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We caught up with Level 3 student Heaven Robinson as she arrived for class and played 20 Questions with her. Find out why she dances and what drives her to excellence.

The current physical location of 2900 Bedford Avenue has been present in the Hill District community since 1907 when it was established as St. Richard’s Catholic church serving Black Catholics in the Hill. Down through the ages, the corner of Bedford and Wandless has housed St. Richard School on the second floor to the conversion of the entire building to what became St. Benedict the Moor School until 2010. At that time the complex that formerly was the housing for the parish rectory, convent, and school became St. Benedict the Moor Community Centre. The multi-use of the buildings from 2010 through 2021 included services to Pittsburgh's new residents from African, Caribbean, and European countries that were served by Acculturation for Justice, Access & Peace Outreach (AJAPO), Hill Dance Academy Theatre(HDAT), and others. Throughout the years the names on the buildings changed but the rich history of community, education and service to the Hill community remained a part of the legacy started in 1907. In July 2021, Hill Dance Academy Theatre(HDAT) purchased the Community Centre. Today, 2900 Bedford Avenue is a rejuvenated educational facility serving Black and Brown children and preparing them for careers in dance. HDAT’s ownership of the 29,000 square foot facility is the forever Home for Black Dance and home to four local entrepreneurs who occupy lease space (Edo Scribes, CREW Productions LLC, Folk Quilts LLC, and Breezy Element). The presence of the buildings constructed in 1907 to serve the spiritual and educational needs of the Black community in the Hill continues today. The cultural and historical legacy of over 116 years of service to the Hill continues with HDAT’s expanded services through the arts, economic opportunities to artists for space and place to create and produce their art works, and an event center to that is open to the community for special occasion parties, home going ceremonies, and community event needs. HDAT is committed to continuing to be a Beacon of Light in the Hill community through service, sharing of resources and expanding opportunities that build on the rich cultural, historical, and educational foundations established by so many throughout the years that served the community at 2900 Bedford Avenue.

Dance is such a niche art form; it requires theatrics, mental dexterity, technical prowess, and athleticism. With all of these qualities, we must remember to nurture each one. Today we will focus on how to nurture our athleticism. The athletic capabilities of dance are no joke; moving and forming in ways the body does not naturally do, so it is important to take care of the body being that we only get one. Proper rest and stretching can help with recovery and energy, but what you eat is just as important. Below are some tips and information to help you make the best choices for yourself: Food is Fuel: Without proper amounts of fuel, you will not have enough energy to perform at your best. Make sure you are eating before class and rehearsals so that you can present your best work. Eat until you are Satisfied: Listen to your body when you eat, don’t force yourself to eat more or less. Our bodies are so amazing in the fact that they send signals to our stomachs to let us know when we are hungry and full. If you know you will be hungry right before class, make sure to pack something to snack on in the car or the lobby before class. Eat after class to regain strength and recover from exercise. Drink Water: Our body is made of about 60% water, so it’s important to replenish and hydrate yourself! Younger dancers who might dance as much should drink around ½ an ounce of water per pound of body weight, while older dancers who dance multiple times throughout the week should drink about 1 ounce of water per pound of body weight or more. Remember your body won’t tell you it’s thirsty until you’re dehydrated, so make sure you drink water during breaks, before and after class. There are 3 main macronutrients to know about: Carbs, Protein, and Fat. Carbs are your best source of energy. Whole grains, fruits, veggies, and nuts should be a large percentage of your consumption. Protein helps build muscle and can be found in animal and plant-based foods. Eating protein after a class, rehearsal or show will help with recovery. Fat is essential in our diet and should not be left out. Fat offers us satisfaction and keeps us full throughout the day. Balance your Diet: Don’t limit or restrict yourself so much when it comes to food, it’s meant to be enjoyed! Placing so many restrictions on yourself can create an unhealthy relationship with food; if you find yourself having trouble, find a local Dietitian Nutritionist to help you optimize your meal plans. I hope this information was helpful to you! Remember Health is Wealth, share this with a dancer or a friend!

