Edited by a collective of dance-artist-scholars— Adesola Akinleye, Sandie Bourne, Beverley Glean MBE, Louise Katerega, and Hopal Romans—with Julia Cheng contributing to the original planning alongside the editorial team, this book is both a resource and an invitation. It is essential for students, scholars, artists, and practitioners seeking to engage with the histories, innovations, and lived practices of dance.

• .- Introduction.- Chapter 1: ‘Sankofa’ Performance: African Caribbean Dance in Britain, H Patten (Open University, Irie! Dance Theatre).- Chapter 2: Black Practice: Identity, Innovation & Continuity, Robert Ramdhanie (Independent Scholar).- Chapter 3: Reclaiming Land: Mary Woolaston and The Black Mary Project, Valerie Ebuwa (Independent).- Chapter 4: A Black British Jazz Dance Renaissance, Jerry Barry, Jreens Green, Ellen Miller, Lee Rochester, Orson Nava, Juliet Vibert, and Annette Walker (The Jazz Dance Collective).- Chapter 5: A Moment in Time: Michael Hall’s Dance Lessons with Buddy Bradley, Sandie Bourne (Independent Scholar).- Chapter 6: Harmonies of Heritage: Sound Systems and Dance Across Generations: In conversation with Donald Edwards, Yassmin V. Foster (University of East London).- Chapter 7: Navigating British ballet institutions: Dancing with the Scottish Ballet, Vincent Hantam (Independent) and Sandie Bourne (Independent Scholar).- Chapter 8: Becoming Namron: From Asphalt to Maplewood Floor, an Interview with Namron, Carolene Sargeant (Independent).- Chapter 9: British Popping History: An Introduction, Alex ‘Mechanikool’ Peters (Independent).- Chapter 10: London Youth Dance Theatre, Hilary Ball (Independent) and Adesola Akinleye (Texas Woman’s University).- Chapter 11: Mara Ya Pili: Youth Dance in Leeds, Paul Hambley (Independent).- Chapter 12: A Home for Dance: An Introduction to the Carol Straker Dance Foundation and Company, Carol Straker (Independent).- Chapter 13: Chickens Coming Home to Roost: UK Hip Hop Dance and Theatre, Robert Hylton (Independent).- Chapter 14: Ballet Reaching out, Brenda Garratt-Glassman and Julie Felix.- Chapter 15: Heritage in Dance: Caribbean Dance in Britain, Caroline Muraldo (Independent).- Chapter 16: Weekend Arts College and Its Contribution to Black Dance, Celia Greenwood (Independent).- Chapter 17: Profiling Dance of the African Diaspora Choreographers from a Cultural Producer Perspective, Mercy Nabirye (Independent) interviews Carl Campbell and Bawren Tavaziva.- : Stewart Avon-Arnold and British Contemporary Jazz, Stewart Avon[1]Arnold (Independent) and Adesola Akinleye (Texas Woman’s University).- Chapter 19: A Love Letter to Jackie Guy (1944 – 2021): Interview with Chester Morrison, Hopal Romans (Royal Academy of Dance).- Chapter 20: Dance & Diversity – Irie! Dance Theatre 40 years and still counting..., Beverley Glean (Irie! Dance Theatre).- Chapter 21: Phoenix Dance Theatre: Rising and Rebellion, Laura Griffiths, (Leeds Beckett University) and Marcus Jarrell Willis, (Phoenix Dance Theatre).- Chapter 22: Stuart Thomas: Soul Boy, Stuart Thomas (Independent).- Chapter 23: Union Dance Company, Corrine Bougaard (Union Dance Company), and Michael Joseph (Union Dance Company).- Chapter 24: Dancing African and Caribbean Identities: an overview, Alison Ray (Independent).- Chapter 25: Dance United: Developing Dance in the Community and in Prisons, Tara Herbert (Independent).- Chapter 26: State of Emergency, Deborah Baddoo (State of Emergency) and Jane Carr (Bird College).- Chapter 27: Adzido Pan-African Dance Ensemble and the development of professional practice in the UK: The Dance Journeys of Hilary Carty, Judith Palmer, and H Patten, ‘Funmi Adewole-Elliott (Independent Scholar).