Eleo Pomare

Eleo Pomare (20 October 1937 – 8 August 2008) was a Colombian-American modern dance choreographer. Known for his politically charged productions depicting the Black experience, his work had a major influence on contemporary dance, especially Black dance. He founded the Eleo Pomare Modern Dance Company in Amsterdam, Netherlands (1960–1963), and, after returning to the United States, established the Eleo Pomare Dance Company in New York City in 1964, which continued after his death. After a tour to Australia in 1972, and the subsequent return of his then lead dancer, Carole Johnson, his style of dancing continues to influence Aboriginal and Torres Strait Islander modern dancers.

Early life and education Eleo Pomare was born on 20 October 1937 in Santa Marta, Colombia, where on 19 June 1940 his sister Selina Forbes Pomare also was born. His father - James "Tawney" Forbes of Haitian/French ancestry - was captain of a cargo ship which while near Colón, Panama during World War II was torpedoed by the Germans. Six-year-old Pomare was with his dad at that time and was rescued, but his father was never found.

Afterward, Pomare went to live with his mother - Mildred Pomare Lee - in Panama. During 1947, he was sent on his own to stay with an aunt and uncle in New York City where a few years later, he was joined by his mother. Pomare attended New Lincoln School in Harlem and later studied at New York's High School of Performing Arts, where he was mentored by Verita Pearson prior to graduating in 1953. During that time, Pomare was also teaching dance to young people at the Police Athletic League (PAL).

Career Pomare founded his first dance company in 1957, called Corybantes, The company performed at the Waltann School of Creative Arts in Brooklyn in November 1967.

During September 1966, Pomare, along with Carole Johnson and others, established the Association of Black Choreographers, which later was followed by founding of The Feet, a magazine for black dancers.

Major works An important work was Gin. Woman. Distress., a three-part solo dance, to the songs of Bessie Smith. It depicts the slow deterioration of a homeless woman. Pomare choreographed the work for Elizabeth Cameron Dalman in New York during 1966, and it was widely toured by Dalman in Europe and Australia from 1966 to 1987. The work was also taught to Johnson, who performed it in Adelaide in 1972. Other featured dancers included: Dyane Harvey-Salaam Charles Grant Chuck Davis Martial Roumain

In 1986, in honour of Nelson Mandela, Pomare created Morning Without Sunrise, set to music by Max Roach. Dancers on the tour were: Carole Johnson, Roberta Pikser, Jennifer Barry, Frank Ashley, Strody Meekins, Martial Roumain, Henry Yu Hao Yen, Lillian Coleman, Dyane Harvey, and Carole Simpson. Pomare deemed it unsafe for the type of performance, and an inferior venue, and he insisted that his company be treated with respect. The powers that be ensured that equipment and props were moved to the Warner Theatre in King William Street, in time for the performance the following day.

The company also toured North America, Europe, Asia, the Caribbean and Africa, performing in Lagos, Nigeria, for FESTAC '77, the Second World Black and African Festival of Arts and Culture. on 8 August 2008.

An exhibition celebrating his achievements, entitled The Man, The Artist, The Maker of Artists, was mounted at the National Museum of Dance from 2011 to 2012.

Pomare is often considered the angry black man of modern dance, although he did not consider himself angry or bitter, but that he is rather "telling it like it is". "I'm labeled...angry...because I will not do what they want from a black dancer. They want black exotics... I have something to say and I want to say it honestly, strongly and without having it stolen, borrowed or messed over."

The impact of Pomare as writer, dancer and choreographer has helped many gain an understanding of the black experience. Johnson's work with Aboriginal and Torres Strait Islander dancers in Australia, helping to create NAISDA's forerunner in 1975, and subsequent formation of Bangarra Dance Theatre in 1989, carried on Pomare's legacy. Johnson herself said that "Pomare made me the dancer that I am today... I was very technical, which he liked, but he managed to pull all my emotion out". She also said that he had a strong influence in Australia, the legacy of his 1972 visit to Adelaide.