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CRAE
Culturally Responsive Arts Education
Pittsburgh Public Schools
Teaching Artist Directory
Core themes of the:
Pittsburgh Public Schools
Culturally Responsive Arts Education Program (CRAE)1
Culturally Responsive Arts Education is a marriage between the best of culturally
responsive pedagogy and arts education. Because of the particular demographics and
challenges of the Pittsburgh Public Schools and the history of this project, this program
relies upon the arts of the African Diaspora, and is focused on the success of AfricanAmerican children.
This particular program of CRAE is teaching and learning that engages the arts of
the African Diaspora and incorporates the culture of the students in curricular and
instructional planning, implementation, and assessment. This is done as a means to
engage student interest, develop ownership of learning, and inspire achievement. It is our
hope that CRAE will enlist teaching artists and arts specialists in helping schools to see
the unique power of the arts in education, to view race and culture as an asset, to educate
about the impacts of racism and models to overcome it, and to value the role that artists
can play in building relationships between a child, a school and her community.
It is critically important that the arts of the African Diaspora, and specifically teaching
artists representing these genres, are at the center of this initiative. In this setting, artists
might facilitate a process in which children, by the work of their own hands, develop an
internal narrative to counter a pervasive notion that their academic potential is somehow
predetermined. Whether the drum, spirituals, capoeira, quilting, painting, jazz, spoken
word, rapping or b-boying, the arts of the Diaspora exhibit the richness of Black culture
and demonstrate the resilience of its people. Through both stand alone arts instruction
and arts integration, CRAE asks learners and teachers to see one another and academic
subjects anew. In this setting, it is hoped that children and teachers might co-create a
world in which they experience, discuss and gain insight on issues pertaining to art,
racism, ethnicity and citizenry.
These themes were developed by the CRAE Advisory Committee which consists of parents, teachers, teaching
artists, PPS Administration, members of the Equity Advisory Panel and of The Heinz Endowments and provides
advice and insight to the District and the Endowments on the general framework of the CRAE agenda.
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1
As Culturally Responsive Pedagogy often refers
to a variety of educational models including
multi-cultural education, cultural competency
and African-centered education, it is important to
give greater explication to the definition above.
With this in mind, we present the following themes
as CRAE’s core elements.
1. Employ the arts of the African Diaspora.
2. Partner with artists in order to develop an instructional
climate that promotes a positive racial identity.
3. Develop leadership qualities within children.
4. Forge collaboration among arts specialists, teaching
artists and teachers of other core subjects.
5. Employ artists in connecting to and developing
relationships with the child’s family.
6. Engage artists in the building of a relationship
between a child and her school.
7. Encourage relationships with community institutions.
These themes represent an arts-based interpretation of the core ideas expressed in Cultural
Responsiveness, Racial Identity and Academic Success: A Review of Literature by Drs. Mary Stone
Hanley and George Noblit, as well as the extensive conversations of the CRAE Advisory committee
and Pittsburgh Public School staff. These themes serve as the bedrock of the CRAE program
and serve as a guidepost for designing, implementing and evaluating CRAE programs. While
these themes are ambitious, they are rooted not only in high expectations of the children, but in a
knowledge that we will need higher expectations for ourselves in order for the children and youth
to succeed.
CRAE
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CRAE
While these themes are to be the underpinning of the CRAE projects, we look forward
to the unique ways in which individual schools interpret them and bring them to life.
1.Offer opportunities for real skill development in the arts of the African
Diaspora. Central to the program is the belief that children develop a sense of their
own capacity through personal victories, and the development of a demonstrable
artistic skill is just such a victory. Programs should offer the opportunity for deep
artistic engagement so that children might see for themselves their many capacities.
In the learning of these art forms, children should engage in their own conversation
about the value and beauty of African Diasporic culture. The arts are particularly
supportive of culturally responsive pedagogy, as a child’s artistic expression offers
teachers a window into the thinking and values of their students that they might better
understand and teach them.
2. Partner with artists in order to develop an instructional climate that
promotes a positive racial identity. Curriculum that promotes a positive racial
identity serves as a counter-narrative in an environment that often communicates to
African-American children, and their teachers, that they are less than capable. Engaging
children in the arts of the African Diaspora is one means of developing this counternarrative. In order to facilitate this process, schools and programs should augment
positive lessons from a child’s home and community and provide children with examples
of how African-Americans have achieved in spite of racism and oppression.
