The line at UWM’s Zelazo Center box office on Sunday, Nov. 4 was so long that the 4 p.m. curtain for Ujima by Milwaukee’s Ko-Thi Dance Company was delayed 15 minutes. Company founder and executive director Ferne Caulker, spectacular a bright sun yellow gown, entertained the waiting audience by teaching us to count in Manding, one of approximately 2,000 African languages. She offered us wisdom such as “do not count on technology for truth,” introduced some of the dignitaries in the house and named this concert the kick-off to her company’s 50th birthday party in 2019. Ko-Thi is among the only African dance companies anywhere to reach that age.
The “village”—12 adult and 14 child performers in African dress—traveled the aisles of the auditorium to benches draped in cloth of bold warm colors or to drums center stage. Led by musical director Kumasi Allen and assistants Kameron “Keon” Sykes and Victor Campbell, the drummers slammed into action, connecting everybody’s body via rhythm. In seconds, my breathing changed, my toes tapped and my heart filled up as dancer after dancer onstage was inspired to respond to the impassioned drumming with all his/her being.
Subtitled “Collective Work and Responsibility,” Ujima represented a traditional harvest celebration; a harvest, perhaps, of the fruits of 49 years of working to educate Milwaukeeans in African, Caribbean and African American cultures. Along with music and dance forms, we’ve learned of religious divinities and social customs. We’ve learned to take delight and pride in our African ancestry or to respect it in others.
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Each of the concert’s movements was similar in structure. Dancers came and went, moving in unison or individually in tempos established by the drummers. Near the climax, the rhythm intensified, doubling or tripling to breathtaking speeds. A brief encore followed. Act One focused on the community at harvest, encouraging effort, celebrating achievement. Hoes, spades and bowls were props; whole families participate. Act Two featured spirits: a haunting scarecrow danced by DeMar Walker, a playful crane danced by Sonja Thompson.
Children sometimes drummed with the adults, hands flying as fast as hands can. The adult drummers played like gods; Sykes flipping his stick while drumming at unearthly speeds is simply unbelievable. Likewise, it’s always a special joy to see the charismatic, unguarded, all-stops-out dancing of Ko-Thi’s artistic directors Walker, Thompson and Tisiphani Mayfield. “Am I worried about the future?” Mama Ferne asked at intermission. “Not with these dancers and this leadership.”
