Ebone Amos, MFA,
Eboné Camille Amos is a Visiting Professor of Dance in the Dept of Theatre and Dance at Austin Peay State University in Clarksville, TN where she focuses on Afro-aesthetics within contemporary dance techniques, dance history, improvisation (the embodiment of culture) and multidisciplinary approaches in dance composition and solo practices. She received a Bachelor of Professional Studies in Dance Education from the University of Memphis and a Master of Fine Arts Degree in Dance: Performance and Choreography at the Florida State University. As an MFA student, Eboné had the honor of performing her own choreography We Carry it Everyday in the COCO Festival in Port of Spain, Trinidad. She also premiered her thesis work Let The Church Say in Thomasville, GA. In addition to works in the University, she premiered her first contemporary ballet loose with the Tallahassee Ballet in the Evening of Music and Dance: Gershwin and Bernstein in Tallahassee, FL. As a performer, she has danced with Debbie Allen, Jawole Willa Jo Zollar, Millicent Johnnie and Josephine Girabaldi.
Before moving to Tallahassee, Ebone’s love for her community spanned over a decade of teaching over 2,000 children in her hometown of Memphis, TN. For 3 years, she spearheaded and developed a thriving dance program at Hickory Ridge Middle School. She also served as Resident Choreographer with the Young Actors Guild under the direction of Chrysti Chandler, an instructor at the Playhouse on the Square Summer Conservatory, and the Resident Ballet and Creative Movement Director at Briarcrest Christian School. In Memphis, Eboné was introduced to musical theatre. In 2010, she played Lorraine at Playhouse on the Square’s production of Hairspray. She went on to perform in A Chorus Line (Theatre Memphis), Mary Poppins, Peter Pan, Footloose, Ragtime (Playhouse on the Square) and Legally Blonde and Singin’ in the Rain (Merry Go Round Playhouse).
Eboné’s research includes multi-disciplinary solo practices (writing, sound score, voice), the body as politics and creating work that fosters the cultural advancement and empowerment of the black community. Her pedagogical practice stems from the importance of accessibility within the performing arts. As she considers her non-formal training to serve as the ultimate foundation of her current artistic practices, she uses this platform to help students explore their “mother tongue/that ‘you’ only ‘you’ can do” that isn’t necessarily found standing at the barre. “My movement aesthetic derived from family barbeques and church picnics. From playgrounds and middle school dances. I enjoy tapping into that ‘untrained’ part of me, the mother-tongue. The part that hasn’t been told it is right or wrong, it just is. I find this way of moving supremely special; highlighting the raw and uncut uniqueness found in us all; in the way we walk, the way we stand, the way we maneuver through life. I prefer this way of moving finessed with a technical prowess that enhances the line, shape and form of what our bodies do naturally. The way I move naturally is rhythmic, gestural, full of drops and swings and shifts and always grounded into the earth. I start with that and see where the rest takes me.”