Dance Pieces and Choreographers

Piece Title: Le Show ( Unite the Tribes)
Choreographer: Korma Aguh-Stuckmayer

Le Show is an Afrobeats‑driven, pan‑African hype anthem built for football, celebration, and global appeal. The routine was inspired both by the music and by the community members themselves. It’s straightforward in its message: come and see the show — watch how we dance together.

The choreography mirrors the song’s energy. You see excitement build through strong movements, then soften into smoother transitions. Every dancer gets a front‑row moment at some point, reflecting the spirit of unity and shared spotlight.

This piece opens the show and sets the tone for all the remaining performances — bold, joyful, and full of movement.

Piece Title: Piribang to Sabar
Choreographer: Fanta Barrow
This piece is inspired by memories of growing up in The Gambia, where movement was woven into everyday life. It opens with piribang, the childhood game we played endlessly outside, before shifting into a Mbalax and Sabar-inspired piece rooted in the Wolof traditions of Senegambia.

Inspired by the spirit of social gatherings, the dancers move with the rhythms first spoken by the drummers, then carried by the drum itself. The piece follows the feeling of those moments, lively, playful, and impossible to stand still in.

Piece Title: Deca Mi Nyi (“One We Are”)
Choreographer: Elsie Nsoh
“Deca Mi Nyi,” meaning “One We Are,” tells the story of a union through marriage, where two individuals come together, each carrying their culture within them; in their rhythms, movements, clothing, colors, and traditions. One represents the rich traditions of the Grassfield Region of Cameroon, while the other represents the vibrant culture of the Togolese Akposso people.

At first, each moves within their own cultural identity, honoring where they come from and how these movements were passed down through generations. As they unite through marriage, their cultures begin to blend, and they discover beautiful similarities; in the rhythm of the drums, the stamping of the feet, the flow of movement, and the meaning behind their traditions. What once seemed different becomes connected, and together they create a shared rhythm that honors both cultures.

This dance will also include traditional movements such as Agbadza, Agbekor, Kamu, and Akpesse. “Deca Mi Nyi” celebrates the truth that when cultures meet, they do not lose their identity; rather, they grow stronger. Through movement, we remember where we come from, how we are connected, and what we can create together.

Piece Title: Dubula
Choreographer: Peace Madimusta

Dubula is a celebration of Southern African joy, resilience, and spirit through the fusion of Gumboot and House dance traditions. Rooted in rhythms born from resistance, labor, community, and freedom, the work explores a timeless moment where movement becomes both remembrance and release. Powerful percussive storytelling drawn from Gumboot meets the energy, groove, and liberation of House dance to reflect the ways Southern African communities have continued to overcome oppression while preserving joy, connection, and cultural identity. Dubula honors the enduring spirit of people who continue to gather, dance, and celebrate life despite hardship.

Piece Title: Am I Dreaming?
Choreographer: Dede Pheretha Atanley
“Am I Dreaming?” is an Afro-contemporary dance piece that explores the fragile line between reality and imagination. The choreography blends fluid contemporary techniques with traditional elements of Afro-fusion dance.

When you wake up from a dream, it can be difficult to remember the events that took place. This dance explores the delicate process of recalling a dream. Moments appear in fragments, emotions shift through uncertainty, wonder, and fear as memories slowly return through the body. Each step and turn becomes a piece of the dream resurfacing; sometimes soft, and sometimes powerful. Memory is not always linear, and sometimes it does not return through words, but through rhythm, feeling, and movement.

Piece Title: Echoes of the Mountains
Choreographer: Wara P. Mouta
Wara’s Kamou/Tchimou piece is a powerful tribute to Northern Togo, rooted in the traditional rhythms of the Kabyè people of Kara. Drawing from ceremonial movement, grounded stomps, and explosive footwork, the work highlights the discipline, endurance, and pride embedded in these ancestral dances.

Echoes of the Mountains explores themes of identity, resilience, and cultural continuity, honoring the strength of the Kabyè Mountains while bridging tradition with contemporary stage presence. Through dynamic formations and drum-driven intensity, the piece reflects the connection between body and earth, dancer and drummer, past and present.

It is both a celebration and a remembrance, an offering that uplifts community, honors heritage, and reminds us that culture lives through those who carry it forward.