3. Develop leadership qualities within children. Turning around the conditions
that predominate in many African-American communities will require new
leadership on an almost unprecedented scale. Programs should provide children with
opportunities to develop artistic skill and an understanding of the larger context of the
art form, so that they may take leadership roles in the demonstration, instruction and
explication of the art form. Almost without exception, arts of the African Diaspora
serve both form and function. In addition to the aesthetics of the art form, children
should learn the role it has played in the larger Black community so that they have a
sense of the art form in context. A sense of a larger mission has been shown to increase
African-American children’s motivation to learn.
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This emerging definition of Culturally Responsive Arts Education is drawn directly from “CULTURE, RACIAL IDENTITY AND
SUCCESS: A REPORT TO THE HEINZ ENDOWMENTS” By Mary Stone Hanley, Ph.D. George Mason University and George W.
Noblit, Ph.D. University of North Carolina at Chapel Hill
4. Forge collaboration among arts specialists, teaching artists and
teachers of other core subject areas. Culturally responsive arts education
requires adaptations in instructional practice, classroom organization and motivational
management, as well as in curricula and espoused values. Grounded in real world
projects that exemplify challenges and opportunities that are germane to the lives of
African-American children in Pittsburgh, CRAE programs should teach the arts with
other subject matters in ways that both meet the PA standards and involve children in a
process of relevant inquiry.
5. Employ artists in connecting to and developing relationships with a
child’s family. Parents and families play a critical role in identity development.
Research indicates that children whose parents explain the existence of racial barriers
and how to circumvent them, achieve at higher levels than those children who do not
have these barriers explained to them. Arts specialists and teaching artists should be
given opportunities to involve families in their own unique way, including engaging
them directly in the art forms. Parent engagement is linked to a variety of protective
factors for children and is particularly important in student success.
6. Engage artists in the building of relationships between a child and
her school. According to Gloria Ladson Billings, the core elements of culturally
responsive teaching include developing caring relationships with children and not
avoiding issues of race and identity as they emerge in classroom settings. For this
reason and wherever possible artists residencies should be of sufficient length that
these relationships can be established. In an ideal setting, residencies could be as many
as 100 days. Classroom teachers might look to the manner in which high quality
teaching artists establish relationships with children as one model in this area.
7. Encourage relationships with community institutions. Children come
to school attached to a variety of institutions whether they be church, mosque
or community center. Where possible, look to establish relationships with
these organizations and to involve them in program planning. Where there are
opportunities to allow children to benefit from the resources of the community’s
larger arts institutions while maintaining the consistency of the program’s message,
use these as well.
CRAE
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How do I use
this Teaching
Artist Directory?
This directory is a resource for all schools in the Pittsburgh Public School District.
Any school may review the information in this booklet and select teaching artists
to work with at any time, using their own funds. Artists in this directory will be
trained in culturally responsive pedagogy, arts education, arts integration, and PA
standards for the arts and humanities.
Three Pittsburgh Public Schools have been accepted to the pilot program of the
Culturally Responsive Arts Education program: Pittsburgh Lincoln K-8, Pittsburgh
Montessori Pre-K-8, and Pittsburgh Sunnyside K-8 These schools may select one
or more artists from this directory with whom to work over the course of one to
three years. Funds from the CRAE program will support residencies with these
teaching artists. The Culturally Responsive Arts Education program is funded by
The Heinz Endowments and supports projects from three schools.
Inclusion in this directory is not a guarantee for the artists to work with Pittsburgh
Public schools, but only artists included in the directory will have the opportunity
to be called upon by the schools to work as part of the official CRAE program if
and when the schools choose them. The District will require Board approval of
any artists selected before work may begin. Current criminal and child abuse
clearances will be maintained by all artists included in the directory. Clearances
will be renewed each year to be considered current.
Schools are responsible for securing Board authorization to hire teaching artists.
Contact
Cecile Shellman
Culturally Responsive Arts
Education Project Manager
Pittsburgh Public Schools
341 South Bellefield Avenue, #424
Pittsburgh, PA 15213
[email protected]
412-622-3512
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letter from
Linda S. Lane,
Ed.D, Deputy Superintendent
To the Pittsburgh Community:
The learning of all the students in the Pittsburgh Public Schools is a goal supported by not
only those a part of the District, but the greater community as well. This program is an
example of the tremendous support our children received from their community, in this
case The Heinz Endowments. We thank them for this. The fact that the arts are the focus
is also indicative of the central role the arts play in the City of Pittsburgh. As each of these
wonderful artists works in our schools we know they will bring forward the love of their
craft as well as their commitment to our children. The goal of this project is to use the
arts as a pathway to the “Promise Ready” future for each child.
