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Dissonance Dance Theatre, 2005 (c) Persikoff Photography
Founder Director Shawn Short in lift

Connecting Vision to Preservation: The Genesis of Black Dance Festival DMV

Shawn Short’s founding of Black Dance Festival DMV in 2019 was not merely the launch of a performance platform—it was the culmination of over a decade of passionate historical preservation work that began during his MFA research in Dance at the University of Wisconsin-Milwaukee. His thesis, “A Change Gon’ Come: A Text on Washington, D.C. African-American Dance History – Typology for Black Dance’s Reconstruction and Advancement in the New Millennium,” laid the intellectual and cultural foundation for what would become both a comprehensive historical archive and a living celebration of Black dance artistry.

Starting in 2009, Short embarked on an ambitious journey to document DC’s nearly century-long Black concert dance legacy, conducting extensive interviews with dance elders including Mike Malone, Bernice Hammond, Tyrone Murray, and other pioneering figures who generously shared their memories and opened their personal archives. He meticulously collected newspaper clippings from the historic U Street corridor’s golden age, examined news video media from DC’s local stations, gathered Scurlock Studio photographs from the Smithsonian archives, and documented contemporary artist contributions across multiple generations. This rigorous scholarly work revealed a painful truth: professional Black dance company activity in Washington, DC had drastically declined since its founding in 1932, and the stories of these transformative artists were at risk of being lost to time.

The Black Dance Festival DMV emerged directly from this research as Short’s answer to the question that drove his entire thesis—how could Black dance in DC not only be preserved but reconstructed and advanced for the new millennium?

By creating a festival that honored established choreographers while providing platforms for emerging voices, Short transformed his academic research into activist practice, ensuring that the legacy documented in his scholarship would continue to grow, evolve, and inspire future generations of Black dance artists in the nation’s capital.

DC Black Concert Dance History (1932-2025)

Preserving a Legacy, Building a Future
About This Historic Documentation

The DC Black Concert Dance History project represents the first comprehensive documentation of over 90 years of Black concert dance excellence in Washington, DC. Written and compiled by Shawn Short, MFA, PGC in Business of Dissonance Dance Theatre, this groundbreaking research brings to light the stories, pioneers, and institutions that have shaped the artistic fabric of our nation’s capital.

Mission

This project emerged from a critical recognition: the rich history of Black concert dance in Washington, DC existed largely in the memories of its practitioners and scattered community archives. These stories of pioneering artists, groundbreaking companies, and transformative educational institutions deserved more than oral tradition—they demanded scholarly documentation, preservation, and celebration.

What you’ll Discover

From the early pioneers of the 1930s who established the first studios on U Street to contemporary artists continuing to push boundaries and create opportunities, this comprehensive historical record captures:

  • Pioneering Institutions: Northeast Academy of Dance (1934), Jones & Haywood School of Ballet (1941), and other foundational organizations
  • Legendary Companies: DC Black Repertory Dance Company, DC Contemporary Dance Theatre, KanKouran West African Dance, Step Afrika, and dozens more
  • Visionary Artists: From Bernice Hammond and Doris Jones to Mike Malone, Assane Konte, and emerging voices of the 21st century
  • Cultural Movements: The evolution from “Black Broadway” on U Street through African cultural renaissance to contemporary fusion and hip-hop innovation
  • Educational Legacy: The schools and programs that have trained generations of dancers
Why This Matters

Dance represents the smallest sector receiving public funding in Washington, DC, and professional Black dance company activity has significantly declined since its founding era in 1932. This documentation:

  • Provides essential context for ongoing conversations about equity, representation, and cultural preservation
  • Serves as an academic resource for scholars and researchers
  • Offers a source of pride and connection for community members
  • Creates a roadmap for policymakers and arts leaders seeking to understand cultural equity

Research Phases

Phase One (Current): Establishes the historical foundation and documents key figures, institutions, and movements from the 1930s through 2025

Phase Two (2026): Will expand to include detailed analysis of pedagogical approaches, economic impact studies, and contemporary challenges facing Black dance artists in the DMV region

Phase Three (Future): Will focus on preservation strategies, community engagement initiatives, and policy recommendations

Learn More about Ngoma Research!
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Support & Acknowledgments

This research was made possible through generous support from the DC Commission on the Arts and Humanities. Special acknowledgment to the dance faculty at the University of Wisconsin-Milwaukee for research methods education, and to the countless artists, educators, and community members whose contributions made this research possible.


The history of Black concert dance in Washington, DC is not simply our past—it is our present, and it will shape our future.

Shawn Short, MFA, PGC in Business
Founding Director, Ngoma Center for Dance
Principal Researcher and Author

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The Ngoma School in Masterclass with DTH Ballerina Karen Brown

Black Dance History PDF Download

Thank you for your interest in this historic documentation of Black concert dance in Washington, DC.

How to Download

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Important: Citation & Credit Requirements

When using this research, please provide proper attribution:

Recommended Citation:

Short, Shawn, MFA, PGC in Business
"DC Black Concert Dance History 1932-2025." 
Ngoma Center for Dance/Dissonance Dance Theatre, 2025.

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