Piece Title: Sittin' in the Tree (C.A.R.I.B'ng)
Choreographer: Abrecia Bonae Haillasellise-Mankelklote
Sittin' in the Tree (C.A.R.I.B'ng) was created as an homage to Abrecia's prior dance trainers Alfred Baker, Danny Hinds, and Stacy Letrice Smith. It features a mix of movements rooted in Calypso, Ashkin, and Dancehall techniques to Rocksteady, Dancehall, and Soca rhythms. This piece will tell a story of love at first sight, something that brews quite often during Caribbean Carnival season! 

Calypso is a style of Caribbean music that originated in Trinidad and Tobago from Afro- Trinidadians during the early- to mid-19th century and spread to the rest of the Caribbean Antilles by the mid-20th century. Kaiso is a type of music popular in the Caribbean Islands with rhythms originating from West Africa particularly among the Efik and Ibibio people of Nigeria and from the Bantu people from the Kingdom of Kongo. It later evolved into modern day Calypso and Soca music. 

Dancehall is a movement form birthed in Jamaica. It's a result of the digital rhythms era in the 1980s that allowed artists to partake in "toasting" or singing over pre-existing instrumentals. Alongside the sound system culture, building large speaker set-up at their locals dance halls, Jamaican youth were creating a new fun sound. While co-existing genre Reggae was known for having a slow to mid-tempo and being more conscious with political messaging, Dancehall opened up the floor to spark an explosive energy needed to push the people forward. 

Piece Title: Medri Bahri: Land of the Sea
Choreographer: Nebiy “Nebula” Tesfaldet
In Nebiy’s piece, he takes the audience on a journey to understand Eritrea; its history, culture, and why art remains such an important and rich part of Eritrean identity. Through skits and choreography, he uses Tigrinya movement, also known as Guayla, to portray the culture, the people, and the history of the land.

Piece Title: Rhythms Across Borders
Choreographer: Sifa Saah
This piece is inspired by my lived experience in dance and culture. The music, “Buka Dansa” by KOKOKO!, drew me in immediately, not only because I am Congolese, but because, like me, it is untraditional and unconventional.

As a Canadian-born, American-raised Kenyan-Congolese woman, my identity exists across multiple spaces. Growing up in Minnesota, my experiences have often felt distinct, even in comparison to others within my Kenyan and Congolese communities. Yet, despite these differences, I remain deeply rooted in my cultures, especially through music and dance.

This piece reflects that connection. It weaves together Kisii footwork, various Congolese dance styles, jazz, and contemporary praise dance, creating a layered fusion of movement languages that have shaped me.

The title “Buka Dansa” translates to “dance until it breaks” or “break the dance.” Within this work, that idea becomes a metaphor for pushing beyond boundaries, for blending traditions, and for expressing identity in a way that is both inherited and redefined.

Ultimately, this piece is an embodiment of memory, culture, and self…because the body remembers where I come from.

Piece Title: Dlala Ka Serope
Choreographer: Wedu Khupe
Dlala Ka Serope in Zulu  or Roba letheka in Tswana are phrases in the dance culture  that translates to play with your thighs in English, due to the leg and foot movements utilized when executing the dance. This piece showcases the technicality of sbujwa footwork streetdance plus some playful groovy movements added to it. 

Piece Title: AfroKulture
Choreographer: Korma Aguh Stuckmayer

AfroKulture is a song by Flavour that inspires movement the moment it begins. The call of “come on — let’s dance” sets the tone, inviting everyone into the rhythm.

The dance piece fuses a wide range of West African traditional dance moves, creating a celebration of culture, unity, and shared heritage. The music itself has an energy that pulls people to their feet. The dancers showcase their joy and their pride in the continent, moving with the confidence and vibrancy that West African dance is known for.

The AfroKulture song and choreography remind us of how deeply dance lives in our traditions, how rhythm connects us, and how music continues to carry the spirit of the people. I am big on finding what unites us, says Korma, the choreographer.

Piece Title: Invitation to Leumbeul

Choreographer: Fanta Barrow
This piece is inspired by Leumbeul, a dance style from the Wolof people of Senegambia known for its expressive waist movements and the strong, grounded power found in Sabar. It is fluid yet bold, moving between softness in the torso and sharp, rooted accents in the body.

The song invites the Fula people of Senegambia into the Leumbeul, creating a moment where rhythm becomes an open invitation. The dancers respond with movement that is both playful and powerful, letting the music lead the body into conversation.