Sincerely,
Linda S. Lane
CRAE
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Leslie
Ansley
Art has always played a crucial role in the lives of people. It is used
to document historical events, transport viewers into the thoughts
and feelings of individuals and to beautify environments throughout
the world. Being able to translate observations and experiences into
visible statements that affect others is a powerful occupation. It is also a
necessary means of connecting with our environment in a way that
is engaging and fulfilling. The role of a teaching artist grows more
valuable as schools discontinue vital art programs, denying students
opportunities for constructive artistic outlets. I enjoy the challenge of
channeling a child’s energy into something substantial and creative.
Being a part of the Teaching Artist and Residency Program would allow
me the satisfaction of enriching the lives of students while giving back to
my community.
I bring a wealth of experience using various media such as fiber,
ceramics, drawing, mixed media and sculpture. Involvement in
the local and national arts scenes gives me relevant experience
that is current and adaptable. Many of my art shows around the
country concentrate on the African Diaspora, some specifically
focusing on African American artists and history. My teaching
residencies have integrated adinkra symbols, African fabric
patterns and African American history, focusing on cultural and
self awareness. Much of my curriculum and subject matter has
revolved around African American culture and social issues.
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Tina Brewer
Giving dignity to human suffering of a stolen people became
a passion. I work as a conduit for messages from ancestors
in the form of the narrative quilt. Every quilt is a celebration of
our heritage.
As in most celebrations, the viewer is excited by the beauty of
the layers of scrap fabric, metallic threads, and bead work. Your
subconscious will be invited to see—perhaps for the first time—a
repository of symbols helps to support a key
collage of twisted truths of our past. We restate the story with strong
to oral history. Participating in this creative
symbols and colors that bring an everlasting impression of the
reconstruction also helps me establish written
obscure history of the African presence on this North American
history, giving credibility to the symbolic
shore. The images are layered as the work builds itself into an
language. This cultural vessel gives homage
instrument of beauty: a narrative quilted canvas that brings to
and support to the oral tradition of all culture.
surface a sense of shattered antiquity. The modulation of art and
History is recalled through the creation of the
history create a sense of structure and challenge, bringing a new
Lukasa memory board on each story quilt.
vision of hope to an ancient story.
An internationally-honored creator of story
As a teaching artist, I am constantly inspired by the exploration of
quilts, Tina Williams Brewer is known for her
symbols. Teaching students the art of Lukasa memory boards enables
artistic exploration of African American history
me to experience their personal history. Each quilt is considered
and the personal experiences associated with it.
a lukasa memory board, a tradition taken from the 19th and 20th
She uses symbolism, textile and fabrics to create
century Democratic Republic of Congo’s Luba tribe. I acknowledge
story quilts that are motivated by issues focusing
and give tribute to the existence of African symbols and signs and
on the family, women, and children, as well
their many contributions to the decorative arts and their inscription.
as the spirituality of the culture. Over the last
thirty years, her work has been celebrated and
Giving consideration to the African American culture as a major player
displayed in scores of major venues—..from the
in the humanities has contributed to the art that I create. My thirty
United States Embassy in Ghana to the American
years as a fiber artist have allowed me to continuously stretch my use of
Craft Museum in New York City.
symbols beyond the African to include symbols of other cultures.
Oral history and memory go hand in hand. Knowledge of this
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Yamoussa
Camara
Yamoussa Camara was born in the village of Boke,
Guinea, West Africa in 1966. For 16 years, he was
first the student, then the protégé, of Mohamed
Kemoko Sano, former choreographer and artistic
director of Djoliba and Les Ballets Africains and
founder of Les Merveilles.
Mr. Camara has toured Europe, Africa, and the United
States as a performing artist. He was the youngest lead
drummer for Les Ballets Africains.
Yamoussa Camara has taught the music, dance, and
culture of Guinea to children and adults at schools,
colleges, universities, and community groups throughout
the United States since 1992.
