Before I was a Producer of hit television programing, I was a Dancer. As a young boy, I latched onto movement as an art form to build confidence, and from it grew an abiding love for performance. Throughout my academic and professional careers—from the Theatre Department at Howard University to producing art and entertainment for stage and television—I have come to appreciate, engage in, and support the various roles that transform one’s creative vision into another’s entertainment. 


Concert dance was my first love. It is amazing that even after my television production achievements, dance still consumes my heart. On the side—I have managed to produce video dance work featured at American Dance Festivals; Dancing for the Camera, be a principal dancer in Spike Lee’s She’s Gotta Have It” on Netflix, and most recently display my dance video work in Senegal West Africa. Audiences have changed greatly over the last 20 years due to technological advancement and because of the internet becoming a broad menu of dance enjoyment. Besides Dancers, the thing that will keep dance alive is technology. 


My mother often says she felt me as a dancer in her womb, because I never stopped moving. That unbridled impulse to move followed me through my adolescent years to Austin-East Magnet High School—where I began to concentrate on dance, no longer as an innate impulse, but as a discipline. At age 15 I was introduced to the American Dance Festival, and my life was forever changed. 


I entered Howard University in the fall of 2000, as a dance major. There, I realized that—as much as I loved my own body in motion—I would not be able to sustain a professional dance career for more than a decade. With the long view in mind, I added another level to my love affair with performance art: Producing. Intrigued and inspired by the coalescence of art and business—I changed my major to Theatre Arts Administration and learned what it takes to produce a show and manage a business. As to be expected—in my early 20s art took me to New York City. I was fortunate to start my career stage managing several dance companies and grant writing for artists and choreographers seeking funds to support their works. 


My education had prepared me well, and the work was very fulfilling: it gave me the opportunity to put my management skills to use, while still being a part of creating dance work. In order to expand my production and management skills and keep afloat in the spiraling economy, I explored television production and loved it. Because the majority of television production is freelance, I have been able to learn hard production management skills and styles from multiple networks and third-party companies. I moved up the ranks quickly. Today, organizations tend to recruit me from a wide variety of show styles and internationally know platforms. As a line Producer—at the highest tear of production management— I facilitate, hiring, long- and short-term logistical planning, procurement contract negotiations, regulatory media clearance, trade-out agreements and the overall monitoring/tracking of show’s production budgets. It is truly my hope that I can combine my love for movement, fashion, and my skill for production in a single position to inspire audiences globally.  

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