TT-born dance professor dedicated to using dance as tool for cultural preservation

TT-born cultural dance professor Kieron Dwayne Sargeant, now based in Albany, New York, is on a mission to transform Caribbean dance into not only a globally respected artform, but also a formally recognised academic discipline.

Deeply rooted in Caribbean traditions, Sargeant teaches and preserves African and Caribbean dance forms, fostering community through his classes in Brooklyn and beyond. His work is driven by cultural pride, a dedication to education, and a deep desire to honour ancestral legacies.

At 39, Sargeant fondly recalls his upbringing in San Fernando, Trinidad, a city he describes as vibrant and rich in culture and community.

“Growing up there, I was surrounded by music, dance and storytelling traditions that shaped my path as an artist.”

Community events and family gatherings in the South imbued his childhood with rhythm and celebration – experiences he credits with instilling a strong sense of belonging and an appreciation for the cultural wealth of Trinidad and Tobago.

Today, Sargeant is an assistant professor of dance at Skidmore College, where his work blends teaching, research, and creative practice. He designs and delivers courses on African and Caribbean dance forms, advises students, choreographs original works, and contributes to the broader academic community.

“Whether I’m in a classroom, rehearsal studio, or cultural centre, my work is dedicated to advancing dance as a practice, a field of study, and a tool for cultural preservation.”

In Brooklyn, he regularly hosts Caribbean dance workshops, describing the genre as “a diverse and dynamic collection of movement practices born from the complex histories of the Caribbean.”

He explains the dance form evolved from the experiences of enslaved Africans brought to the region, who, despite brutal conditions, retained drumming traditions, spiritual practices, and communal movement that have been adapted and preserved through generations.

“The Caribbean became a meeting ground of cultures,” Sargeant explains. “Traditional African dances absorbed elements from French and Spanish colonisers, as well as from East Indian, Chinese, and indigenous peoples. What makes Caribbean dance unique is how these threads wove together to create something both grounded and transcendent.”

Much of the form follows Africanist movement principles: polyrhythms, improvisation within structure, dynamic body usage, and community embodiment. Sargeant emphasises these are not merely recreational movements but complex systems of expression, memory, resistance, and identity.

So how did Sargeant first encounter Caribbean dance?

“I began my training in Trinidad, studying under tradition bearers like Louise McClashie and Torrance Mohammed,” he recalls. “They introduced me to the discipline and historical depth of our dances. Over time, I learned from master teachers across the Caribbean, which broadened my understanding of regional connections in movement vocabulary.”

What captivated him most was dance’s ability to tell stories. He said through dance, he could feel the pulse of his ancestors. Describing it as a profound sense of community and connection when dancing, whether in ceremony, performance, or social gathering.

"It is a way to connect to myself, to others, and to our heritage.”

Teaching Caribbean dance, he says, was a natural progression following his workshops and residencies at institutions like NYU, Barnard College, and Queensborough Community College. His classes drew interest from both Caribbean-descended students and others eager to learn.

A key-turning point came through his work with the community-based group Endless Vibrationz Dancers in New York. It was the first time he taught in a space that reflected the spirit he grew up with, he says.

“There, dance isn’t just about technique: it’s a lived culture.”

The group offers regular classes where people experience Caribbean dance as a sustaining, immersive practice, not just an occasional event. For Sargeant, Caribbean dance is far more than performance: it’s a lifeline to identity, history, and purpose.

“Caribbean dance connects every part of who I am. When I move, I feel anchored in the past, present, and future. It’s a spiritual practice as much as a physical one.”

To him, movement is memory, each gesture carries stories of resilience, survival, and creativity, what he calls "living archives. ” Through his choreography and teaching, Sargeant seeks to honour his lineage and give back to the communities that shaped him.

Sargeant’s Brooklyn classes, supported by collaborators Josh Hinds and Ashley Noel of Endless Vibrationz, have become a hub for not just movement and music, but multicultural exchange.

“People come from all backgrounds and experience levels, united by a shared hunger for rhythm, culture, and connection.”

Participants range in age from 15 to 65 and reflect a broad spectrum of Caribbean, White, Latinx, and other heritages. Some are trained dancers: others are complete beginners. This diversity, Sargeant says, fosters a rich and inclusive learning environment.

At the heart of his curriculum are traditional forms from TT: Bèlè, pique, bongo, limbo, fancy sailor, and Dame Lorraine, each carrying deep cultural meaning and historical weight.

“TT cultural dances are vessels of memory and identity,” he told Newsday.

Still, Sargeant acknowledges the challenges of elevating Caribbean dance in academic institutions often dominated by Euro-American forms.

“Early in my career, it was hard to find spaces that valued Caribbean forms equally,” he says.

He credits mentorship from leaders like Thomas Talawa Prestø for helping him develop rigorous pedagogical approaches that allow Caribbean dance to be taught in institutions, even where cultural context is lacking.

His ambitions stretch far beyond the studio. Sargeant is passionate about preserving and transmitting Caribbean dance in sustainable, meaningful ways.

“When young people see their heritage treated seriously, not just as entertainment for Carnival, it empowers them to dream bigger.”

He envisions international residencies, cultural exchanges, and touring opportunities that bring Caribbean dancers to global stages. In TT, he calls for stronger institutional support.

“We have an incredible wealth of talent and tradition. But too often, dance is treated as entertainment instead of as vital cultural practice.”

He advocates for a national dance archive, increased funding for research and education, and formalised professional pathways to legitimise dance as a serious academic and cultural field.

Among the challenges he faces are funding limitations, cultural appropriation, and balancing tradition with innovation.

“It’s painful to see our traditions reduced to stereotypes. That’s why I keep advocating for respect, context, and proper education.”

Despite the obstacles, teaching remains his source of purpose and joy.

“Every class affirms dance is more than my profession, it’s my purpose. I’ve learned patience, adaptability, and how to create spaces where students feel seen and challenged.”

Over the Christmas holiday season, Sargeant returned to Trinidad and led workshops alongside Arlington Serries and Carlos at the North West Laventille Cultural Movement and San Juan South Cultural Organisation.

“Going home grounds me: it reminds me where I come from and why I do this work.”

Looking ahead, Sargeant is working toward full professorship, an achievement he said would further amplify Caribbean dance in academic institutions. He’s also focused on expanding international platforms for dancers from the region to study, train, and perform globally.

“Long-term sustainability requires funding, partnerships, and infrastructure, and I’m committed to building all three,” he concludes.