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Title: Carla Perlo
Description: Founding Director Emerita of Dance Place Carla Perlo reflects on her life and leading Dance Place, the organizational host of DanceAfrica, DC. Perlo speaks about her professional trajectory and building one of the nation’s leading dance organizations with focus on how DanceAfrica, DC fits into the larger scope of Dance Place’s 40-year history as a dance presenter, school, and community arts center in Ward 5’s Brookland/Edgewood neighborhood. Perlo also speaks on her legacy in the dance community and the future of dance post COVID-19., Carla Perlo was born in Washington, D.C. in 1951. Perlo has made a lifetime commitment to the fields of dance, youth education and community revitalization through the arts. She is co-founder Dance Place in Washington, D.C. and for thirty-six years served as its visionary Founding Director. With support from the Board of Directors, Dance Place became the second independent organization in the United States to own and operate a facility for the training and presentation of dance. In August 2017, Perlo transitioned to Director Emerita, in which role she remains on Dance Place’s teaching faculty, youth program staff and serves as a consultant. In 2013, Ms. Perlo was honored to receive the DC Mayor’s Arts Award for “Excellence in Service to the Arts.” Other awards include Washingtonian Magazine’s Washingtonian of the Year (1997), The Pola Nirenska Lifetime Achievement Award (2017), and the Ernie Award for Outstanding Service to the Field of Dance (Dance/USA, 2018).

Title: Deborah Riley
Description: Director Emerita of Dance Place Deborah Riley reflects on her life and leading Dance Place, the organizing host of DanceAfrica, DC. Riley talks about her career as a professional choreographer, performer, and teacher and how her love for dance fuels all she does. Riley describes the magic of DanceAfrica, DC and its importance to the community. Riley also discusses her legacy and what she hopes to see continue in the dance field post COVID-19 as Dance Place celebrates its 40-year history as a dance presenter and school for dance in Ward 5’s Brookland/Edgewood neighborhood., Born in 1950 in East Cleveland, Ohio, Deborah Riley is a life-long dance artist and more recent practitioner of Laban Movement Analysis, the basis for teaching movement arts to people of all ages and abilities. As a touring artist and educator, she has performed throughout Europe and the US as well as choreographing over 40 original works for her company, Deborah Riley Dance Projects. She was an artist-in-residence at Dance Place from 1988-2017 and retired as Co-Director in 2017. In addition to many prestigious awards and accolades, she was honored in 2016 with the Pola Nirenska Award for Lifetime Achievement in Dance.

Title: Denise Rollins
Description: Denise Rollins, current Chair of the Board of Directors at Dance Place, reflects on her life and relationship to the DC African dance community. Rollins speaks about her professional trajectory that began in public policy, which led her to spend a number of years working for the African American Institute and eventually USAID. Rollins recalls the early years of Dance Place and DanceAfrica, DC and how each remains important to her life today as Dance Place celebrates its 40-year anniversary as a dance presenter and school for dance in Ward 5’s Brookland/Edgewood neighborhood., Denise Rollins was born in Detroit in 1952. Rollins is the current Chair of Board of Directors at Dance Place. She is a retired U.S. Foreign Service Officer with the U.S. Agency for International Development. She served for 27 years, 23 years overseas in Jamaica, Ghana, Uganda, Nigeria, South Africa and Bangladesh. In Washington, Rollins served as Acting Assistant Administrator for Asia overseeing USAID economic development programs in 23 countries. Following her retirement in the foreign service in 2014, she became Senior Coordinator for the Africa Ebola Unit at USAID overseeing the Agency's response to the epidemic. Rollins currently volunteers with performing arts organizations such as Dance Place and Washington Performing Arts.

Title: Esther Siegel
Description: Esther Siegel discusses her background, the effort to create a limited-equity cooperative at her apartment complex, her work helping tenants across the city turn their buildings into cooperatives, and her work training co-op members nationally and internationally., Esther Siegel grew up in Fair Lawn, New Jersey, moved to D.C. in 1967, helped lead her apartment complex to becoming a limited-equity cooperative, and has spent years training tenants and housing co-op board members, in D.C. and internationally.

