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An Artist Speaks “The intellect travels in many different directions”: Talkin’ with Eleo Pomare (1937–2008)
Published online by Cambridge University Press: 17 July 2023
Abstract
This interview with Eleo Pomare focuses on his role as the choreographer of mature creative works that intermingle with his formation as a Black artist and activist after he returned from Europe to live and work in New York in the mid-1960s. It begins with discussion of his creative work in the community during the period of the Vietnam War and the movement for civil rights. Pomare reflects upon his early training and choreographic experiments as well as describes the construction of some of his best-known performance works. He ends with some thoughts on political advocacy and his influence on dance policy and dance criticism, and throughout the conversation Pomare shares insights about his philosophy as a Black dance artist.
- Type
- An Artist Speaks
- Information
- Copyright
- Copyright © The Author(s), 2023. Published by Cambridge University Press on behalf of the Dance Studies Association
Footnotes
with Notes from the late Glenn Conner
References
Selected Resources for Further Reference
The following collection of primary and secondary sources—compiled with the assistance of Cody Norling, Sariel Golomb, and Dr. Carl Paris—offers opportunities for further research on Pomare, his life, his times, and his work.Google Scholar
“Artist Promotional Fliers, 1954–1995.” Allan Bell Collection. Special Collections and Archives, University of Missouri–Kansas City, Kansas City, Kansas.Google Scholar
“Bob Johnson Papers, 1949–2003.” Curtis Theatre Collection. Archives & Special Collections, University of Pittsburgh Library System, University of Pittsburgh, Pittsburgh, Pennsylvania.Google Scholar
Eleo Pomare Collection. National Museum of Dance, Sarasota Springs, New York.Google Scholar
Eleo Pomare Dance Collection. Jerome Robbins Dance Division, New York Public Library for the Performing Arts, New York.Google Scholar
Eleo Pomare Dance Company Archive. Private Collection of Glenn Conner.Google Scholar
“Free to Dance Records, 1987–2004.” American Dance Festival Archives. Rubenstein Library, Duke University, Durham, North Carolina.Google Scholar
Hamm Archives. Brooklyn Academy of Music, Brooklyn, New York.Google Scholar
“Richard Jones Papers, ca. 1970–1991.” Robert S. Cox Special Collections and University Archives Research Center. University of Massachusetts Amherst, Amherst, Massachusetts.Google Scholar
“William Moore Papers, 1966–1991.” Schomburg Center for Research in Black Culture. Manuscripts. Archives and Rare Books Division, New York Public Library, New York.Google Scholar
Beckles, Loris Anthony. 2018. “Eleo Pomare (1937–2008).” Beckles Dance Company. April 17, 2023. https://www.becklesdancingco.org/copy-of-about.Google Scholar
Choreochronicle of Pomare's Works: http://eleopomare.weebly.com/uploads/2/7/7/2/27727359/choreography_of_eleo_pomare.pdf Please note that several works change scale from large to smaller ensembles, or solo to group, as well as having name changes according to the mode of presentation. Some of the experimental events referenced in the interview are not listed.Google Scholar
DSA's list of Black Dance Scholarship by Black Dance Scholars: https://docs.google.com/document/d/1MpH-Dk2IYAKcuNqB_6WA19_Gj8QRF28yh9M2nZhRXV8/edit.Google Scholar