Coming to class in a timely fashion is not always the easiest thing to do, especially with our busy schedules, traffic, and other distractions of life. Although distractions happen, it is important that as a dancer we come to class/rehearsal mentally ready. In order to be mentally ready, the distraction of "not being prepared" should be off the table and out of the mind. Every dancer should have a dance bag prepared to allow them to be dancer ready. This will ensure that no matter what time they arrive at class (although a good 30 minutes prior to class is appropriate) they will be ready to enter and start on the right foot. Artistic Associate, Faculty Member, and Dancer, Michia Carmack, has put together a list to ensure you "Secure the Bag" and are ready to dance. Step 1: Get the Bag Make sure your dance bag/backpack it the right size for you and your needs. A bag too big might cause you to overfill it with unnecessary things causing problems carrying it safely and endless rummaging for important items you need for class. A bag too small won’t fit all the things you need and become a bulky nuisance to you. Step 2: Identify your Necessities What do you need to have in your bag to participate in class? What do you need in case of an emergency? Below I have a list of items you should carry in your bag to make your experience in the studio better: Water Bottle Class leotard Extra leotard (any color) 2 pairs of black tights Ballet shoes/Pointe shoes Black crew socks Warmups (long sleeve black shirt, zip-up top, leg warmers, sweatpants) Mini first aid kit Icy Hot/Tiger balm/Bengay Hair ties, hair spray/gel, hairs pins, headscarf Lotion, lip balm, wet wipes, sanitizer TheraBand, rollers, etc. Step 3: Secure the Bag Once you have all the items you need, place them in your bag strategically for better accessibility. Smaller items can be grouped and placed in labeled cosmetic or Ziplock bags. Make sure to check your bag bi-weekly to replace/restock items you are low on. Always make sure to put your name on your shoes, leotards any other items that may get confused for someone else’s. There you have it; you have successfully secured your bag! Make sure to share this with your dance friends and parents!

Never in my life would I have thought that virtual dance and teaching would be a thing; but if these past eight months have taught me anything, it is that anything is possible with community support. Although there have been many setbacks, I’m confident that our dance community, here at HDAT, is flourishing through these challenging new times. I have had various concerns throughout this year, but I know that I’ll be taken care of in my HDAT family. This past Spring Season was to be my last season with HDAT. I missed New York and wanted to continue my dance journey in the place that had my heart. Sadly, in March we were placed in mandatory quarantine. Although I was devastated that my plans would have to wait, I used the pandemic as an opportunity to better my technique and artistry. I would exercise in the morning, take a technique class outside in my backyard, stretch, and have the rest of the day to do whatever I wanted. I started reading the books that were collecting dust in my closet, catching up on my Spanish lessons, trying out new recipes, and relaxing. But after those initial weeks, I started to get a ‘dancer’s block’. Taking classes online was becoming a chore, the mosquitoes were out for me, and my creative energy seemed to be dwindling by the hour and I had no creative outlet. I found myself sleeping in longer than usual, not taking classes, and mindlessly watching endless YouTube videos. I was constantly questioning my love and loyalty to dance. Had I wasted my adolescence on dance classes and aspirations for a career in dance? Thankfully, it wasn’t too long before I received a call from Dr. Ayisha about continuing classes via Zoom for the spring and summer series. That woke me up from my slumber. Watching my students dance and take classes has always inspired me to work hard on making sure that students were getting the best teaching and support. It was also a way for me to work on my creativity with choreography to express how we were all feeling through these times as a dance community. This turned out to be the best remedy for my “Dancer’s Block”. I was back to enjoying my art, the way I moved, and how far I had come as a dance artist. I conjured up different dance sequences for my students and had them improvise choreography and it felt good to watch them dancing and enjoying themselves. However, it was not long before, I found myself stuck with another obstacle, that of engaging my students through a screen. I pride myself on being a hands-on teacher where I always do the exercises with the students, I adjust their bodies to correct placement, I stand on my chair and yell, I slump over in exasperation and occasionally I throw a ballet shoe or two. I was struggling and they were also struggling. For students, it is difficult to take a regular class online, but a dance class presents a different level of work. Weight distribution, body placement, and alignment were common struggles of the students, not being able to find the correct words and actions to help them was another and it was affecting them negatively. Students that were amazing in the studio looked confused on the screen; some would ball their fist in irritation, while others would shed tears of frustration at not getting simple moves right. I had to take a step back and look at other teachers and their processes and adjust accordingly. Using more descriptive words, demonstrating slower, and individually correcting students were some of the things that I saw other teachers doing, so I added those changes to my classes. These small changes made a world of difference to the students. Checking in with the students at the beginning and end of class, asking how their day was going, what they were excited about doing, and what goals they wanted to focus on and accomplish during class had a positive impact on engaging students. They were more open to critique and left the class feeling good. I’m still learning new things about myself as a dancer, and about my students. I hope that the strong dance community at HDAT can transcend screens and continually engage our students and everyone that we come in contact with. Dance is meant to be shared with everyone and I’m glad that HDAT's dance community has been able to encourage me as a teaching artist to share my love and passion through zoom screens to students who continue to dance in a virtual world.