- Chapter 28: Breakin’ Convention, Michelle Norton and Jonzi D in conversation, Adesola Akinleye (Texas Woman’s University).- Chapter 29: Bullies Ballerinas: Jeanefer Jean-Charles and Pearl Jordan in conversation, Hopal Romans (Royal Academy of Dance).- Chapter 30: Creating a Strategy for Black Dance Development in Merseyside: Reflecting on the African Peoples Dance Programme within the Merseyside Dance Initiative 1993-2018, Karen Gallagher (Retired) and Maxine Brown (Independent).- Chapter 31: The Black British Ballet Project, Sandie Bourne (Independent Scholar, Black British Ballet Project).- Chapter 32: Young, Black, and Dancing, Akosua Boakye (Independent Scholar).- Chapter 33: Tom St. Louis: A Whole Story, Louise Katerega (People Dancing: The Foundation for Community Dance), Gladys Agulhas (Independent), and Adam Benjamin (Independent).- Chapter 34: Now Rinse Out Lighter!: African Retention on The Junglist Dancefloor of 1990s Bristol, Cleo Lake (Independent).- Chapter 35: Dance as Living Kinship: Dance and Young Audiences, Adesola Akinleye (Texas Woman’s University).- Chapter 36: My Story and the Birth of Uchenna Dance Company, Vicki Igbokwe[1]Ozoagu (Independent).- Chapter 37: National Youth Dance Company: reflections from Pamela Johnson, Hopal Romans (Royal Academy of Dance).- Chapter 38: British Ballroom: ‘I have a right to show my colour’, Adesola Akinleye (Texas Woman’s University) in conversation with Lasseindra Ninja (Independent).- Chapter 39: Dr Geraldine Connor Carnival Messiah Third Space Afroplitan Dance, Lara Rose (Leeds Beckett University).- Chapter 40: Dancing the land (in Wales): Taking Root and Making Roots, Krystal S. Lowe (Independent).

Edited by a collective of dance-artist-scholars— Adesola Akinleye, Sandie Bourne, Beverley Glean MBE, Louise Katerega, and Hopal Romans—with Julia Cheng contributing to the original planning alongside the editorial team, this book is both a resource and an invitation. It is essential for students, scholars, artists, and practitioners seeking to engage with the histories, innovations, and lived practices of dance.

• .- Introduction.- Chapter 1: ‘Sankofa’ Performance: African Caribbean Dance in Britain, H Patten (Open University, Irie! Dance Theatre).- Chapter 2: Black Practice: Identity, Innovation & Continuity, Robert Ramdhanie (Independent Scholar).- Chapter 3: Reclaiming Land: Mary Woolaston and The Black Mary Project, Valerie Ebuwa (Independent).- Chapter 4: A Black British Jazz Dance Renaissance, Jerry Barry, Jreens Green, Ellen Miller, Lee Rochester, Orson Nava, Juliet Vibert, and Annette Walker (The Jazz Dance Collective).- Chapter 5: A Moment in Time: Michael Hall’s Dance Lessons with Buddy Bradley, Sandie Bourne (Independent Scholar).- Chapter 6: Harmonies of Heritage: Sound Systems and Dance Across Generations: In conversation with Donald Edwards, Yassmin V. Foster (University of East London).- Chapter 7: Navigating British ballet institutions: Dancing with the Scottish Ballet, Vincent Hantam (Independent) and Sandie Bourne (Independent Scholar).- Chapter 8: Becoming Namron: From Asphalt to Maplewood Floor, an Interview with Namron, Carolene Sargeant (Independent).- Chapter 9: British Popping History: An Introduction, Alex ‘Mechanikool’ Peters (Independent).- Chapter 10: London Youth Dance Theatre, Hilary Ball (Independent) and Adesola Akinleye (Texas Woman’s University).- Chapter 11: Mara Ya Pili: Youth Dance in Leeds, Paul Hambley (Independent).- Chapter 12: A Home for Dance: An Introduction to the Carol Straker Dance Foundation and Company, Carol Straker (Independent).- Chapter 13: Chickens Coming Home to Roost: UK Hip Hop Dance and Theatre, Robert Hylton (Independent).- Chapter 14: Ballet Reaching out, Brenda Garratt-Glassman and Julie Felix.