“Eleo Pomare: Choreographer, Dancer, Teacher, Poet, Painter, Person Extraordinaire by David Fullard.” 2018. Clark Center NYC (YouTube video). March 19, 2018. https://www.youtube.com/watch?v=tuAB-u9NAhU.Google Scholar
“Eleo Pomare: A Discussion with the Keepers of His Legacy.” 2021. Clark Center NYC Salon Series (YouTube live stream). May 10, 2021. https://www.youtube.com/watch?v=jykgcSSZnRg.Google Scholar
“Eleo Pomare: Maker of Artists.” 2021. Clark Center NYC Salon Series (YouTube live stream). July 12, 2021. https://www.youtube.com/watch?v=PRFTJeKhFPw.Google Scholar
“Eleo Pomare.” The History Makers: The Digital Repository for the Black Experience. 2007. April 18, 2007. https://www.thehistorymakers.org/biography/eleo-pomare-41.Google Scholar
“Eleo Pomare: Choreographer, Dancer, Teacher, Poet, Painter, Person Extraordinaire by David Fullard,” Clark Center NYC (YouTube video). March 19, 2018. https://www.youtube.com/watch?v=tuAB-u9NAhU.Google Scholar
Perron, Wendy. 2020. “Eleo Pomare (1937–2008).” August 2, 2020. https://wendyperron.com/eleo-pomare-1937-2008/.Google Scholar
“Portrait of Dancer Eleo Pomare.” n.d. Stamped on back: “Pacific World Artists. 250 West 57th St. (Suit [sic] 529), New York, N.Y. 10019. Tel. (212) 581-3644.” April 17, 2023. https://digitalcollections.detroitpubliclibrary.org/islandora/object/islandora%3A196854Google Scholar
“Roberta Pikser on Meeting Eleo Pomare.” 2021. Clark Center NYC. YouTube Video. August 26, 2021. https://www.youtube.com/watch?v=RyyZASUqZwM .Google Scholar
“Art & Activism: The Work of Eleo Pomare. Excerpts. Courtesy of Alpha Omega Theatrical Dance Company.” 2021. Clark Center NYC (YouTube video). August 7, 2021. https://www.youtube.com/watch?v=6Egk0RFNPsE.Google Scholar
Eleo Pomare Dance Collection. Jerome Robbins Dance Division, New York Public Library for the Performing Arts, New York.Google Scholar
“Out of the Storm by Eleo Pomare.” 2015. Clark Center NYC (YouTube video). May 6, 2015. https://www.youtube.com/watch?v=l0nQvHNXUps .Google Scholar
“Phoenix (excerpt) by Eleo Pomare (1980).” 2021. Clark Center NYC (YouTube video). September 8, 2021. https://www.youtube.com/watch?v=TuYQQMIQhxU .Google Scholar
Pomare, Eleo. 2008. Las Desenamoradas. Music John Coltrane. Dayton Contemporary Dance Company. Presented June 9, 2008. https://www.youtube.com/watch?v=slkPfGZkIhM.Google Scholar
Pomare, Eleo. 2020. “JUNKIE (1985 Dance Black America—Brooklyn, NY).” Mozambique del Tambo (YouTube). November 13, 2020. https://www.youtube.com/watch?v=IG1Tr1IzC9o&list=RDIG1Tr1 IzC9o&index=1Google Scholar
Pomare, Eleo, and Burstall, Tim. 1962. “Blues for the Jungle” (videorecording). State University of New York at Purchase.Google Scholar
Burt, Ramsay. 2022. The Male Dancer: Bodies, Spectacle, Sexualities. New York: Routledge.CrossRefGoogle Scholar
DeFrantz, Thomas. 1999. “To Make Black Bodies Strange: Social Critique in Concert Dance of the Black Arts Movement (1998).” In A Sourcebook of African-American Performance: Plays, People, Movements, edited by Bean, Annemarie, 83–96. New York: Routledge.Google Scholar
DeFrantz, Thomas. 2002. “African American Dance: A Complex History.” In Dancing Many Drums; Excavations in African American Dance, edited by DeFrantz, Thomas F., 3–35. Madison: University of Wisconsin Press.Google Scholar
Dennis, Laura M. 2004. “Teaching the Goddess and the Junkie: An Intertextual Analysis of African American Dance and Music.” Interdisciplinary Humanities 21 (1): 7–19.Google Scholar