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Sheila
Carter-Jones
Sheila Carter-Jones is a retired Pittsburgh Public School teacher. She
taught communications for thirty-five years and is now carrying out her
second career as a writer of prose and poetry. Included in her repertoire
are numerous writing workshops which she has developed to help
motivate and act as scaffolds for novices and young writers. CarterJones credits the domestic working women in the small coal mining
community where she grew up as the spiritual source of her inspiration.
“Every student can learn” is a popular buzz phrase in the field of
education today. It is, of course, easier said than believed. Why?
The answer is quite simple, and one which up to now has not
been considered plausible or valuable in the academic school
setting. School curricula are incorporating more and more cultural
elements—particularly elements of the African American culture.
These include content as well as instructional strategies. This is a
great start! However, having a creative writer in residence who is a
skilled African American writer is a plus. This can become a whole
new way of looking at schooling for all students and particular
for African American students. It wail also enhance the teacher’s
ability to teach in a style and cultural schemata that is congruent
with African American students’ culture so they can reach a
level of achievement that according to certain standards had
heretofore been lacking.
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Desiree Davis
Desiree Davis began her dance career at the Oakland School of
Performing Arts in 1990. During her tenure there, she was trained in
West African Dance, Dunham and Horton Technique. Among other
luminaries, she has had the honor of working closely with and learning
from Ronal Hutson, the late Shona Sharif, Assane Konte, Kadiatou
Conte-Forte, Chuck Davis, Kevin Iega Jeff. Allya Sylla, MaBenta Bagoura,
and Ronald K. Brown.
The arts are vital for personal and cultural development as they
connect the individual to their community and to the larger
world. African and African American dance education can be
a bridge between the artistic experience, youth development,
and academic achievement. Students will learn how to express
themselves creatively, gain self-confidence, exhibit creative
problem-solving skills, and participate in the full process of
learning a dance sequence, preparing for a performance, and
successfully completing a project.
It is imperative in any art form that students learn to research and
read about the historical and social context from when it sprang.
Through education in dance history or social studies, students
can understand the relationship between today’s dances and
traditional African dance.
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Heather
“IAsia” Eybers
A native of South Africa and a member of the Xhoi
San tribe, IAsia Eybers is a proponent of the Metu
Neter: a Khamatic Pan African Spiritual system
designed to raise the vitality, consciousness, and
esteem of African people.
“I believe that self knowledge cannot and must not be
caged, and must instead be a part of all of the forms of
teaching children, including the arts. I am comfortable
with the sounds and spirit of African arts, and believe that
our children must feel comfortable in their own skin as
people and performers.
I believe that to invoke the memory and emotion of
our ancestors through the drums is inevitable, and it
is a formula to awaken the dormant parts of the spirits
and psyches of our youth. I believe that the arts do
not discriminate against size, experience, and place of
residence: it instead welcomes people of all ages, sizes,
and backgrounds to partake in its endless expressions.
I believe that boys and girls are natural artists who require
direction and attention. I affirm my identity and reality
by using the arts as a vehicle to my ongoing freedom and
empowerment as an African Woman.”
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Tara Ghee
Tara Ghee, a native of Pittsburgh, PA, has been dancing throughout the
region for approximately twelve years. She started dancing when she
attended the University of Pittsburgh, and since then has embarked on a
variety of endeavors, including performing and teaching with the African
Dance and Drum Ensemble under the direction of the late Shona Sharif;
teaching summer classes for youth at recreational centers; dancing in
local showcases; and performing with Pittsburgh Dance Ensemble under
the direction of Greer Reed-Jones.
Tara was also privileged to work with Youssoupha Lo and Medoune
Yacie “Dame” Gueye, master teachers and dancers from Senegal, West
Africa. In 2006, Tara co-founded Jamoural African Dance Company,
providing dance workshops and sharing the African culture through
dance, storytelling, and drumming. Tara currently teaches Saturday
youth classes in collaboration with the Young Men and Women’s African
Heritage Association, Inc., and is teaching a youth dance class for
Dance Alloy. She also works with Pittsburgh Center for the Arts’ ESW
afterschool program with Pittsburgh Public Schools. Most recently, Tara
joined Umoja African Arts Company. She continues to derive pride and
pleasure in sharing African culture with diverse communities.
I have learned how to develop a strong relationship with the
children I teach through honor and respect: qualities which are
often taken for granted. I believe in encouraging students to
attain a sense of ownership in choreography through developing
simple movements that allow them to understand how their
bodies work. Children will not be interested unless they learn
how something relates to them and their environment. I would
show them how many African movements are similar to current
Hip Hop dance steps.