Through this piece, cultures meet in rhythm, carried through movement, response, and shared celebration.

Piece Title: Fuji Dey Knock
Choreographer: Abrecia Bonae Haillasellise-Mankelklote

Fuji Dey Knock was created to highlight Abrecia's love for Nigerian rhythms that feature fast- tempos, talking drums, and horns; a magnificent collaboration of Highlife, Afro-Beat, Jazz, and Contemporary sounds. This piece features choreography from Abrecia's mentor Stacy Letrice Smith and pays homage to her Father Theodore Johnson from which she got her dancing genes and her creative mentor Regina Perry-Carr.

Fuji Music was created in Nigeria during the 1960s. Its roots from a mixture wéré/ajísari music to awaken Muslims before dawn during Ramadan and traditional Yoruba rhythms. The sound is very energetic and often features call- and-response vocals. More recently, many Afrobeats artists have returned to the iconic sound by including samples from classic Fuji songs that have brought joy to listeners and dancers for decades.

Piece Title: Water Remembers
Choreographer: Wisna Perou

This West African dance piece uses an Igbo melody to explore the idea that water carries memory—the memory of our ancestors, their journeys, their resilience, and their wisdom. 

The dancers embody the qualities of water—gentle currents, flowing streams, and expanding ripples. Beginning with a single drop, one child's movement spreads outward through the group, creating rings like those that appear on the surface of a puddle after rainfall. Each ripple is carried from one dancer to the next, symbolizing how memories, stories, and traditions travel across generations.

Piece Title: The VUYD Experience
Choreographer: Austin AKA VUYD

The VUYD Experience is a high-energy fusion of Afrobeats, movement, and culture that transforms rhythm into pure electric energy. Inspired by Émume’s theme, “When We Move, We Remember,” the performance highlights how dance carries memory, identity, and connection across generations. Rooted in “Vibe Until You Drop,” it’s more than a performance — it’s movement, culture, and energy brought to life.

Piece Title: Gyration Ndi Obodo
Choreographer: Korma Aguh Stuckmayer

Gyration in the Igbo community is more than jumping. It’s a way to say/show that we are celebrating. 

The city shakes when joy erupts, especially during the holiday season, when your favorite soccer team wins, or when a beautiful woman or a handsome man passes by. We are very good at expressing joy. It’s a gift passed on, and when that expression comes alive, the whole city can shake.

This piece highlights how Igbo people celebrate life. The dancing, the voices of young and old blending together — all of it creates a shared rhythm. The chant “sụ̀rụ̀ ya ya ya sụ̀rụ̀ ya” has echoed through Igbo gatherings for generations. When excitement takes over, we sing, clap, and gyrate, just as our ancestors did.

Here, we merge two songs (one from almost two decades ago by Tony One Week, and another released recently by Flavour) both carrying the same chant. This chant lived in the Igbo community long before music was ever recorded.

The same instruments that guided our ancestors’ steps ; the flute, the ogene, the ekwe — still color our celebrations today. Their sounds call us into motion, reminding us that joy is meant to be shared, felt, and heard.

Piece Title: Aquarelle of Samba
Choreographer: Alessandra De Silva

Samba is an Afro-Brazilian dance-form that carries African roots, Brazilian history, Indigenous presence, popular culture, rhythm, resistance, joy, and memory. Across the African diaspora, movement traditions may share connections. Brazil, Cuba, the Caribbean, and other cultures can carry echoes of similar roots. Shared roots do not erase cultural specificity.

Afro-Brazilian dance has its own history, language, timing, musicality, and cultural context. Samba, samba no pé, samba de roda, samba afro, and other Brazilian forms come from a specific Brazilian experience shaped by African, Indigenous, and Portuguese influences. I honor the connections while also honoring the differences.

Piece Title: Land of Enjoyment
Choreographer: Dancing Sistas (Patricia Davies & Amaria Rocco)

“Land of Enjoyment” explores different forms of joy. From spontaneous, playful moments in the village to modern expressions of freedom and self expression. The piece highlights how enjoyment evolves while still connecting us all.

Piece Title: DIASPORA
Choreographer: Mae Doll

‘DIASPORA’ highlights the influence of African movement across generations and cultures, showing how deeply African dance lives within many styles practiced today. This piece is also a statement of solidarity against the harm caused by systems that target immigrant and marginalized communities. Through movement, we honor our roots, celebrate our unity, and remind the world that our cultures, our people, and our stories cannot be erased.