- Chapter 15: Heritage in Dance: Caribbean Dance in Britain, Caroline Muraldo (Independent).- Chapter 16: Weekend Arts College and Its Contribution to Black Dance, Celia Greenwood (Independent).- Chapter 17: Profiling Dance of the African Diaspora Choreographers from a Cultural Producer Perspective, Mercy Nabirye (Independent) interviews Carl Campbell and Bawren Tavaziva.- : Stewart Avon-Arnold and British Contemporary Jazz, Stewart Avon[1]Arnold (Independent) and Adesola Akinleye (Texas Woman’s University).- Chapter 19: A Love Letter to Jackie Guy (1944 – 2021): Interview with Chester Morrison, Hopal Romans (Royal Academy of Dance).- Chapter 20: Dance & Diversity – Irie! Dance Theatre 40 years and still counting..., Beverley Glean (Irie! Dance Theatre).- Chapter 21: Phoenix Dance Theatre: Rising and Rebellion, Laura Griffiths, (Leeds Beckett University) and Marcus Jarrell Willis, (Phoenix Dance Theatre).- Chapter 22: Stuart Thomas: Soul Boy, Stuart Thomas (Independent).- Chapter 23: Union Dance Company, Corrine Bougaard (Union Dance Company), and Michael Joseph (Union Dance Company).- Chapter 24: Dancing African and Caribbean Identities: an overview, Alison Ray (Independent).- Chapter 25: Dance United: Developing Dance in the Community and in Prisons, Tara Herbert (Independent).- Chapter 26: State of Emergency, Deborah Baddoo (State of Emergency) and Jane Carr (Bird College).- Chapter 27: Adzido Pan-African Dance Ensemble and the development of professional practice in the UK: The Dance Journeys of Hilary Carty, Judith Palmer, and H Patten, ‘Funmi Adewole-Elliott (Independent Scholar).- Chapter 28: Breakin’ Convention, Michelle Norton and Jonzi D in conversation, Adesola Akinleye (Texas Woman’s University).- Chapter 29: Bullies Ballerinas: Jeanefer Jean-Charles and Pearl Jordan in conversation, Hopal Romans (Royal Academy of Dance).- Chapter 30: Creating a Strategy for Black Dance Development in Merseyside: Reflecting on the African Peoples Dance Programme within the Merseyside Dance Initiative 1993-2018, Karen Gallagher (Retired) and Maxine Brown (Independent).- Chapter 31: The Black British Ballet Project, Sandie Bourne (Independent Scholar, Black British Ballet Project).- Chapter 32: Young, Black, and Dancing, Akosua Boakye (Independent Scholar).- Chapter 33: Tom St. Louis: A Whole Story, Louise Katerega (People Dancing: The Foundation for Community Dance), Gladys Agulhas (Independent), and Adam Benjamin (Independent).- Chapter 34: Now Rinse Out Lighter!: African Retention on The Junglist Dancefloor of 1990s Bristol, Cleo Lake (Independent).- Chapter 35: Dance as Living Kinship: Dance and Young Audiences, Adesola Akinleye (Texas Woman’s University).- Chapter 36: My Story and the Birth of Uchenna Dance Company, Vicki Igbokwe[1]Ozoagu (Independent).- Chapter 37: National Youth Dance Company: reflections from Pamela Johnson, Hopal Romans (Royal Academy of Dance).- Chapter 38: British Ballroom: ‘I have a right to show my colour’, Adesola Akinleye (Texas Woman’s University) in conversation with Lasseindra Ninja (Independent).- Chapter 39: Dr Geraldine Connor Carnival Messiah Third Space Afroplitan Dance, Lara Rose (Leeds Beckett University).- Chapter 40: Dancing the land (in Wales): Taking Root and Making Roots, Krystal S. Lowe (Independent).

Edited by a collective of dance-artist-scholars— Adesola Akinleye, Sandie Bourne, Beverley Glean MBE, Louise Katerega, and Hopal Romans—with Julia Cheng contributing to the original planning alongside the editorial team, this book is both a resource and an invitation. It is essential for students, scholars, artists, and practitioners seeking to engage with the histories, innovations, and lived practices of dance.