Title: Will Alvarez
Description: This is an individual interview of Will Alvarez in which he discusses his Salvadoran upbringing in the DMV, his experiences in the bartending industry as a Latino and U.S. Army Veteran, and the impact of COVID-19 on residents and service professionals in the D.C. bartending community., Though he grew up in D.C., Will Alvarez did not start his bartending career until after he served abroad in the U.S. Army. He spent a lot of time learning the trade, making connections with fellow bar professionals, and strengthening his cocktail knowledge at family restaurants and bars like Del Campo, Zaytinya, and Columbia Room. He also worked as a brand ambassador and bar consultant, and helped manage the bar at The Gibson and several themed pop up bars for Drink Company. He even worked at hotels and pool bars before becoming the only employee at The Green Zone to have actually visited The Green Zone in Baghdad, Iraq as a soldier.

Title: Angel Saltos
Description: Saltos tells the story of how, as a recent young student immigrant from Ecuador, he landed his first professional job with ABL Associates, a D.C. public relations marketing firm. Saltos who studied PR and marketing at American University was interested in the Hispanic Marketing arena. In the late 1980’s Hispanic marketing was a brand new field. Tensia Alvirez, President of AB L Associates, was known in the D.C. community for her public relations work with private and public entities. Saltos tells how he was successful in hiring Willie Colon to perform at the Gala dance and on stage at the first Latino Festival held on the National Mall. He talks about other Latino musical groups: Medardo y sus Players, Tito Puente, Shakira, Los Hermanos Flores. He was successful in bringing Rumba Tres from Spain to perform at the Festival Gala Dance in 1989. Saltos describes his relationship with the Festival committee leadership, his experiences hiring various musical groups, and the struggles to secure National Park Service permission to hold the Festival. He also talks about the struggles between D.C. city officials and the National Park Service staff as part of the process in 1989 to secure the Mall for the Latino Festival. Saltos talks about Washington’s large cultural diversity and stresses that this feature makes Washington D.C. unique. This diversity is reflected in the large group of different Latin American countries that are represented in its Festival. Saltos reflects on his professional career after the 1989 Festival. Saltos has continued to work in Hispanic public relations, and in 2003 he was hired to be President of the Ricky Martin Foundation where he travelled the world with Ricky Martin and met many of the international Latino musical artists., Born in Quito, Ecuador, Saltos moved to Washington D.C. in 1980. He enrolled in American University where he obtained a BA in marketing and and MBA in Business Administration. He began to study the state of Hispanic marketing in the United States. Saltos met Hortensia “Tensia” Alvirez who owned a Latino PR marketing firm. They clicked, and Saltos got hired to work on several of ABL Associates projects. He first got involved with D.C. Latino Festivals by organizing a raffle for the 1988 Festival. Then, when the Festival Committee decided to take the Festival to the Mall in 1989, Saltos describes how Tensia Alvirez met with Secretary Manuel Lujan to get his support for moving the Festival to the Mall. Saltos describes how he lured Willie Colon into being the main musical group performing at both the Festival Gala Dance and at the Sylvan Theater. Saltos talks about why the Festival wanted three stages on the Mall where 14 musical groups performed during the 1989 Festival. Saltos describes how the great diversity in Washington D.C. of the many Latin American and Caribbean populations made the Festival unique. Saltos talks about his passion for Latin music, and his professional success representing Latino groups. In 2003 he accepted a job as President of the Ricky Martin Foundation.

Title: Arturo Griffiths
Description: Arturo Griffiths tells the story of how he got involved as a Latino immigrant teenager in the very first D.C. Latino Festivals held in Adams Morgan. He tells the story of various presidents, many of whom were elected before he was elected President in 1987. Griffiths, together with his committee, organized the last D.C. Latino Festival to b e held in the Adams Morgan neighborhood. In 1989 Griffiths took the Festival “downtown” – to the grounds of the Washington Monument. He tells the story of how hard it was to secure permits, convince authorities to allow the Festival to serve and sell homemade ethnic food on the Monument grounds. Negotiating with D.C. government officials, the National Park Service and community leaders took many months. Griffiths stresses the important role that the Parade groups had supporting the move to Constitution Avenue NW and their energy and commitment in organizing their floats and dance groups. Griffiths reflects on the importance of ethnic Festivals, and in particular the importance of the Latino community and its contributions to mainstream culture. Griffiths stressed the importance of educating the public about the different Latino cultures, racial backgrounds, and histories., Born in 1949 Panama City, Panama, Arturo Griffiths immigrated with his family to Washington D.C. in 1964. He graduated from Mackin High School. As a teenager, he was one of the founders of the Latin American Youth Center (LAYC). The LAYC youth founded the first Youth day- Saturday- at the early D.C. Latino Festivals when they were in Kalorama Park. Griffiths was involved in many of the Festivals from 1970 to 1987. In 1987 he was elected President of the Latino Festival and organized three Festivals: 1988, 1989, 1990. In 1989 he took the D.C. Latino Festival – Fiesta D.C. – to the Mall. Griffiths has worked for several labor unions. With his sister, Yasmin Garabito, he founded the Afro-Latino Institute. He ran twice for D.C. City Council and was D.C. Coordinator for the Safe Our Cities! Save Our Children! March. In 1992 he planned and coordinated the Citywide Multicultural Leadership Summit. In 2014 he founded Trabajadores Unidos de Washington D.C., a community-based nonprofit that advocates for and educates D.C. immigrant day laborers and low-wage workers.

