Wacheva Dance and Drum Studio CNY

Year 2021, May We Welcome YOU????? To Restart our classes, performances and workshops? If YES! Happy New Year 2021.... PLUHB See more

This is one of the dances that I really liked when I was new to the Ivory Coast National Ballet. The sabre dance comes from bete people who are in the west of the Ivory Coast. This dance is very beautiful to watch when done in a group. The boys have their steps and the women too. But, when you are alone, you have to improvise the dance steps as I do here.... The solo drummer who follows your footsteps plays with the big tam-tam drum called Attougblan tam-tam. And you have to use the sticks to play. Different from the other dances where the solo tam-tam is the djembe. The person doing this solo drum with sticks is Vado Diomande, one of the deans of the national ballet of the Ivory Coast and one of my teachers at the national ballet of the Ivory Coast. Sabre dance. PLUHB

Just you know these photos are not for this year 2020 (COVID-19) I'll see everyone tomorrow. Holiday Dance Festival just around the corner! December 18, 19 and 20. Rea's Institute of Dance dancers. Artistic Director and Founder Rachael Mason. PLUHB

The Kong Dance. An extract during our dance class. Here with Maya High, India Dancil, Genevieve Sponsler, Qiana Kiane, Rindi Tas, Stephanie Hiks-Haine, and . Kong Dance comes from with the Senufo people. The Sénoufo people, also known as Siena, Senefo, Sene, Senoufo and Syénambélé. They are made up of various sub-groups living of the north of Ivory Coast. PLUHB

Here it is Tchologo Dance during the class but still in the Lab for performances. Sorry if I didn't add everyone names it is because I have bad memory to remember everyone names during the class please. Otherwise you have here Martha Hutchinson, Genevieve Sponser, Qiana Kiane, Maya High, Stephanie, Ridin Tas, Gizem Sengor and ...... Tchologo dance come from North of the Ivory Coast. ... But like the tradition said "Our tradition of this folk art wasn’t designed for the stage that it is so often displayed on today. But since the modernization has emerged our culture, it has become a bridge for us to be in relationship with other cultures in the world, as well as a way for us to communicate our values and way of life. All will be practice for performances after COVID-19. PLUHB

An excerpt from the Tchey-vah dance (Still in the lab) here with Qiana Kiane, Monique W Woods, Maya High, Barbara F Streets and Andrea Medici that day. Tchey-vah means Unity. But here, it is about union around a farm. So, these dance steps will tell how we work together on the harvest through music to make happen. But we have not completed this complete yet this "Tchey-Vah dance"... Then Dibogou or COVID-19 Dance was added. But about COVID-19 Dance, it's a surprise dance through the pandemic. And for us as dancers, find a way to express our pain. Because we can't create a vaccine. Our only way to fight this virus is through movement and rhythm. And this Dibogou or COVID-19 dance is not yet over with its full steps and rhythm. I know we can. But it's nobody's fault. It is this virus that still punishes us today. So, what can I say if it happens that this epidemic is over, we must finish the steps and rhythms of these dances. So, a lot to learn. We need to finish steps and their rhythms of these two new dances before presenting to the community / audience during our future performances. To be continued Stay tuned

A demonstration of the N'goron rhythm during Dr. Sydney Hutchinson cours at the University of Syracuse with King, Josh & Biboti. The N'goron rhythm or dance comes from the north of Côte d'Ivoire. (When the modernization emerged our culture, many of our rhythms were modernized to make them more public and accessible.... Otherwise the real N'goron rhythm is done with the balafon, small tam-tams and other traditional instruments.) And history say: The traditional character of the N’goron dance comes from its original and authentic source, being practiced from generation to generation among the Senoufo peoples. It is above all cultural and its initiatory character marks the end of a process, already begun by young boys coming straight out of the sacred wood. In fact, it is danced or at least performed by young girls, who have not yet lost their virginity, supposed to be the companions of these young initiate boys, finishing their initiatory rite of "Poro." Happy Thanksgiving PLUHB

FLASHBACK: Sensational rhythm? Yes, sensational rhythm. It's been a while since I've heard this beat with all drummers like this. It gave a sensational energy to the dancers. (Just an excerpt from our performance) Ziglibithy dance at Oswego Harborfest 2007, with the support of my colleagues.... Dancers: some of Wacheva's early dancers: At the front, Jill Finochio C Ouikahilo, middle, Monique W William and Maíra Costa Mathews. (Jill, Co-Founder of Wacheva. She has supported the organization and Biboti Ouikahilo a lot and a lot. Here in the United States and beyond the country. She always like to do challenge steps and dance with energy. No words to thank her. Be well and safe "Jilli") Colleagues: Vado Diomande, Pablo Djembe, Fode Bangoura and Papa Zumana. After this COVID-19, New Life will begin. They are Ready to visit the CNY community again with the support of CNY ARTS and other funding organizations. This time with the arrival of Zagbo Martin, Seguenon Kone and more. All are Dancers, Drummers and Teachers. (Reunion) Stay Tuned PLUHB