Fensham, Rachel. 2013. “Breakin’ the Rules: Eleo Pomare and the Transcultural Choreographies of Black Modernity.” Dance Research Journal 45 (1): 41–63.CrossRefGoogle Scholar
Harrison, Paul Carter. 1972. The Drama of Nommo: Black Theater in The African Continuum. New York: Grove Press.Google Scholar
Long, Richard A. 1995. The Black Tradition in American Dance. New York: Smithmark Publishers, 140–141.Google Scholar
McDonagh, Don. 1977. Don McDonagh's Complete Guide to Modern Dance. New York: All Popular Library, 287–290.Google Scholar
Paris, Carl. 2001. “Defining the African American Presence in Postmodern Dance from the Judson Church Era to the 1990s.” In 34th Congress on Research in Dance Conference Proceedings, 234–243. Vol. 1. New York: New York Public Library.Google Scholar
Paris, Carl. 2023. “On Black Dance and Postmodern Representation from Black Power to Afro-Futurist Performance.” In Milestones in Dance in the USA, edited by Elizabeth McPherson, 206–234. New York: Routledge.Google Scholar
Perpener, John O. 2001. African-American Concert Dance: The Harlem Renaissance and Beyond. Urbana: University of Illinois Press.Google Scholar
Shange, Ntozake. 2020. Dance We Do: A Poet Explores Black Dance. Boston: Beacon Press.Google Scholar
Wells, Charmian. 2018. “Diaspora Citation: Choreographing Belonging in the Black Arts Movement.” PhD diss., Temple University: Philadelphia, PA.Google Scholar
Wells, Charmian. 2020. “‘Harlem Knows’: Eleo Pomare's Choreographic Theory of Vitality and Diaspora Citation in Blues for the Jungle.” Dance Research Journal 52 (3): 4–21.CrossRefGoogle Scholar
Wilson, Arthur T. 1993. “Eleo Pomare: ‘Pomare Power!’—Dance Theater Passion.” In African American Genius in Modern Dance, edited by Myers, Gerald E., 22–25. Durham, NC: American Dance Festival.Google Scholar
Collins, Karyn D. 2001. “Pomare Power Enlivens Omega Evening.” Dance Magazine 75 (10): 96.Google Scholar
Dunning, Jennifer. 1983. “Eleo Pomare Deals with Man's Inhumanity to Man.” New York Times, November 13.Google Scholar
At Kennesaw State University, a choreographic residency has been made possible by the Eleo Pomare–Glenn Conner Dance Endowment, which is funded by a generous gift from Jay and Debra Yunek. The Eleo Pomare-Glenn Conner Dance Endowment honors their late uncle, Glenn Conner, and his partner, Eleo Pomare. https://www.kennesaw.edu/arts/academics/dance/performances-events/choreographic-residency.php.Google Scholar
“Artist Promotional Fliers, 1954–1995.” Allan Bell Collection. Special Collections and Archives, University of Missouri–Kansas City, Kansas City, Kansas.Google Scholar
“Bob Johnson Papers, 1949–2003.” Curtis Theatre Collection. Archives & Special Collections, University of Pittsburgh Library System, University of Pittsburgh, Pittsburgh, Pennsylvania.Google Scholar
Eleo Pomare Collection. National Museum of Dance, Sarasota Springs, New York.Google Scholar
Eleo Pomare Dance Collection. Jerome Robbins Dance Division, New York Public Library for the Performing Arts, New York.Google Scholar
Eleo Pomare Dance Company Archive. Private Collection of Glenn Conner.Google Scholar
“Free to Dance Records, 1987–2004.” American Dance Festival Archives. Rubenstein Library, Duke University, Durham, North Carolina.Google Scholar
Hamm Archives. Brooklyn Academy of Music, Brooklyn, New York.Google Scholar