• .- Introduction.- Chapter 1: ‘Sankofa’ Performance: African Caribbean Dance in Britain, H Patten (Open University, Irie! Dance Theatre).- Chapter 2: Black Practice: Identity, Innovation & Continuity, Robert Ramdhanie (Independent Scholar).- Chapter 3: Reclaiming Land: Mary Woolaston and The Black Mary Project, Valerie Ebuwa (Independent).- Chapter 4: A Black British Jazz Dance Renaissance, Jerry Barry, Jreens Green, Ellen Miller, Lee Rochester, Orson Nava, Juliet Vibert, and Annette Walker (The Jazz Dance Collective).- Chapter 5: A Moment in Time: Michael Hall’s Dance Lessons with Buddy Bradley, Sandie Bourne (Independent Scholar).- Chapter 6: Harmonies of Heritage: Sound Systems and Dance Across Generations: In conversation with Donald Edwards, Yassmin V. Foster (University of East London).- Chapter 7: Navigating British ballet institutions: Dancing with the Scottish Ballet, Vincent Hantam (Independent) and Sandie Bourne (Independent Scholar).- Chapter 8: Becoming Namron: From Asphalt to Maplewood Floor, an Interview with Namron, Carolene Sargeant (Independent).- Chapter 9: British Popping History: An Introduction, Alex ‘Mechanikool’ Peters (Independent).- Chapter 10: London Youth Dance Theatre, Hilary Ball (Independent) and Adesola Akinleye (Texas Woman’s University).- Chapter 11: Mara Ya Pili: Youth Dance in Leeds, Paul Hambley (Independent).- Chapter 12: A Home for Dance: An Introduction to the Carol Straker Dance Foundation and Company, Carol Straker (Independent).- Chapter 13: Chickens Coming Home to Roost: UK Hip Hop Dance and Theatre, Robert Hylton (Independent).- Chapter 14: Ballet Reaching out, Brenda Garratt-Glassman and Julie Felix.- Chapter 15: Heritage in Dance: Caribbean Dance in Britain, Caroline Muraldo (Independent).- Chapter 16: Weekend Arts College and Its Contribution to Black Dance, Celia Greenwood (Independent).- Chapter 17: Profiling Dance of the African Diaspora Choreographers from a Cultural Producer Perspective, Mercy Nabirye (Independent) interviews Carl Campbell and Bawren Tavaziva.- : Stewart Avon-Arnold and British Contemporary Jazz, Stewart Avon[1]Arnold (Independent) and Adesola Akinleye (Texas Woman’s University).- Chapter 19: A Love Letter to Jackie Guy (1944 – 2021): Interview with Chester Morrison, Hopal Romans (Royal Academy of Dance).- Chapter 20: Dance & Diversity – Irie! Dance Theatre 40 years and still counting..., Beverley Glean (Irie! Dance Theatre).- Chapter 21: Phoenix Dance Theatre: Rising and Rebellion, Laura Griffiths, (Leeds Beckett University) and Marcus Jarrell Willis, (Phoenix Dance Theatre).- Chapter 22: Stuart Thomas: Soul Boy, Stuart Thomas (Independent).- Chapter 23: Union Dance Company, Corrine Bougaard (Union Dance Company), and Michael Joseph (Union Dance Company).- Chapter 24: Dancing African and Caribbean Identities: an overview, Alison Ray (Independent).- Chapter 25: Dance United: Developing Dance in the Community and in Prisons, Tara Herbert (Independent).- Chapter 26: State of Emergency, Deborah Baddoo (State of Emergency) and Jane Carr (Bird College).- Chapter 27: Adzido Pan-African Dance Ensemble and the development of professional practice in the UK: The Dance Journeys of Hilary Carty, Judith Palmer, and H Patten, ‘Funmi Adewole-Elliott (Independent Scholar).- Chapter 28: Breakin’ Convention, Michelle Norton and Jonzi D in conversation, Adesola Akinleye (Texas Woman’s University).- Chapter 29: Bullies Ballerinas: Jeanefer Jean-Charles and Pearl Jordan in conversation, Hopal Romans (Royal Academy of Dance).- Chapter 30: Creating a Strategy for Black Dance Development in Merseyside: Reflecting on the African Peoples Dance Programme within the Merseyside Dance Initiative 1993-2018, Karen Gallagher (Retired) and Maxine Brown (Independent).- Chapter 31: The Black British Ballet Project, Sandie Bourne (Independent Scholar, Black British Ballet Project).- Chapter 32: Young, Black, and Dancing, Akosua Boakye (Independent Scholar).- Chapter 33: Tom St. Louis: A Whole Story, Louise Katerega (People Dancing: The Foundation for Community Dance), Gladys Agulhas (Independent), and Adam Benjamin (Independent).- Chapter 34: Now Rinse Out Lighter!: African Retention on The Junglist Dancefloor of 1990s Bristol, Cleo Lake (Independent).- Chapter 35: Dance as Living Kinship: Dance and Young Audiences, Adesola Akinleye (Texas Woman’s University).- Chapter 36: My Story and the Birth of Uchenna Dance Company, Vicki Igbokwe[1]Ozoagu (Independent).- Chapter 37: National Youth Dance Company: reflections from Pamela Johnson, Hopal Romans (Royal Academy of Dance).- Chapter 38: British Ballroom: ‘I have a right to show my colour’, Adesola Akinleye (Texas Woman’s University) in conversation with Lasseindra Ninja (Independent).- Chapter 39: Dr Geraldine Connor Carnival Messiah Third Space Afroplitan Dance, Lara Rose (Leeds Beckett University).- Chapter 40: Dancing the land (in Wales): Taking Root and Making Roots, Krystal S. Lowe (Independent).