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Before #BlackLivesMatter: A Timeline
Weidman leading a rehearsal of Lynchtown. Photo by John Daughtry, Courtesy DM Archives.
Charles Weidman’s Lynchtown depicts a mob hunting an outsider and surrounding him like vultures, an experience that Weidman himself witnessed as a child. The piece was part of a larger suite of works entitled Atavisms.
How Long Brethren? (1937)
Helen Tamiris choreographed a suite of eight pieces called Negro Spirituals, a protest of the discrimination against African Americans. The most famous was How Long Brethren?, which shed light on the lives of unemployed Southern blacks.
Strange Fruit (1945)
Pearl Primus’ Strange Fruit is a commentary on the panicked culture of lynching as seen through the eyes of a woman who witnesses the brutal event.
A two-part work about lynchings in America, Katherine Dunham’s Southland premiered in Chile, shocking the American embassy. It had only one other performance, in Paris. The U.S. government denied funding for future works by Dunham for her negative portrayal of the U.S. at the height of the Cold War.
Rainbow ‘Round My Shoulder. Photo by Rosemary Winkley, Courtesy DM Archives.
Rainbow ‘Round My Shoulder (1959)
Donald McKayle’s dramatic masterwork reveals the frustration of oppression and aspirations for freedom of a chain gang toiling in the American South.
Blues for the Jungle (1966)
A signature work that came to the stage in the Civil Rights era, Eleo Pomare’s Blues for the Jungle shed light on struggles like the Harlem riot of 1964.
Ceremony of Us. Laurie Gruenberg, Courtesy DM Archives.
Ceremony of Us (1969)
Following the Watts race riots in Los Angeles, Anna Halprin choreographed Ceremony of Us. She developed choreography for dancers from Studio Watts, an African-American arts organization, and separately for her all-white dance company, the San Francisco Dancer’s Workshop. The groups came together for a short rehearsal period before performing.
Alvin Ailey created Cry for “all black women everywhere—especially our mothers.” Judith Jamison, who originated the role, wrote: “She represented those women...who came from the hardships of slavery, through the pain of losing loved ones, through overcoming extraordinary depressions and tribulations...she has found her way and triumphed.”
Deep South Suite (1976)
Dianne McIntyre’s Deep South Suite shares realities of the 1940s South, set to Duke Ellington’s music.
Creole Giselle. PC Leslie E. Spatt, Courtesy DM Archives.
Creole Giselle (1984)
Frederic Franklin’s restaging of Giselle for Dance Theatre of Harlem sets the work in antebellum Louisiana, where Giselle can’t marry Albrecht because of her family ties to slavery.
Last Supper at Uncle Tom’s Cabin/The Promised Land (1990)
In this three-hour work, Bill T. Jones, then known mostly for pushing the avant-garde, dealt directly with his black heritage, confronting slavery and racism.
Minstrel Show (1991)
Donald Byrd created Minstrel Show in light of the slaying of Yusef Hawkins, a Brooklyn teenager killed by a white mob. Byrd reworked the piece in 2014 as The Minstrel Show Revisited after Trayvon Martin’s death and George Zimmerman’s acquittal.
Bring in ‘da Noise, Bring in ‘da Funk (1996)
Savion Glover’s musical revue showcased a history of African-American men from slavery to present day (the mid-’90s), with numbers like “The Chicago Riot Rag,” “The Lynching Blues” and “Slave Ships,” as well as a parody of Shirley Temple and Bill “Bojangles” Robinson.
Invisible Wings. PC Alan E. Solomon, Courtesy Jacob's Pillow
Invisible Wings (1998)
Joanna Haigood’s site-specific Invisible Wings is set on the grounds of Jacob’s Pillow, illuminating its history as a stop on the Underground Railroad.
Come home Charley Patton (2004)
In the third part of The Geography Trilogy, Ralph Lemon focused on various sites from the Civil Rights period, with a recording of a James Baldwin lecture about race.
Walking with Pearl (2004–05)
Jawole Willa Jo Zollar, founder of Urban Bush Women, created an homage to Pearl Primus in Walking with Pearl...African Diaries and Walking with Pearl...Southern Diaries, which received a New York Dance and Performance Award (Bessie).
Mr. TOL E. RAncE (2012)
Camille A. Brown’s Mr. TOL E. RAncE looks at intolerance and the modern dance minstrelsy.