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James
“Seku”
Harwell
James Harwell is a multidisciplinary artist whose
African-centered work encompasses poetry,
storytelling, percussion, ethnomusicology, painting,
audiovisual production, spoken word, and history.
He also collects African artifacts that reflect the
richness of the African cultural experience.
“As an artist and educator, I seek to integrate multiple
topics and approaches to create a holistic learning
experience. I am also able to collaborate with other
educators to ensure the relevance of workshop content
and its alignment with instructional standards and
assessment goals.”
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Linda Haston
Linda Haston is a professional actress, singer, dancer and director.
She formerly resided in New York City for ten years, where she performed
her own cabaret act, did National and Regional tours--from musicals, dinner
theatre to outdoor drama. She has directed and performed for several years
with various Pittsburgh theatre companies. In the summer of 2000 she
directed, choreographed and reprised her national tour role of Henry, in a
production of The Club to rave reviews. In February of 2002 she directed the
successful production of for colored girls . . . .along with other original works.
In June of 2003 performed in Sammi Art Williams’ “Dance on Widow’s Row.”
In the summer 2004 she performed as the Wicked Witch in Gemini Children’s
Theatre original production of Journey Back to Oz. She completed 2004 at
South Park High School directing two fall plays, and their successful spring
musical Into the Woods for which they were nominated for Best Musical
and won Best Lighting Design at the Gene Kelly awards. Some favorite
performance roles: Irene Page in Bubbling Brown Sugar starring Vivian Reed,
Lily Ann Green in Lynn Nottage’s Crumbs from the Table of Joy, Jeannette
in City Theatre’s 2005-2006 season opener of Crowns; Tituba, in Quantum
Theatre’s production of The Crucible and Mrs. Dickson in Lynn Nottage’s
Intimate Apparel at City Theatre. Just recently she directed a production of
Seasons Greetings by David Sedaris and will be directing the March 2009
production of How I Learned to Drive at Off the Wall Theatre Company in
Washington, PA.
I believe that the young people are our future in keeping the arts alive. It is imperative that we as artists make
it our goal to help them achieve that goal. As a teaching artist it has been my distinct pleasure to be able to
teach and learn from the young people in how their map should be drawn to get to a level of appreciating and
experiencing skills to pass to their next generations. Whether or not a career in the arts is pursued, students will
be able to take what they have learned from it to apply to lifelong achievements. My expertise happens to be in
theatre and I have seen from experience how theatre has been applied to the daily life and tasks of children to
allow them to move forward with decisive, positive attitudes into their future. It is my goal to continue encouraging
our young people to not only learn the arts but to have a healthy respect for the arts and I expect to continue to
do this through teaching and performing.
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Ayisha
Morgan-Lee
“I thoroughly enjoy teaching dance because I am passionate
about using dance as a tool to express Black culture.”
“When I enter the classroom, I want to engage the students and
draw out their eagerness and enthusiasm for the art of dance. I have
worked with students of all ages, from three years old to adults,
Ayisha is no stranger to the Pittsburgh stages:
and each time not only do they learn dance and its different forms
she has danced and choreographed Langston
but I learn so much from them. As an artist, teaching allows me
Hughes’ Black Nativity and the annual production
to use dance movements and techniques to make connections
of Christmas is Comin’ Uptown. In July 2007 and
and analogies using the body as the expressive tool. The dancer’s
2009, Ayisha received the African American
body is my text book, visual aids, and music. Teaching dance also
Council of the Arts Onyx Award for Best
pushes me to think outside the box and to use a both/and approach.
Choreography in a Musical. For the past three
I enjoy developing new methods of teaching using the body as the
years, she has danced with the Legacy Arts Project.
instrument that can bend, reach , stretch and define mood in ways
Last spring, Ayisha choreographed The Frick
that allow even the most quiet, shy, and, “I do not want to do this”
International Studies Academy Musical, Gone with
students to express themselves through movement.
