LULA WASHINGTON
By Darlene Donloe
Anyone
familiar with the world of dance knows the name Lula Washington.
The
reasons why are too numerous to mention. Suffice it to say that since she hit
the dance world more than 30 years ago, forming the Los Angeles Contemporary
Dance Theatre, later
to be called the Lula Washington Dance Theatre, she has made an indelible mark.
On
Sat., Aug. 10, the Lula Washington Dance Theatre will take part in “An Evening
of Dance: Complexions Contemporary Ballet and Lula Washington Dance Theatre.”
(Dwight
Rhoden and Desmond Richardson are the artistic directors of Complexions
Contemporary Ballet.)
Part
of the Ford Theatre’s inaugural Zev Yaroslavsky Signature Series, it will be an
evening of dance featuring a mix of repertory and new works. This two-concert program benefitting
the Ford Theatre Foundation pairs world-renowned performers with a local
artistic troupe, celebrating Los Angeles as a destination for world-class
artists, who find here both collaboration with, and inspiration from,
celebrated local artists.
The
Lula Washington Dance Theatre is a Los Angeles-based repertoire 10-member dance
ensemble that performs innovative and provocative choreography by Lula
Washington. The company tours internationally.
The Company has danced in over 150 cities in the United States, as well
as abroad in Germany, Spain, Kosovo, Mexico, Canada, China, and Russia.
Washington
has steadfastly focused on using dance to explore social and humanitarian
issues, including aspects of African-American history and culture.
The
company, founded in 1980 by Washington and her husband, Erwin Washington, has
risen to become one of the most respected African-American contemporary dance
companies in the country. Known
for powerful, high-energy dancing, unique choreography and exceptional
educational residencies the dance company’s repertoire unveils honesty,
integrity, and creativity. The
company is composed of 10 young athletic dancers, many of whom were groomed in
Lula Washington’s inner city dance studio.
I
caught up with Lula Washington (LW) recently to talk about the upcoming
performance, as well as her dance career.
DD:
How does your dance company and Complexions complement each other?
LW:
I think we complement each other because we are two sides of a coin. We are
both established artists. My company is 33 years old. We have major
accomplishments. We both believe in the value of the arts to change the world
and our communities. I do that with my school, education outreach and giving back
to the community. I don’t know how he (Dwight Richardsom) does it, but he has
spoken about it. I focus on
telling the stories of African Americans through dance, spoken word and music,
all kinds of music, bringing forth voices that aren’t always heard. I explore
things and issues, which is different. My company is entertaining. I blend all
the dance styles. I blend ballet. It’s recognized as the ultimate dance
technique. All of my dances don’t have the pointed foot. Both companies shine
brightly.
DD: When two dance companies come together
is it about learning from each other? If so, what have you learned from
Complexions and what do you think they could learn from you?
LW:
Well, Ok, I think everybody that comes to Los Angeles looking to get in the
dance world can learn a lot from the Lula Washington Dance Theater. I know that
to be a fact. There are many up and coming African Americans choreographers
that have danced with my dance company, gone through our dance company and
sought our assistance through asking questions about how we do it. Our dance
company has been a jewel in our community that sometimes gets overlooked. Sometimes people don’t value what’s
here at home. If you’re on TV everyday, people run behind you. If you’re not,
they don’t. We give history, culture and just giving back. Our dance company
gets called more than any other company when there is a civic or cultural
event. I’m glad for that. We are known for our quality. Several people, including Debbie Allen,
have come and studied our place and our floors. We have a state of the art
studio, which is what I wanted. I’m still working on improving the outside, but
once you walk through the door…. There
is opportunity for everyone here.
LULA WASHINGTON DANCE THEATRE
DD:
Do the two companies dance together or are there two separate programs?
LW:
It’s two separate programs within a program, with the exception of something
Dwight has created. He has incorporated some of my people into it. It’s done to Stevie Wonder’s
music. We use James Brown, the
Beatles, Jimi Hendrix, Janis Joplin and Chuck Berry as part of a piece called, ‘Ode
To The 60s.”
DD:
Have you worked with Complexions before?
LW:
We haven’t worked like this before, but we were on the same bill in New York.
DD:
Your thoughts on Complexions Artistic Directors Dwight Rhoden and Desmond
Richardson?
LW:
I think they are two wonderful young men with a bright future. They are going
far. They have their own creative ideas and beliefs.
DD:
How has your dance company changed or progressed since its inception?
LW:
We started with no money and pulling costumes out of our closets. Now we pay
our dancers. We have stability and are able to offer our dancers work. We have
created partnerships with schools. We have come quite far. We have our own
permanent center that is paid for. $1.3 million is paid off. We have five
studios. We have a state of the art facility. We still have financial needs,
though.
DD:
Why is dance important?
LW:
It gives people a voice, people who are too shy to speak or afraid to speak.
They can express themselves through movement. Art is powerful. It has the power to heal and change
lives.
DD:
Back in the day you were initially turned down for admission in UCLA’s dance
department because you were 22.
What is your feeling about age and dance in terms of beginning a career?
LW:
Where there is a will, there is a way. Once I discovered dance was what I
wanted to do, I wasn’t going to let a professor tell me I couldn’t do it. Dance
was what I wanted to do. In the dance world that’s still what they tell you –
you’re too old. With modern dance you can dance forever.
DD:
You seem to have a real sense of community. Where does that come from?
LW:
The fact that once I studied dance, I became a follower of C. Bernard Jackson,
who was at the Inner City Cultural Center. He was a wise man. He was doing
things for the African American community. He was bringing all kinds of people
under one roof - some through
dance, acting and directing. We would go and have meetings with him and he
would talk about the importance of everyone being able to be creative. It was community that helped us through
the Northridge earthquake. Community helped us get recovery money. Art is
valuable in our society.
DD:
You’ve accomplished quite a bit, what are you most proud of?
LW:
I’m proud that my dream of giving back is coming true. We have established our
company as a major force. I have the love and support of my husband, Irwin
Washington and have had it for many years. My daughter wants to spearhead our
school. She is being groomed to handle all of this. I’m also proud and humbled
that there are people who are angels of support standing at the sidelines
waiting to help.
DD:
What is left that you want to do?
LW:
We have land. We are trying to develop low- income artist housing. We are
trying to get funding for it. They
have this in New York. Because our project isn’t financially big enough, those
who have the money aren’t giving it to us. It’s really silly.
DD:
Why not make it bigger?
LW:
We don’t want it so big that we can’t maintain it in the event a funding source
pulls out.
DD:
Anything about the show I should know?
LW:
Yeah, I might be making a cameo performance on the stage with a friend. We
danced together at UCLA. It’s going to be a great evening.
DD:
Who is the friend?
LW:
Can’t tell you. But, just know it will be great.
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