September 16-22, 2004

fall guide

The Unsinkable Joan Myers Brown

Life's Work: Joan Myers Brown, here rehearsing with members of Philadanco in their West Philly headquarters, says, "I don't have 'Danco, 'Danco has me." Photo By: Michael Mergan

She launched a much-needed school for African-American dancers. Decades later, she and Philadanco are still a force to be reckoned with.

by Janet Anderson

It's a day like any other at Philadanco headquarters, one block off Market in West Philly on a street newly renamed, in its honor, Philadanco Way. Joan Myers Brown, founder, artistic director and force majeure, arrives at 5 a.m. to turn on the lights, double-check the building and toss some costumes in the wash. By the time everyone else arrives she'll be ready to help out in class, and to greet today's important Russian visitors. But naturally the air conditioning's malfunctioning so she's arranged to get repairmen there fast.

Forty-five years after Brown established a dance school to train African-American dancers who found they were not welcome in other schools, and 35 years after she created Philadelphia Dance Company (Philadanco) to showcase her students' talents, this lady has a right to rest on her laurels.

But whatever else Brown might do, even at age 72, it won't be to slow up.

As Brown puts it, "I maintain my edge."

This season 'Danco and Brown celebrate their anniversaries with a gala held in the Egyptian galleries of the University of Pennsylvania's Museum of Archeology and Anthropology, and with a special program for their Kimmel Center season. Luminaries like Geoffrey Holder and Dianne McIntyre are contributing to the occasion.

In part this anniversary celebrates Brown's survival of financial hard times, bad reviews, crowded quarters and the steady draining of her dancers to other companies. She "would like to be the first stop for dancers, not a feeder to Alvin Ailey and Dance Theatre of Harlem." Of course, she doesn't mind 'Danco being considered one of the big three in African-American dance.

Now, as Kimmel Center's resident modern dance company, 'Danco's achieved "a prestigious place in the city, a theater the right size for modern dance" — 700 seats — "and a new audience base," she acknowledges with satisfaction.

Curled up in a top floor office above the rehearsal going on below, above the racket in the office, above the sounds of guys banging on air conditioning pipes, Brown has no inclination to take things for granted.

"In most ways I don't see a big difference," she emphasizes. "I'm still here putting out the trash, washing costumes and teaching classes. Two years ago a bookkeeper falsified records and appropriated some money, so we were that much behind financially and we're just turning that around."

And as for increasing opportunities for African-American dancers, the central focus of Brown's endeavors, she observes cautiously, "Opportunities for a black dancer haven't changed that much. I see a Broadway show and there may only be two or three black dancers, same with ballet. Modern dance is the most integrated," she sighs.

Brown remembers back in 1972 when she first received a $1,000 National Endowment for the Arts grant. "I was so thrilled," she smiles, "and I thought 'We've got something going!'" Out of a concert performance for her flourishing dance school, 'Danco was born. "I'm still out asking for support and working for the company every minute of the day."

Kim Bears, a 20-year 'Danco star, now assistant artistic director and as close to an alter ego as Brown's likely to get, says, "A couple of angels are watching over Joan. Part of me wishes she'd sit back and enjoy her accomplishments. But look at her. She's still fighting every day."

Brown doesn't just do the chores and mind the finances, she's actively looking for choreography for her dancers. "Some things that I see are just not dance," she muses, talking about the movement-theater direction modern dance has taken.

"Personally," she adds, "I prefer to see just movement. I like to see beautiful bodies in motion." Since this is an apt description of Philadanco, the question rises: Does she actively look for beautiful bodies? "No," Brown laughs, "we manufacture those right here in this company."

Don't be planning to attend any retirement parties for Brown. The only reason she'd rather keep her age to herself is that she doesn't "want to scare off some attractive 50-year-old man." She would like "to not do so much, especially the administrative and financial things." But there's no evidence she could ever use those spike heels to walk away from the love affair she's having with her own troupe. "I always say 'I don't have 'Danco, 'Danco has me.'"

"Philadanco was Mom's [what Bears calls Brown] dream, her goal. This is what gets her up in the morning and keeps her going. I can't see her changing," Bears adds.

It's likely she'll still be turning on the lights and picking out repertory 15 years from now, when 'Danco celebrates it golden anniversary. "I don't know if I want to be that old and ugly," Brown kids, looking into the future. "Then again I could be like Katherine Dunham eating chocolate and drinking champagne." (j_anderson@citypaper.net)

Philadanco's 35th anniversary gala and silent auction, Sat., Oct. 30, 6-11 p.m., $175, University of Pennsylvania Museum of Archeology and Anthropology, 3260 South St. 35th anniversary concert, Nov. 11-13, Perelman Theater, Kimmel Center, 300 S. Broad St., 215-893-1999.