Title: Norberto 'Tiko' Borja
Description: Norberto Borja describes the early years when his family migrated from Colombia and lived on Ontario Road in Adams Morgan. Borja describes the neighborhood in the 1970’s: full of Latino families who knew each other. He describes his first job working at the SED Center, located next to his house. Borja first got involved in the D C Latino Festival in the early years when it was held on Colombia Rd. He describes how his young Colombian group of drummers was asked to perform in the Festival. By 1989 Borja had moved to Maryland, and when the D.C. Latino Festival moved to the Mall in 198 9, many Colombians wanted to participate now that the Festival Parade was on Constitution Ave. Tiko helped organize a new folkloric group, Colombianos Unidos . Borja describes how he led this group of 40 dancers, taught them Colombian folkloric dances, and organized the big Colombian float, La Chiva, at the 1990 Festival Parade of Nations. Borja describes his experiences working with other Latin American countries, his success in taking his folkloric group all the way to the Expo Sevilla in Spain. Borja describes how the Colombian participation in the 1990 Festival also led to his participation in the national Cherry Blossoms Festival. Borja describes the importance of the elected Festival leadership in the 1989 - 1990 period, how their vision of “having their Latino community known by all of the nation” was prescient. He believes that the commitment to work with the community and for the community made a big difference in the success of the 1989 - 1990 Festivals. But he describes how other D.C. Latinos did not carry on that tradition and Latino festivals today are not the same as back in 1990 . Borja reflects on how unique Latino Festivals were back then because they changed the tone of festivals: home - cooked food from all over Latin America and the Caribbean was sold at those Festivals. Borja believes that that history led to the growth of larger festivals throughout the region. Borja describes how he helped organize a group to lead another Latino Festival, Parade of the Americas, in 1993. Borja believes that his experience with Colombianos Unidos allowed him to get to know many new people, learn how to negotiate with D.C. Government authorities, and how the Latino Festival and all the preparations helped Colombian immigrants recover their heritage and culture., Born in 1955 in Baranquilla, Colombia, Tiko Borja migrated with his family to Washington D.C. in May 1970. When he was a child, Tiko was left blind after an accident. Tiko’s Mother brought him to the United States hoping that doctors could operate and restore his sight. But doctors failed to restore his sight. Tiko’s family lived in the Adams Morgan neighborhood surrounded by other Latino immigrant families. He went to school in D.C. and graduated from Western High School. He studied at American University. Tiko married and moved to Damascus, Maryland with his three children. In 1989 he founded the Colombian national folkloric group, Colombianos Unidos. From 1989-1996, Tiko led the group of 40 young dancers, did fundraising for the group, and hired a dance coordinator. They represented Colombia with folkloric dances and a float in the 1990 Fiesta D.C. Parade of Nations in July. In 1993 Tiko helped organize and lead the “Festival of Las Americas”, the second Latino Festival that year. Celebrating Hispanic Heritage month in September 1993, Tiko worked with a volunteer committee to hold the Parade on Constitution Ave. Tiko’s Colombianos Unidos dance group also paraded in the Cherry Blossoms Festival. In 1992 Tiko took Colombianos Unidos to perform in the Expo in Sevilla, Spain. Since 1979 Tiko has been the Owner/Manager of a convenience store located at the National Institutes of Health. When the Covid-19 Pandemic hit in 2020, the government offices shut down,and as a result Tiko’s store was closed.

