick as he was just doing a downward high speed cabbage patch to now a Caribbean wind down to the floor. It was also magic how he showed us multiple identities that he created specifically to him.

As the piece progresses, the layers of Kyle Abraham began to reveal themselves through specific gestures of hip swishing, bucking. If you are not familiar with Abraham’s style you would not see the double coupe turns and petite allegro coming. Classical dance technique was present in this solo. A black man with studio dance, street and club training created this solo to showcase it all. The technical movements of ballet and modern aesthetic were sprinkled as brief transitions in this piece, clearly not to be the focus, but just to make an appearance.

Attempting to define who you are in a world that wants to define you with no retaliation is a difficult feat. This solo choreographed by Abraham looked like it was hard on him through is facial expression, but then also easy based on other expressions. Mapping out double consciences for yourself can take a lifetime because first you have to understand how history sees you, how the world sees you and then how you see yourself. This piece defines Kyle Abraham’s double consciences without him having to say a world. Identity is in how we dance.

DiDS Foundation Present Qadry Manns

Hi! My name is Qadry Manns & I’m a senior dance major at Morehouse College. I’ve been accepted into Staib dance’s summer intensive in Sorrento, Italy! It’s my dream to become a professional dancer & this intensive is one of the stepping stones I’d like to use to get there. I’ve only been dancing about 3 years, so this opportunity means a lot to me. You can help my dreams come true! Any contributions are greatly appreciated! Thank you ❤️

DiDS Foundation Presents Asia Funches


“I am a movement artist, and dance is my word document. I am interested in somehow sending my aspired technicality backstage and allowing my inner focus to take the wheel. When I dance, I make several attempts to acknowledge my own history and those of my ancestors and environment. Each stroke, with every taste of momentum and air, allows me to dive directly my lived experiences. Introspection is my most powerful tool; it helps me create greater mental and emotional clarity. As my callused feet press against the stage, my syntax reads without errors. In this space, dancing, I strive to be honest and share with others my experience.”

asia 2

Dear Dancing in Dark Skin Community,

I am elated to announce this news, as it allows me to continue my journey with dance while indulging in Italy’s culture. I am a Dance major and rising Senior at Middlebury College of Middlebury, Vermont. While I have taken classes in nearly every department along my journey, DANCE is my home.  I have explored several operations in dance: performance, choreography, dance for camera, and arts administration. I think it’s safe to say, I have fully embraced my stance as a movement artist.

This summer I have been granted an amazing opportunity to study in SORRENTO, ITALY. My creative improvisational footage rendered me as a competitive candidate, for I was selected as one of roughly 25 participants.  This dance intensive is sponsored by Staib Dance, a professional contemporary dance company based in Atlanta GA. There, I will learn from a number of professional choreographers and perform alongside company members in Sant’Agata. If you know me, you know I strongly value all opportunities to challenge myself. Clearly, this experience will contribute to my continual growth as a student, dancer, multi-interest artist, and individual.

This trip is very special to me because it will empower me with the exposure and network I need to enter the Arts and Entertainment field upon graduation.

So…I am seeking donations to support me in this amazing experience. The total cost of this trip is $4,000:

-Intensive study; 3 classes and rehearsal daily
-Full breakfast and dinner
-2 cultural excursions
-Cost of Outdoor performance production
-Roundtrip Airfare

Payments start as early as May 2nd , and the full balance must be paid by June 2nd.

All Donations will be a Great Blessing! I thank my village in advance for your continual support.


Asia Myles-Funches

*The word Ubuntu comes from the Xhosa/Zulu culture… The concept of this phrase can be translated to mean: A person is a person through other persons or I am because we are. I live by this philosophy, which is why I choose to sign off with it.



DiDS Foundation Present Kibriya Carter

Kibriya is a Junior at Spelman College studying drama and dance performance. She has been granted the opportunity to study abroad this summer in Sorento, Italy to train with professional contemporary dance company Staib Dance. She will be learning from a number of professional choreographers and dance scholars and will perform with the company in Italy. This trip is very special to Kibriya because it is giving her the exposure that is needed for her to pursue her career in professional dance.

Please help her in her efforts to raise money to pay for tuition of $2,375, roundtrip airfaire of $1,625, and $1,000 for incidental/emergency money.
Kibriya has a deposit of $750 due on Friday May 5, 2017. The remaining balance of $4,250 for the trip is due on Friday June, 2.  The last day that we can receive your donations will be May  20, 2017! All Donations will be a Great Blessing! Thank you in advance!