Piece Title: Zombie Ooo!
Choreographer: Korma Aguh Stuckmayer

This piece calls out some of the atrocities that happened in MN by MN Ice. These events inspired the choreography. Sometimes people do harmful things and excuse it by saying they are “just doing their job.” They move without creativity, without empathy — simply following orders.

In this piece, the dancers begin as robots or zombies, then gradually transform into humans. It becomes an expression of free -movement, awakening, and reclaiming agency. Much of the dance was a collaboration with the dancers themselves, who are professional artists in their fields; I simply directed, especially in the sections that needed that robotic quality.

Choreographers BIO

Korma Aguh-Stuckmayer

Korma Aguh-Stuckmayer is a Nigerian-born dance artist, educator, and Founder/CEO of Afrocontigbo Dance and Wellness Company. Based in Minnesota, she promotes African heritage, wellness, and community through dance and storytelling. She began dancing in Nigeria, trained with Dancescape at Winona State University, and later earned a Master’s degree from Saint Mary's University of Minnesota. In 2014, she founded Afrocontigbo, blending traditional Igbo movement with contemporary African dance styles. Her work has been featured at events including the Little Africa Festival and Minnesota Timberwolves African Night, and highlighted by PBS and other media outlets. Through performances, residencies, and community programs, she continues to foster cultural connection, education, and wellness while preserving traditional African music and dance in the diaspora. 

Fanta Barrow

Fanta was born and raised in The Gambia, the Smiling Coast of Africa, where dance and music were woven into everyday life. From a young age, she moved to the rhythms of mbalax and other African dance styles, finding joy in every gathering, celebration, and shared moment of movement. In college, Fanta joined and later led a diversity dance crew, exploring styles ranging from Coupe Decale and Ndombolo to K-pop and Afro-contemporary dance. In 2019, she joined Afrocontigbo, where she continues to share her passion for movement, culture, and storytelling through dance. Rooted in the vibrant traditions of Senegambia, Fanta’s movement is energetic, expressive, and deeply connected to community and rhythm. For her, dance is both a celebration of heritage and a way to nurture the body, mind, and spirit.

Elsie Yayra Nsoh 

Elsie is a dynamic dancer and artistic creator from Togo. Her lifelong passion for movement began at a young age, captivating family and friends with her dance. Elsie's journey has spanned various styles, from praise dance to musical theater to college dance organizations and, more recently, Afrocontigbo Dance Therapy. She has mastered a diverse range of styles, including Ndombolo, Soukous, Makossa, Coupé Décalé, Gweta, Azonto, and traditional African movements. Elsie is also the founder of Moves of Glory Dance Ministry, dedicated to teaching praise dance to children and young adults. As Elsie puts it, "Dance for me isn't just a hobby, it's a lifestyle. I'm blessed to continuously explore my creative career, teaching and learning diverse dance styles. As my favorite quote says, 'Dance reveals what music conceals.' I strive to be an example, encouraging everyone to explore their own creative side, whether it's dance, music, or art.

Peace Madimutsa 

Peace Madimutsa is a Zimbabwean-born artist based in Minneapolis whose work bridges African continental and diasporic movement—from Southern African street and West African traditional to Krump, House, Hip-Hop, and Haitian dance. As co-founder of Atlantis Universe Dance Company and director of Segments MN, he creates work rooted in community, culture, and remembrance. Guided by collaboration and legacy, Peace moves to connect generations through rhythm, story, and spirit.

Abrecia Bonae Haillasellise-Mankelklote 

Abrecia Haillasellise-Mankelklote has been in performative arts since the age of five. Professionally, she trained for Dance, Theater, Playwriting and Acting at the Wonsook Kim College of Fine Arts. She also served as the Artist Director of her University's ASA Dance Troupe. She relocated to Chicago and served as a company member for Nunafatima, board member and captain for Jukeboxx Mas Band and principal dancer for the West Indian Dance Theater Company. Upon relocating to Minnesota, Abrecia joined the illustrious Afrocontigbo and have been dancing with them ever since! 

