Source: iOne Digital Creative Services
Inside the studios of the Balafon West African Dance Ensemble, young dancers sashay about the floor as the rhythmic beats of the djembe pulse through the air—weaving a tapestry of sound that animates their movements.
Executive Director Linsey McDaniel turns whimsically about in the center of them with a grace and intensity that captures the essence of West African dance.
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Each step and gesture speak of centuries-old traditions—from the elegance of Mali and the spiritedness of Senegal to the power of Guinea. In this sacred space, the essence of African culture and its presence in Pittsburgh comes alive.
Linsey McDaniel, Executive Director of Balafon West African Dance Ensemble. | Courtesy of Balafon West African Dance Ensemble
“African dance is more than just movement; it’s a celebration of community and culture,” McDaniel explains. “Each dance tells a story and connects us to our roots, bringing people together in a shared expression of joy and history.”
McDaniel calls to the dancers, both commanding and encouraging, often embodying the spirit of Balafon’s legendary founder Kadiatou Conte-Forte, affectionately known as Mama Kadiatou, who founded the group in 2006.
Decades earlier, amid rapid growth of African-based arts in the U.S., McDaniel was her inspired and budding student, beginning a 30-year mentorship McDaniel likens more to kinship. So, when Mama Kadiatou passed away in July 2022, the responsibility of carrying forward her profound commitment to celebrate African culture and empowering women naturally fell on her.
One of many performances the dance ensemble has convened throughout Pittsburgh over the last two decades. | Courtesy of Balafon West African Dance Ensemble
“Taking on this role was both an honor and a challenge,” McDaniel reflects. “Mama Kadiatou’s vision and spirit are incredibly large, but her teachings continue to guide me every day.”
As Balafon Dance Ensemble forges ahead in its next chapter, a mission to raise social consciousness through the art of dance remains a core commitment.
During the late 1970s and early 1980s, in the early years following Mama Kadiatou’s migration to Washington, D.C., from Guinea, African dance forms were beginning to gain traction in the U.S., driven by a growing fascination with African culture and heritage. It led to the establishment of ensembles and cultural institutions all across the country.
This surge coincided with an increase of African immigrants who further infused African arts and traditions into the American landscape.
For McDaniel, that history and kinship between African and Black American communities in Pittsburgh serves as the root of its commitment to being a local resource in the midst of its growth.
“This is not just a community, this is home for me,” she says. “So, my commitment is to always ask myself how we are furthering this particular art form in a way that connects to all generations of Africans and Black Americans here.”
Founded in 2006, the West African Dance Ensemble seeks to embody the spirit of its founder, Mama Kadiatou Conte-Forte, center. | Courtesy of Balafon West African Dance Ensemble
Such a pledge comes as efforts to restrict history and race-related education occur across the country.
Balafon serves as a sanctuary for women, a place where they can lead, teach, and inspire others through the art of dance, in the spirit of Mama Kadiatou’s grassroots work spanning more than 45 years.
At the time, Kadiatou stood as a visionary, and, McDaniel adds, her legacy is a powerful statement about cultural preservation, performance, as well as gender equality and empowerment.
Balafon’s legendary founder, Mama Kadiatou Conte-Forte. | Courtesy of Balafon West African Dance Ensemble
“Mama Kadiatou was a trailblazer in creating one of the first women-led organizations in this field,” McDaniel points out. “We want to create a space where women can lead, perform, and inspire at a time when we’re still being held back.”
Yet challenges remain, particularly regarding representation.
Today McDaniel stands as one of the industry’s few women organizational leaders.
Mama Kadiatou’s philosophy was deeply rooted in the belief that dance could be a vehicle for social consciousness, blending the rich traditions of West African culture with messages of female empowerment and unity. Her legacy lives on through Balafon, continuing to inspire and uplift women in the world of African dance.
“It’s not just about showing up, but really being a presence,” McDaniels insists. “It’s asking ourselves how can we make sure that those who love and appreciate us are working in step together with us?”
Amid McDaniel’s focus on recruiting and training new dancers exists a deep understanding of the importance of authenticity and respect for the traditions they represent.
“It’s crucial that our dancers understand the cultural significance behind each movement,” she explains. “This is about more than just dance; it’s about preserving and honoring our heritage.”
The time calls for such a demand, both in Pennsylvania and across the country, as xenophobia and anti-immigrant bias stoke misinformation that pits Black communities against one another, and school systems restrict access to the racial education to combat it.
Linsey McDaniel: “African dance is a celebration of community and culture.” | Courtesy of Balafon West African Dance Ensemble
McDaniel notes that at Balafon, they’re not just teaching dance, they’re “instilling pride, discipline, and a sense of identity.” That centering of self and social consciousness not only garners prominence in the community but ensures the ensemble’s sustainability.
She adds their work is a testament to the enduring power of dance to preserve culture, empower individuals, and bring communities together as society seems aimed to wedge them apart.
“Dance is a universal language,” she says. “Through our community programs, we’re able to share our culture, educate others, and foster a sense of connection.”
As part of their mission to highlight those connections, McDaniel says Balafon’s immediate goal is establishing a permanent base to “maintain continuity, visibility, and a sense of home for our dancers and community.”
Balafon amplifies that mission with its Black River Dance Festival. Along with other public programs in September and October, the festival celebrates the beauty of West African dance and music to foster a deeper appreciation for the community’s cultural traditions.
“We want to create a space—both in the physical and spiritual sense—where our culture can be celebrated, where women can lead, and where we can continue to educate and inspire,” she says.
Mama Kadiatou teaching the youth. | Courtesy of Balafon West African Dance Ensemble
Inspiration—from the Latin word inspirare, meaning to breathe into—remains the key. A quarter century from now, McDaniel envisions another generational leader breathing life into budding performers, musicians, and artists just as she guides the ensemble now, and just as Mama Kadiatou did many years ago.
In every rehearsal, performance, and community engagement, McDaniel’s dedication to her mentor’s vision shines through.
“Every step we take, every beat of the drum, is a tribute to Mama Kadiatou,” she says. “Her spirit is with us, guiding us as we continue to share the beauty and strength of West African dance.”
Kenya Evelyn is an award-winning, freelance multimedia journalist with more than a decade of experience covering news, politics, sports and more – with a concentration on culture and identity.
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