the Breeze. In the summer of 2008, Hill Dance
Academy Theater, under Ayisha’s artistic direction,
Ayisha Morgan-Lee is founder and CEO of Hill Dance Academy
held a seven week Dance Intensive, Spirit, Mind,
Theater and the Artistic Director of Ju-B-Lation: Spirit Filled Feet,
and Body, conducting classes for thirty students
a multigenerational liturgical dance company of artist that utilizes
in multiple genres of dance. Ayisha teaches at
sacred dance as the artistic voice to celebrate the traditions of
the Urban League Charter School, Dance Alloy,
the Black Church experience. Ayisha is a 2007 graduate from the
Fulton Academy and Dilworth School through
Carnegie Mellon University John Heinz School of Public Policy with
Dance Ally’s Education Outreach Program. Ayisha
a Masters in Arts Management. In the summer of 2007, she interned
received a grant from the PA Partnership for
with Alvin Ailey American Dance Theater in New York. Prior to
the Arts to bring African and African American
that, she apprenticed with the August Wilson Center for African
children together to explore through the cultural
American Culture.
gifts of dance what they share, from Africa to the
United States.
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Anire
Mosley
Pan-African Culture has been a personal passion of mine for nearly 25
years. As a child, I was constantly exposed to all types of art, including
African sculpture. African American artists were displayed alongside
artwork of myriad cultures. I had a significant book resource referencing
the art of the African Diaspora. Music was also a constant in my
upbringing, and remains a major influence in my artwork.
My philosophy of teaching children is based on guiding students towards knowledge; cultivating a curiosity and
love for it. I keep my mind open to being taught by anyone. Creating boundaries is important so that there is
mutual respect. Questions, concerns, and discussions should be discussed. Teaching connects me to the minds
of the youth. They provide me with a a better understanding of what I am teaching, particularly when I have to
go off script and explain something in terms the student can understand. When a student gets it, and can assist
another student in their comprehension, I can only describe the feeling I get as joy.
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Autumn
Redcross
Autumn Redcross was born in Philadelphia, Pennsylvania.
She studied English Literature at West Chester University
and settled in Pittsburgh with her family over twelve years
ago. Here she has fostered an interest in genealogy and
local history working with the Carnegie Museums’ historic
exhibits, writing several local history pieces for area
publications, co-authoring the book African Americans in
Sewickley Valley, and researching two of her family lines
seven generations back to slavery.
Griot was the title given to the historian in communities of
West Africa. A respected position of high standing, the griot
orally passed along genealogies and family stories from one
generation to the next. Through research and documentation of
my own family history, I have become a present day griot and
have sought to inspire others to do the same. It is my intention
to perpetuate the spirit of the griot, and encourage students to
develop an interest in their ancestors and the ability to tell their
stories. As children learn by doing—especially in the arts—it
is my aim to engage the class as a whole through a process of
exercises and posing questions to encourage full participation.
As a collaborator with a class or on projects as a while, I believe it
is my place not only to teach, but to observe, facilitate, diagnose,
instruct, and plan. With the art of family storytelling as my focus,
I work to honor our elders; call forward the ancestor; and create
a forum for students to grow as people aware of their past with a
vision for their future.
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Oronde Sharif
Oronde is the Artistic Director of the Shona Sharif African Dance and
Drum Ensemble, and currently serves as lecturer and Major Advisor in
the Department of Africana Studies at the University of Pittsburgh, where
he teaches West African Dance and Afro Caribbean Dance (Dunham
Technique). Oronde started dancing at the University of Pittsburgh under
the tutelage of his late mother, Shona Sharif. Under her direction, both
Oronde and the Ensemble started to develop as African dance enthusiasts
and performers. Since this time, Oronde has performed and directed a
number of original productions of African Fables, Swing Low, Sweet in the
Mornin’ , Langston Hughes’ Black Nativity, and Nativity: A Christmas Gift.
Oronde has performed and choreographed Kuntu Repertory Theater’s
production of SARAFINA and City Theater’s Flight. He is also a member
of KanKouran West African Dance Senior Company (Washington, DC).
In addition to his community classes, Oronde has conducted dance
workshops and classes throughout Western Pennsylvania, Ohio, Orlando,
FL, and Washington, DC.
I have been involved in the African arts since 1998 when I started
to take on responsibilities as an art educator and artistic director.
Ever since then I have choreographed, taught, directed, created,
researched, dialogued, collaborated, and studied African dance,
African American dance, and Afro Caribbean dance. I have
worked with a wide range of organizations and programs, working
with students from kindergarten age to senior citizens. I have
studied dances primarily from Senegal and Mali, which some
knowledge of dances from Guinea, Nigeria, Ghana, the Congo,
and South Africa.