Dede Pheretha Atanley

Dede Pheretha is a dancer from Togo, who discovered her passion for dance at an early age while performing at Togolese cultural events. Despite being shy as a child, dance provided her with a means of creative self-expression. In high school, she was a member of the Hip Hop Dance Team. While at university, she explored modern, contemporary, and praise dance. Her dance style blends traditional movements with contemporary influences. Dede Pheretha is a proud member of Afrocontigbo, and is always ready to share and learn alongside her teammates.

Nebiy Tesfaldet

Nebiy Tesfaldet A.K.A Nebula is a Eritrean-American artist born and raised in Minnesota. He specializes in the Eritrean dance movement known as “guayla” which originates from one of the nine main tribes known as the Tigrinya tribe. He's been dancing for 10+ years professionally but his passion for dance all started at home where his parents taught him about his culture and the expressions used in Eritrean social gatherings. He’s been back home where he was enriched in more of his culture and also what it meant to be Eritrean and the pride for the culture and the art. In 2024, Nebiy worked with the University of Minnesota’s Eritrean Student Association on teaching and also learning movement from all 9 tribes in Eritrea. Within that same year, he also taught a course at Hothouse dance studios where he taught those same Eritrean dance forms. He wishes to further teach and educate about his beautiful culture to the twin cities and beyond! 

Prince Warapisseme Mouta

Wara is a self-taught dancer and artistic creator from Togo. His passion for dance began at a young age. Wara has explored many styles over the years, developing a unique ability to adapt and perform across genres. Wara has danced through every stage of life. His journey has taken him to incredible places, including sharing the stage with renowned artists like Toofan and others and featuring in music videos. Now, as part of Afrocontigbo, Wara continues to grow as an artist, performer, and instructor, using dance as a tool for healing, expression, and connection. Wara believes in the power of creativity and encourages everyone to tap into their own, whether through dance, music, art, or any form of self-expression. 

Wisna Perou

Born in Haiti, Wisna has a natural draw to Haitian and African-based movements. Training under Korma Aguh-Stuckmayer of Afrocontigbo with no formal dance experience allowed for exploration of traditional and contemporary West African dance. Exploring such movements has inspired a journey venturing into other forms of dance that include Kizomba, Semba, Bachata, Heels, and Hip Hop with opportunities for residencies in various children’s dance programs. 

Austin AKA VUYD

VUYD is a rising star in the Minnesota dance scene, his journey began in Mankato, where he first showcased his moves at small events and parties, captivating audiences with his infectious energy. As his talent gained recognition, he ventured to Minneapolis, where he quickly made a name for himself performing at various events. However, it was his breakthrough moment in 2023 at the Rema concert that truly set him on the path to success, since then he’s performed at multiple events, and festivals such as Afronation and worked with numerous artists. Known for his positive vibes and energetic dance moves, he embodies the slogan "Vibe Until You Drop." His performances are a celebration of life, filled with electrifying energy that leaves audiences wanting more. VUYD’s mission is clear: he's a dancer dedicated to bringing out the electric energy of Afrobeats. With every move, he aims to spread joy and positivity, connecting with people through the universal language of dance.

Sifa Saah

Sifa Saah is a Canadian-born, American-raised, Kenyan-Congolese dancer. Her passion for dance began in childhood, performing in her living room while watching dancers on MTV, VH1, and VHS tapes; particularly the works of Congolese artists such as Awilo Longomba, Madilu System, Extra Musica, Mbilia Bel, and Tshala Muana. She began training in her teenage years through her church’s praise dance ministry, where she developed versatility across modern/contemporary, traditional African, and hip-hop styles. Through years of ministry and community engagement, she performed at churches and events throughout the Twin Cities, using dance as both expression and storytelling. Her technical training expanded when she joined her high school dance team in junior high, where she trained in jazz and high kick. After a brief hiatus during college, she returned to dance with a renewed focus on Afrodance, building her foundation through technique classes and Afrobeats movement training. She is currently a dedicated member of the Afrocontigbo performance team, where she has been actively training and performing since 2023. Her movement is rooted in cultural connection, musicality, and a deep appreciation for African diasporic dance traditions.

Wedu Khupe

Wedu specializes in Sbujwa footwork, a South African street dance style that originated in Soweto township. Often paired with the sounds of Amapiano, Gqom, and Afro-house music, Sbujwa is known for its fast footwork, rhythm, and energy. Wedu has been dancing and developing his style in Sbujwa for the past five years, bringing the vibrancy and movement of South African street culture to the stage. 

Show Tickets