By Ibrahim S. Bangura
The night of Thursday, March 13, 2025, was an artistic revelation at the Ballanta Academy of Music and Performing Arts, where history was made with the country’s first-ever contemporary dance theatre performance.
The Logie Wright Auditorium at the academy, an intimate space echoing with anticipation, became a stage for innovation, emotion, and movement.
A diverse audience of music and art enthusiasts, clad in a mix of cultural and modern attire, filled the venue. The soft hum of excited chatter faded as the evening commenced, heralded by Acting Principal Elvira Bobson-Kamara. With an air of reverence and passion, Kamara set the tone for the night. “Tonight, we present a performance that not only showcases our hard work and passion but also introduces a novel art form to our community,” she declared, her voice carrying both pride and excitement.
Contemporary dance, a genre that defies rigid structures in favor of fluidity and raw expression, took center stage. “This style, characterized by free movement and emotional depth, invites the audience to explore themes of connection, identity, and transformation,” Bobson-Kamara explained.
As the stage lights dimmed and music began to flow through the speakers, a group of dancers emerged. Their bodies moved with an intensity that spoke volumes—each step, each lift, each turn was a statement of resilience and creativity. The performance unfolded like a poetic dialogue between movement and emotion, pushing the boundaries of Sierra Leone’s performing arts scene.
The performance was the product of an eight-week training workshop that was not without its challenges, as choreographer Harold George later revealed. “It’s been a challenging moment for them, especially with two months of very hard training and lots of difficulties,” he admitted. Yet, despite the short timeframe, the dancers had embraced contemporary dance with determination, proving that innovation in art is possible even in the most demanding of circumstances.
The result was a breathtaking display of artistry that transcended mere entertainment. The performance was more than a show; it was a movement, a declaration that Sierra Leone was ready to embrace new forms of artistic expression.
Among the dancers was Fatmata Kamara, who thanked Ballanta and Harold for giving them the opportunity to experience a new thing in their lives. “I started at the age of seven in cultural dance,” she recalled, her voice tinged with nostalgia. Having been part of various performance groups, she had spent years refining her craft. But contemporary dance was an entirely new challenge. “We always believe in pushing ourselves to perform at a high level,” she said. “But it’s not easy because we need more support. Many talented people in Sierra Leone struggle to showcase their skills due to a lack of opportunities. So, bringing such opportunity for us, has been a great experience.”
With a determined gleam in her eyes, she emphasized the potential of dance to transform lives. “If we get the right support, we can make a big difference. Countries like Nigeria and Ghana have built strong entertainment industries. We have talented dancers here too, but we need support.”
Dr. Kitty Fadlue Deen, co-founder of the Ballanta Academy, could barely contain her joy. “I just thank God that I have lived to see this day,” she exclaimed, her voice thick with emotion. “This is happening in Freetown! It’s incredible.”
Dr. Julius Spencer, chairman of the academy, reflected on the project’s inception: “Last year, I and Harold met at a performance. I found out that Harold is a choreographer of some international renown, so I grabbed hold of him and arranged a meeting. I said to him, ‘Ballanta is trying to expand its offerings and wants to start teaching dance seriously. Can you help us?’” Harold did a project proposal which the Playing for Change Foundation funded. Dr Spencer thanked the foundation for its support to the Academy without which this and some other projects would not have been possible.
“Harold succeeded in telling a story through movement, and to see these young people perform so beautifully was deeply moving. This is supposed to be the beginning of a professional dance training program at Ballanta. We want to keep this group together, identify leaders who can teach, and create something sustainable,” Dr. Spencer concluded.
As the evening drew to a close, there was a collective sense that something monumental had taken place. This was more than just a performance; it was the dawn of a new era in Sierra Leone’s artistic landscape. With continued support, contemporary dance could flourish, inspiring future generations to take bold steps in artistic expression.