When Ayisha Morgan-Lee decided to develop her vision for a nonprofit Black dance organization in the Hill, many people asked her, why the Hill? At the age of six, Ayisha entered the August Wilson Writing Contest. The contest theme, in all divisions, was The Hill Community. Her entry, The Hill Through the Eyes of a Six-Year-Old, was a two-page essay about her daily visits to her grandparents' house on Anaheim Street, going to school at St. Benedict the Moor on Bedford Avenue, the same school that her Dad attended as a child, and how much she enjoyed visiting Ms. Greene, the Carnegie librarian, who worked in the most exciting place on Centre Avenue with wall to wall books all about Black people. The Hill was also significant because that was where she went to church on Freedom Corner at the historical St. Benedict the Moor Catholic Church. She won first place and the signed August Wilson photo award hangs in her office today. As I reflect on HDAT's fifteen years, what I know for sure is that as a six-year-old, Ayisha Morgan-Lee recognized that her cultural, spiritual, educational, and ancestral values were deeply rooted in the Hill community. It is essential when establishing a business that an organization's name and mission defines its public identity and demonstrates the organization's purpose. Selecting the Hill as the place to provide the artistry, culture, and education of Black dance was intentional. HDAT has been able to bring national master dance artists to the Hill such as Cleo Parker Robinson, Artistic Director of Cleo Parker Robinson Dance who was so pleased to visit the childhood home of August Wilson and meet his nephew Paul Ellis. During her visit, Cleo Parker Robinson shared memories of his uncle's plays that were staged in a Denver theatre where her father worked. The International Association of Blacks in Dance is a national cultural arts partner with HDAT, and the world of Black dance knows that students are being trained in Pittsburgh in the Hill community, home of many great and historical jazz musicians and singers, and the late August Wilson. The Hill's rich cultural arts history and center of Black life has had many successes and challenges; however, for fifteen years, HDAT's mission for Black dance has been embedded in the Hill, and it is a sacred cultural place where Ayisha Morgan-Lee is committed to building her vision to train Black children in the traditions of Black dance.

It is hard to believe that it has been 15 years since I started HDAT. I still remember the the excitement of wanting to create a dance academy for Black and Brown dancers where they could see other dancers who looked like them, see teachers who looked like them and develop the next generation of dancers for the concert stage who would sustain Black dance. Within the past 15 years, there is so much I could say and so many memories that come dancing in my mind that includes the best of times to the most challenging of times. The one thing that I can say without hesitation is THANK YOU!!!! Thank you to the countless teaching artist, student dancers, parents, board, staff, funders, supporters, audience members who for 15 years have supported my vision and dream and helped to make HDAT a successful business. Who knew that in year 15 we would face a global pandemic that would shift our day-to-day way of doing things and catapult us into digging deeper into our creative essence to come out of this stronger, bolder, and more bodacious! These past 15 years have brought me so much joy seeing Black and Brown children develop in dance, learn and become more knowledgeable about their culture, become more confident in who they are, find their voice, and soar to their greatest heights. I am Blessed and grateful for all who continue to support HDAT and I look forward to celebrating with you in style and in-person in the future. To God Be The Glory for the Things He Has Done!!!!