De Ama Battle, February 2026 Artist of the Month

You traveled quite a bit in Africa and the Caribbean between 1980 and the early 2000s. Tell us more about those trips. Was there one that still sticks in your mind many years later.

My learning experience took me through traditional ballet, tap, jazz, and modern and into the traditional dance and music found in the African Diaspora. I began teaching young children at the age of 14, creating dance pieces and preparing them for the school’s annual recitals at John Hancock’s Dorothy Quincy Suite. The last recital was in 1965.

In a few years, I began working with the community youth who wanted to showcase their talents. My home and the Martin Luther King, Jr. school in Cambridge became our gathering and creating places. Our community elder, Ms. Annie Johnson, was active with the Somerville Racial Understanding Committee at that time, and invited the teens to perform at various community events. I was inspired by their commitment, creativity and performance, and how they incorporated what I shared from my international education.
Jamaica, Ghana, Senegal, Gambia, Mali were some of my first study trips. (l976-1979)

I met Baba Chuck Davis at several national dance conferences I attended. One of the popular teachers was Baba Chuck Davis and his call to midnight master class. He was a universal person and mentor/father to all in his sight who wanted to be there. (RIP).
Baba Chuck created the yearly four-day Dance Africa Celebrations at the Brooklyn Academy of Music in New York almost 60 years ago, and it is still happening. Every year he brought outstanding national and international artists to New York for the four day celebration. As Founder/Director of ABDM I created the costumes, the choreography and themes performed in Dance Africa Celebrations in (’81, ’82, ’83). At some point it seemed there were 100 people of various cultural backgrounds and geographical locations in performance together to create a particular theme. Though not everyone spoke English, neither could we speak the languages that were present. This disappeared when the language of the drum spoke and the movements guided you. I was so moved that I attended one of Baba Chuck’s research/study tours to Senegal, Gambia, and Bamako, Mali (1986). This was my inspiration to continue following my dreams of directing a dance company that toured and performed works inspired by the people in the African Diaspora.

What would you tell a young person who is embarking upon following their love for dance?

I would advise anyone developing their own art form or skill, be committed to learning and expanding your skills.
Always be doing more to elevate your knowledge and abilities to enable you to rise to new heights in your chosen field.