“Richard Jones Papers, ca. 1970–1991.” Robert S. Cox Special Collections and University Archives Research Center. University of Massachusetts Amherst, Amherst, Massachusetts.Google Scholar
“William Moore Papers, 1966–1991.” Schomburg Center for Research in Black Culture. Manuscripts. Archives and Rare Books Division, New York Public Library, New York.Google Scholar
Beckles, Loris Anthony. 2018. “Eleo Pomare (1937–2008).” Beckles Dance Company. April 17, 2023. https://www.becklesdancingco.org/copy-of-about.Google Scholar
Choreochronicle of Pomare's Works: http://eleopomare.weebly.com/uploads/2/7/7/2/27727359/choreography_of_eleo_pomare.pdf Please note that several works change scale from large to smaller ensembles, or solo to group, as well as having name changes according to the mode of presentation. Some of the experimental events referenced in the interview are not listed.Google Scholar
DSA's list of Black Dance Scholarship by Black Dance Scholars: https://docs.google.com/document/d/1MpH-Dk2IYAKcuNqB_6WA19_Gj8QRF28yh9M2nZhRXV8/edit.Google Scholar
“Eleo Pomare: Choreographer, Dancer, Teacher, Poet, Painter, Person Extraordinaire by David Fullard.” 2018. Clark Center NYC (YouTube video). March 19, 2018. https://www.youtube.com/watch?v=tuAB-u9NAhU.Google Scholar
“Eleo Pomare: A Discussion with the Keepers of His Legacy.” 2021. Clark Center NYC Salon Series (YouTube live stream). May 10, 2021. https://www.youtube.com/watch?v=jykgcSSZnRg.Google Scholar
“Eleo Pomare: Maker of Artists.” 2021. Clark Center NYC Salon Series (YouTube live stream). July 12, 2021. https://www.youtube.com/watch?v=PRFTJeKhFPw.Google Scholar
“Eleo Pomare.” The History Makers: The Digital Repository for the Black Experience. 2007. April 18, 2007. https://www.thehistorymakers.org/biography/eleo-pomare-41.Google Scholar
“Eleo Pomare: Choreographer, Dancer, Teacher, Poet, Painter, Person Extraordinaire by David Fullard,” Clark Center NYC (YouTube video). March 19, 2018. https://www.youtube.com/watch?v=tuAB-u9NAhU.Google Scholar
Perron, Wendy. 2020. “Eleo Pomare (1937–2008).” August 2, 2020. https://wendyperron.com/eleo-pomare-1937-2008/.Google Scholar
“Portrait of Dancer Eleo Pomare.” n.d. Stamped on back: “Pacific World Artists. 250 West 57th St. (Suit [sic] 529), New York, N.Y. 10019. Tel. (212) 581-3644.” April 17, 2023. https://digitalcollections.detroitpubliclibrary.org/islandora/object/islandora%3A196854Google Scholar
“Roberta Pikser on Meeting Eleo Pomare.” 2021. Clark Center NYC. YouTube Video. August 26, 2021. https://www.youtube.com/watch?v=RyyZASUqZwM .Google Scholar
“Art & Activism: The Work of Eleo Pomare. Excerpts. Courtesy of Alpha Omega Theatrical Dance Company.” 2021. Clark Center NYC (YouTube video). August 7, 2021. https://www.youtube.com/watch?v=6Egk0RFNPsE.Google Scholar
Eleo Pomare Dance Collection. Jerome Robbins Dance Division, New York Public Library for the Performing Arts, New York.Google Scholar
“Out of the Storm by Eleo Pomare.” 2015. Clark Center NYC (YouTube video). May 6, 2015. https://www.youtube.com/watch?v=l0nQvHNXUps .Google Scholar
“Phoenix (excerpt) by Eleo Pomare (1980).” 2021. Clark Center NYC (YouTube video). September 8, 2021. https://www.youtube.com/watch?v=TuYQQMIQhxU .Google Scholar
Pomare, Eleo. 2008. Las Desenamoradas. Music John Coltrane. Dayton Contemporary Dance Company. Presented June 9, 2008. https://www.youtube.com/watch?v=slkPfGZkIhM.Google Scholar
Pomare, Eleo. 2020. “JUNKIE (1985 Dance Black America—Brooklyn, NY).” Mozambique del Tambo (YouTube). November 13, 2020. https://www.youtube.com/watch?v=IG1Tr1IzC9o&list=RDIG1Tr1 IzC9o&index=1Google Scholar