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Wabei Siyolwe
Wabei Siyolwe is a Mukwae (Princess) of the Luyana Dynasty,
Barotseland, in eastern Angola and western Zambia. She was brought
up in the former Soviet Union, Egypt, Malawi, and the United States.
Her formative education was in England, where in 1986 she became
an Associate of the Guildhall School of Music and Drama, London,
as the Pauline Siddle Memorial Scholar, and worked with Leonard
Bernstein as the Jazz Singer in mass (Barbican Centre, London)
and with Lord Richard Attenborough as Tenji Mtintso in the Oscar
Nominated motion picture Cry Freedom (Universal). As a member
of Actors’ Equity, Wabei has performed in many international
productions that include: King (Piccadilly Theater, London); the
Magic Carpet, Olivier, Royal National Theater, London); Visitor to
the Veldt, UK tour (Temba Theater Company); School for Scandal,
To Kill a Mockingbird (Birmingham Repertory Theater); Nuns
on the Run (Handmade Films); The Crossing (BBC Television);
A Midsummer Nights Dream (Quantum Theater, Pittsburgh);
Constant Star (City Theater, Pittsburgh).
visual and performing arts media. Wabei has an
MA in Producing Film and Video (American
University), an MA in Performance Studies from
Tisch School of Performing Arts, New York
University, and is currently pursuing an MFA in
Film and Digital Media at Chatham University.
Most recently, Wabei has been a fellow of
the South African Screenwriters Laboratory
(SCRAWL) writing Kuomboka: wade in the
water in association with Miramax Films and
the Sundance Institute. Wabei lives in Pittsburgh
with her husband and two children.
As an independent writer, director and producer, her work
Having been born during the struggle from
includes Girls in the Middle, (PBS), Joys of War (Helms Theater,
Apartheid in southern Africa in the 1960s and
Charlottesville); And the Girls in their Sunday Dressed, and The Island
into a diplomatic family from Zambia, my
(Hamburg Parner Program, City Theater, Voted Best of Pittsburgh
pedagogy has been influenced by my pre-
2000); Bank Windhoek Solo (Lintas Namibia/Movie Makers, Cape
colonial royal ancestral Barotse worldview as
Town); digital diary #1 and #2 (global posse productions, inc.)
much as post-colonial happenings. Through
my multi-lingual and multi-ethnic upbringing
Wabei has taught at the University of Namibia, the University of
Virginia, Duquesne University, Carnegie Mellon University, and
The Norwegian Theater Academy. She has contributed to journals
in Egypt, Russia, Malawi, the US, and the UK,
and with family roots firmly planted in Cuba,
Ethiopia, Brazil, and Jamaica, to name a
few, I have been able to read, interpret and
that include Ecrans d’Afrique/African Screen and is a member of
transform myself and others through these
the National Press Photographers Association. AS a Virginia Hero
landscapes meaningfully through the arts
and the artistic producing director of global posse productions,
and humanities.
inc, she continues to dedicate her life to social change through
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UMOJA
Since its formation in 1989, UMOJA African Arts Company has
delighted audiences and educated thousands with the explosive
beats, insistent rhythms and haunting melodies of African music,
drumming and dance. UMOJA African Arts Company promotes
the indigenous cultures of Africa in the United States. In 1998,
UMOJA, which means UNITY in the Swahili language of Africa,
re-dedicated itself as non-profit arts organization to better convey
its message of the universality of art as a bridge between cultures.
UMOJA’s mission is to raise awareness an increase appreciation of the
rich culture of Africa. UMOJA provides performances and programming
in African dance, drumming, storytelling, drum making, mask
construction and other creative arts as a means to unify diverse cultures
through educational and artistic presentation of African art.
UMOJA’s exuberant style has enlivened the stage of many venues
including: the Baltimore Museum of Art, Smithsonian Museum of
African Arts, the New York Museum of Natural History, the Brooklyn
Museum, the Carnegie Museum, the National Aviary, the David L.
Lawrence Convention Center and the St. Louis Art Museum and has
collaborated with local organizations such as the Afro-America Music
Institute, Expressions Contemporary Dance Company, the Bach Choir
of Pittsburgh, the Mary Miller Dance Company, Hot Pink of Pittsburgh,
and the Pittsburgh Symphony Pops.
Four members of UMOJA: Mia Jennings, Marcus Perkins, Ayanah
VanZant, and Connie Robinson are available for the extended residency
opportunities offered by the CRAE program.