What did we miss?
Share which dance works about racism and social injustice have spoken to you. Write to us on Facebook or Twitter @Dance_Magazine.
A few weeks ago, American Ballet Theatre announced the A.B.T. Women's Movement, a new program that will support three women choreographers per season, one of whom will make work on the main company.
"The ABT Women's Movement takes inspiration from the groundbreaking female choreographers who have left a lasting impact on ABT's legacy, including Agnes de Mille and Twyla Tharp," said artistic director Kevin McKenzie in a press release.
Hypothetically, this is a great idea. We're all for more ballet commissions for women. But the way ABT has promoted the initiative is problematic.
Some dancers move to New York City with their sights set on a dream job: that one choreographer or company they have to dance for. But when Maggie Cloud graduated from Florida State University in 2010, she envisioned herself on a less straightforward path.
"I always had in mind that I would be dancing for different people," she says. "I knew I had some kind of range that I wanted to tap into."
On the occasion of its 70th anniversary, the Ballet Nacional de Cuba tours the U.S. this spring with the resolute Cuban prima ballerina assoluta Alicia Alonso a the helm. Named a National Hero of Labor in Cuba, Alonso, 97, has weathered strained international relations and devastating fiscal challenges to have BNC emerge as a world-class dance company. Her dancers are some of ballet's best. On offer this time are Alonso's Giselle and Don Quixote. The profoundly Cuban company performs in Chicago May 18–20, Tampa May 23, Washington, D.C., May 29–June 3 and Saratoga, New York June 6–8.
We all know that the general population's knowledge of ballet is sometimes...a bit skewed. (See: people touching their fingertips to the top of their head, and Kendall Jenner hopping around at the barre.)
Would your average Joe know how to do ballet's most basic step: a plié? Or, more to the point, even know what it is?
SELF decided to find out.
New York City Ballet is celebrating the Jerome Robbins Centennial with twenty (20!) ballets. The great American choreographer died in 1998, so very few of today's dancers have actually worked with him. There are plenty of stories about how demanding (at times brutally so) he could be in rehearsal. But Peter Boal has written about Robbins in a more balanced, loving way. In this post he writes about how Robbins' crystal clear imagery helped him approach a role with clarity and purpose.
Who says you need fancy equipment to make a festival-worthy dance film? Right now, two New York City–based dance film festivals are calling for aspiring filmmakers to show their stuff—and you don't need anything more cumbersome than a smartphone to get in on the action.
Here's everything you need to know about how to submit:
When Lisset Santander bourréed onstage as Myrtha in BalletMet's Giselle this past February, her consummate portrayal of the Queen of the Wilis was marked by steely grace and litheness. The former Cuban National Ballet dancer had defected to the U.S. at 21, and after two years with the Ohio company, she's now closer to the dance career she says she always wanted: one of limitless possibilities.
For 17 years, James Samson has been the model Paul Taylor dancer. There is something fundamentally decent about his stage persona. He's a tall dancer—six feet—but never imposes himself. He's muscular, but gentle. And when he moves, it is his humanity that shines through, even more than his technique.
But all dancing careers come to an end, and James Samson's is no exception; now 43, he'll be retiring in August, after a final performance at the Teatro Romano in Verona, where he'll be dancing in Cloven Kingdom, Piazzolla Caldera and Promethean Fire.
The wait for Alexei Ratmansky's restaging of Petipa's Harlequinade is almost over! But if you can't wait until American Ballet Theatre officially debuts the ballet at the Metropolitan Opera House on June 6, we've got you covered. ABT brought the Harlequinade characters to life (and to the Alder Mansion in Yonkers, NY) in a short film by Ezra Hurwitz, and it's a guaranteed to make you laugh.
When an anonymous letter accused former New York City Ballet leader Peter Martins of sexual harassment last year, it felt like what had long been an open secret—the prevalence of harassment in the dance world—was finally coming to the surface. But the momentum of the #MeToo movement, at least in dance, has since died down.
Martins has retired, though an investigation did not corroborate any of the claims against him. He and former American Ballet Theatre star Marcelo Gomes, who suddenly resigned in December, were the only cases to make national headlines in the U.S. We've barely scratched the surface of the dance world's harassment problem.