By Walter Rutledge
Black History Month 2026, a month of reflection, remembrance and rejoicing the accomplishments of Americans of African descent, has come to an end. It was a month spent celebrating and remembering not only the sacrifices of the renowned such as Langston Hughes, Martin Luther King Jr. and Harriet Tubman, but of forgotten like Private Sandy Wills. Jamel Gaines Creative Outlet’s multi-media production of Remembering presented at the BAM Fisher Fishman Space on Friday, February 13 honored both the memorialized and the marginalized in an example of how art and education can dance arm in arm.
The Friday evening production was the culmination of a week of daytime young audience performances offered to schools throughout the five boroughs. Gaines repurposes the production every year to bring awareness to more Black history facts. This Black historical enlightenment is often unexplored by mainstream academia. In so many instances it has been left up to the descendants of the forgotten to keep their memories alive. Gaines’ Remembering expands our understanding of the Diasporic role in the building of America.
An image appeared on the cyclorama piercing the darkness and immediately transported us to an African rainforest. Percussionist Abou Camara appeared from stage right with a drumming interlude that welcomed us into the space. He was soon joined by drummers Aliseni Bangoura, Jahi Smith, Jaziah Kefentse, Forest Holmes-Dodge.
The percussive overture quickly evolved into a drumming call and response with the audience. Drummers would create a series of rhythms that the audience would clap the passages back. During the school performances the audience responded enthusiastically. And to the drummers’ credit they were also able to bring out that engaged inner child during the Friday evening performance.
Speaking of children, the next sections showcased the young performers from the Creative Outlet school. Dancers Summer, Makena, Ava P., Elleyana, Sabi, Callista, Harley, Makhotso, Nylah, Alyssa-Ivy, Zenai, Jamina, Julee, Yazarrah, Amia, Mela, Leila, Avery, Ava S., Sage, Asha, Jaccori, and Nina, Ja-nae under the tutelage of instructors Ryan Greenidge (African) and Jada Williams (Ballet) gave us an inspiring performance highlighting future possibilities.
Orator Gha’ il Rhodes Benjamin joined by fellow narrator Talu Green and drummer Camara in a rendition of Langston Hughes’ iconic 1926 Harlem Renaissance poem I, Too. Hughes wrote I, Too in direct response to Walt Whitman’s 1860 poem I Hear America Singing.
Hughes felt Whitman excluded the Black experience from the American narrative. The poem is also known as I, Too, Sing America, the poem serves as a powerful declaration of African American identity, resilience, and the inevitable end of segregation. Usually performed by a man, Benjamin’s interpretation became an unshakable matriarchal statement.
The backdrop now projected a field of cotton with a procession of dancers making an arduous crossing in single file. A solo dancer, Michael Dickey, stops moving as the backdrop changes to a barren (leafless) tree. His impassioned solo brought the horrors of lynching centerstage. Dickey delivered both an emotional and technically strong performance; but it was the more nuanced and theatrical subtleties that deeply registered Gaines’ powerful message with the audience.
The effect of war on our mothers was the theme of Mothers of War. Keven Crawford and April Watson opened the large ensemble section with a lovingly paternal duet. Set to the music of Hans Zimmer with spoken word by Shirley Black Brown Coward Gaines cleverly constructed a dance theater scenario that projected protective maternal instinct with a strong mother, brother, sister energy. The section was a reflection on war seen through the lenses of angst, loss, and the inner strength of women. The dance concluded with Watson draping her skirt to hide Crawford as if shielding him from the world of war.
Mothers of War provided a fitting segway into Cherly Wills poignant yet triumphant multimedia story of Private Sandy Wills, her great, great, great grandfather. A civil war soldier forgotten by time and buried in an unmarked grave. Through persistence, exhausting research and family support she was able to locate his remains and give him a proper military burial.
Wills found time to eloquently present her family’s heartfelt legacy with young people during the daytime performances. The audiences were so moved by Wills journey that each performance ended with spontaneous applause. The truest barometer of how effective arts in education can be to imbue the next generation.
Guest artist Thera Ward’s Friday evening performance was nothing short of mesmerizing. Ward embodied the narrative making it her own. Her interpretation exuded a presence and command that pulled the audience into Wills’ uplifting page of American history.
We The People was a sober and contemplative statement on unity. Choreographed as an ensemble movement the unison created a sense of camaraderie. Always a showman, Gaines took us out with an up-tempo bang. The finale displayed one of Gaines strong suits; his ability to bring together interdisciplinary dancers of varying levels of proficiency. Every performer brought their A-game to a house music crescendo.
Gaines’ commitment to share the history and contributions of Americans of African descent extends beyond February. His aim is to share this vital part of American history with the world 365 days a year. It is the goal of the Jamel Gaines Creative Outlet that we never forget – that we always keep Remembering.