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John Wilborn III
Before receiving his diploma, John Wilborn III attended two distinctly different racially-composed institutions in the
Pittsburgh and Penn Hills school districts. He earned Bachelor of Arts and Master of Science degrees in Pittsburgh
and New York City universities, then added a Federal Communications Commission Broadcast Operator’s license.
John produced and hosted 51 weekly jazz programs on WDUQ 90.5 FFM. At age 32, his 120-page publication
Fundamentally Yours, Pete Dimperio—a biography of the 1964 Dapper Dan Man of the Year-0-was included in
the Pittsburgh Schools English with Emphasis on Reading program. John was a nominee for the Pittsburgh Small
Business Association’s Media Advocate of the Year and Champions Enterprises Staff MVP. In September 2008, as a
member of the Langston Hughes Poetry Society of Pittsburgh, John received the opportunity to facilitate A Tribute
to Jazz Immortal John Coltrane. John Wilborn, III is also a communications consultant with the Pittsburgh Housing
Development Association.
Many of today’s highly consumed commercial products, distributed as “art”, fail to convey positive,
wholesome messages, images, or role models for youth to emulate towards a foundation upon which
to build worthwhile futures. Such trendy offerings take advantage of impressionable young minds, while
providing little of value. I am grateful that the Langston Hughes Poetry Society of Pittsburgh has provided
this opportunity for youth to benefit from my Ivy League, historically Black College Institution experiences,
appreciating more fully what the African Diaspora offers to them, as well as to their present and future peers.
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Afrika Yetu
Afrka Yetu is a cultural hub which seeks to build bridges between African immigrants and
the American community through education, the arts, and social networks. Their Academy
for Artistic Excellence is a center for learning and educational excellence through the arts and
culture. The mission of the Academy is to transform our community’s youth into global citizens
who respond to the change they wish to see in the world through arts and culture.
The Academy serves as the overarching branch for Afrika Yetu’s art and culture educational
programs. It includes the after-school and intercultural education exchange program, the
biennial World and Pittsburgh Youth in Arts and Culture Education Conferences, and the
intercultural Exchange Opportunities Program performance and workshop series.
Its group of dedicated multidisciplinary arts educators is led by founder Elie Kihonia, a fiercely
devoted multi-instrumental performer and educator.
Born in the Democratic Republic of Congo (formerly Zaire) and exposed to both traditional
and neo-traditional African music and dance at an early age, Mr. Kihonia plays both African
percussion and contemporary instruments, his expertise includes the xylophone, mbira, hand
and set drums, keyboard, accordion and guitar.
While in Zaire, Mr. Kihonia developed his passion for keeping the roots of African arts alive, and
he became a pioneer in intermixing traditional and neo-traditional music. Africa Yetu’s Academy
for Artistic Excellence is comprised of like-minded passionate artistic performers who seek to
build connections between Africa, its Diasporic regions, the United States and beyond.
Our mission in the arts is to not only bring African music to new audiences, but
to foster artist collaborations across the disciplines. We want to show the world
how Africa’s music is connected to music, dance and other arts across the world,
especially in this modern age. We are creating ways to bring together performers;
we are working to build bridges here in the City of Bridges, in the United States,
and across the world!
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Tracie Yorke
Tracie Yorke’s career in dance began while a student at
Amherst College where she received research grants to
conduct ethnographic studies in sociology and culture.
Her academic studies quickly brought her from behind the pen onto
the dance floor as she traveled and performed in countries such as
Cuba, Brazil, Taiwan, Guinea, and Italy, connecting with people
of all ages, cultures, and backgrounds. Tracie Yorke has a ten-year
national and international performance history. She offers lessons,
choreography development, and performances through her private
studio that reflect the diversity, vitality, and accessibility of dance.
In addition, Tracie holds a Masters of Science degree in Educational
Technology from Carnegie Mellon University and designs interactive
curriculum, games, and technology tools for adults and children.
Most recently, she served as the New Media Coordinator for Family
Communications, Inc, the producers of Mister Rogers’ Neighborhood.
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Culturally Responsive Arts Education Project Manager
Pittsburgh Public Schools
341 South Bellefield Avenue, #424
Pittsburgh, PA 15213
[email protected]
412-622-3512
Catalog designed by Milestone New Media Group. Marimba Milliones, CEO of Milestone New Media Group, is an alumna of Pittsburgh Public Schools.
Cecile Shellman