Title: Flier for the Save the Boats benefit party featuring Da Moronics and Raisonettes, Friday, July 27 and Saturday, July 28, 1979
Description: Flier for Save the Boats benefit party concert featuring Da Moronics and Raisonettes at Madam's Organ on Friday, July 27 and Saturday, July 28, 1979. Entry to the concert was a $7 donation. The flier features a drawing of a boat and features the text 'n-bomb the boat people.' It also advertises a Joan Baez look alike contest. The flier includes information about upcoming concerts at Madam's Organ by Bazilisk, Rupert, and Mystery Dates; a Round Raoul Records benefit featuring No Joe and Chumps; and a 'Beach Blowout' Insect Surfers farewell concert., The year of the flier is based on the active years of the bands advertised and the fact that July 27 was a Friday

Title: Flier for a concert featuring Universal Order Of Armageddon, Trusty, Still Life, John Henry West, and Bumblescrump at Club Heaven, July 11, 1993
Description: Flier for a concert featuring Universal Order of Armageddon, Trusty, Still Life (from California), John Henry West (from California), and Bumblescrump (from California) at Club Heaven on Sunday July 11, 1993, 'All Ages, All Punk!' The flier features a swirl design with the words 'What's on television?' in the center.

Title: Flier for a reading/screening of 'I've Seen It All Before' and 'Whats Next' by Pam Kray and Friends at DCAC, January 4
Description: Flier for a reading/screening of 'I've Seen It All Before' and 'Whats Next' by Pam Kray and Friends at DCAC on January 4

Title: Flier for a concert featuring The Untouchables with Teen Idles and Tru Fax, March 15, 1980
Description: Flier for a concert featuring The Untouchables with Teen Idles and Tru Fax at Madam's Organ on Saturday, March 15, 1980 at 9 p.m. The flier features a large picture of McDonald's french fries and mentions that the concert is near a McDonald's. The flier also includes an image of a Carte Blanche credit card., The year of the flier is based on March 15 being a Saturday and the time period when Teen Idles was active

Title: Flier for a concert featuring Teen Idles, January 26, 1980
Description: Flier for a concert featuring Teen Idles at Madam's Organ, January 26, 1980. The flier features panels from a comic about a stoner and the names and ages of the band members: Ian 17, George 16, Jeff 17, and Nathan 18. Other words on the flier include 'American,'clean rock,' and 'no drugs., The year of the flier is unknown, but the Teen Idles were only active from summer 1979 to 1980.

Title: Flier for a concert featuring The Cramps, The Slickee Boys, and the premiere of 'The Punk Rock Movie', May 29, 1980
Description: Flier for an I.M.P. Productions concert featuring The Cramps, The Slickee Boys and the D.C. premiere of the film 'The Punk Rock Movie' at the Ontario Theatre on May 29, 1980 at 8 p.m. The event cost $8 and tickets were available at Yesterday and Today Records in Rockville, Maryland, Record and Tape Exchange in Arlington, Virginia, Choice Cuts in Tenley Mall, Ticketron outlets, Orpheus Records, Warner Theater Box Office, Variety Records in Montgomery Mall, and Discount Books and Records. The flier features a photograph of the Cramps., I.M.P. (It's My Party, Inc.) is the promotion group that operated the 9:30 Club, which opened the same year in 1980 at 930 F Street NW. This flier was the first I.M.P. show, booked at Ontario Theatre by Seth Hurwitz; The Cramps never showed up for the show and Tex Rubinowitz performed instead

Title: Flier for a concert featuring S.O.A., Bad Brains, Minor Threat, and The Subhumans, May 22, 1981
Description: Flier for a concert featuring S.O.A., Bad Brains, Minor Threat, and The Subhumans, Friday, May 22, 1981 at the Rumba Club. The concert cost $5 and was preceded by the film 'Missing Persons' at 8:00 p.m. Music was to begin at 9:00 p.m. Flier is decorated with X's and notes that S.O.A.'s No Policy had been released., The year of the concert is based on the flier note that May 22 was a Friday and the active dates of S.O.A.

Title: First Church of Christ Scientist
Description: View of First Church of Christ Scientist.

Title: H.D. Cooke School

Title: Randall Junior High School 50th Anniversary dinner-dance attendees
Description: Lloyd 'Pop' Dudley, Rose Wood, Raymond Jones, Bruce Wahl, and others pose at the Randall Junior High School 50th Anniversary Celebration at the Washington Hilton.

Title: Osborne Mallory at Randall Junior High School 50th Anniversary dinner-dance
Description: An unidentified man talks to banquet committee chair Osborne Mallory at the Randall Junior High School 50th Anniversary Celebration dinner-dance at the Washington Hilton

Title: Randall Junior High School 50th Anniversary Celebration dinner-dance at the Washington Hilton Hotel
Description: As part of the Randall Junior High School 50th Anniversary Celebration, party-goers dance to a band at a dinner-dance at the Washington Hilton Hotel.

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