Pomare, Eleo, and Burstall, Tim. 1962. “Blues for the Jungle” (videorecording). State University of New York at Purchase.Google Scholar
Burt, Ramsay. 2022. The Male Dancer: Bodies, Spectacle, Sexualities. New York: Routledge.CrossRefGoogle Scholar
DeFrantz, Thomas. 1999. “To Make Black Bodies Strange: Social Critique in Concert Dance of the Black Arts Movement (1998).” In A Sourcebook of African-American Performance: Plays, People, Movements, edited by Bean, Annemarie, 83–96. New York: Routledge.Google Scholar
DeFrantz, Thomas. 2002. “African American Dance: A Complex History.” In Dancing Many Drums; Excavations in African American Dance, edited by DeFrantz, Thomas F., 3–35. Madison: University of Wisconsin Press.Google Scholar
Dennis, Laura M. 2004. “Teaching the Goddess and the Junkie: An Intertextual Analysis of African American Dance and Music.” Interdisciplinary Humanities 21 (1): 7–19.Google Scholar
Fensham, Rachel. 2013. “Breakin’ the Rules: Eleo Pomare and the Transcultural Choreographies of Black Modernity.” Dance Research Journal 45 (1): 41–63.CrossRefGoogle Scholar
Harrison, Paul Carter. 1972. The Drama of Nommo: Black Theater in The African Continuum. New York: Grove Press.Google Scholar
Long, Richard A. 1995. The Black Tradition in American Dance. New York: Smithmark Publishers, 140–141.Google Scholar
McDonagh, Don. 1977. Don McDonagh's Complete Guide to Modern Dance. New York: All Popular Library, 287–290.Google Scholar
Paris, Carl. 2001. “Defining the African American Presence in Postmodern Dance from the Judson Church Era to the 1990s.” In 34th Congress on Research in Dance Conference Proceedings, 234–243. Vol. 1. New York: New York Public Library.Google Scholar
Paris, Carl. 2023. “On Black Dance and Postmodern Representation from Black Power to Afro-Futurist Performance.” In Milestones in Dance in the USA, edited by Elizabeth McPherson, 206–234. New York: Routledge.Google Scholar
Perpener, John O. 2001. African-American Concert Dance: The Harlem Renaissance and Beyond. Urbana: University of Illinois Press.Google Scholar
Shange, Ntozake. 2020. Dance We Do: A Poet Explores Black Dance. Boston: Beacon Press.Google Scholar
Wells, Charmian. 2018. “Diaspora Citation: Choreographing Belonging in the Black Arts Movement.” PhD diss., Temple University: Philadelphia, PA.Google Scholar
Wells, Charmian. 2020. “‘Harlem Knows’: Eleo Pomare's Choreographic Theory of Vitality and Diaspora Citation in Blues for the Jungle.” Dance Research Journal 52 (3): 4–21.CrossRefGoogle Scholar
Wilson, Arthur T. 1993. “Eleo Pomare: ‘Pomare Power!’—Dance Theater Passion.” In African American Genius in Modern Dance, edited by Myers, Gerald E., 22–25. Durham, NC: American Dance Festival.Google Scholar
Collins, Karyn D. 2001. “Pomare Power Enlivens Omega Evening.” Dance Magazine 75 (10): 96.Google Scholar
Dunning, Jennifer. 1983. “Eleo Pomare Deals with Man's Inhumanity to Man.” New York Times, November 13.Google Scholar
At Kennesaw State University, a choreographic residency has been made possible by the Eleo Pomare–Glenn Conner Dance Endowment, which is funded by a generous gift from Jay and Debra Yunek. The Eleo Pomare-Glenn Conner Dance Endowment honors their late uncle, Glenn Conner, and his partner, Eleo Pomare. https://www.kennesaw.edu/arts/academics/dance/performances-events/choreographic-residency.php.Google Scholar