Beau Campbell finishes her season with Ballet Arizona in late spring. Then the company takes a two-month summer break, but Campbell, 26, doesn’t. After a short vacation (two weeks in Europe last year), she gets into her Toyota and drives from Phoenix to her native California. Robert Dekkers’ Post:Ballet gets going in San Francisco in late June, and this is Campbell’s fourth year as a guest artist.
Pickup companies and off-season gigs have a long tradition in the dance world. The reasons dancers and choreographers latch onto them go beyond the mixed blessing of being the kind of people who thrive on hard work.
“I feel a lot more free,” Campbell says of dancing with Post:Ballet, a modern-classical-multidisciplinary venture that features Dekkers’ choreography, as opposed to Ballet Arizona, which normally performs full-length ballets and Balanchine repertoire. “The works that I’m doing at Post leave a lot more room for interpretation,” she says. “I don’t feel an obligation to look at past ballerinas doing parts or perform a certain way. It’s easier to throw yourself into something and not be scared of the outcome.”
Pacific Northwest Ballet’s Andrew Bartee agrees. At 22, he is a PNB veteran: He started school there at age 12 and joined the corps de ballet in 2009. But he relishes his work with Olivier Wevers’ Whim W’Him, which focuses on modern movement. “I’m in socks all the time, which I enjoy,” says Bartee, who also works with choreographer Kate Wallich’s The YC, which puts its pop culture credentials front and center. “It feels free to me.”
There’s that word again. But for Bartee, the freedom and variety are also practical steps in his career development. “My work at PNB is a lot more classically based, doing the full-lengths and lots of corps work,” he says. “I feel like I’m growing so much faster than I would be just working on Sleeping Beauty.”
Wevers sometimes choreographs roles specifically for Bartee, including Flower Festival, a duet with Lucien Postlewaite that Bartee loves because it is “very shape-driven and angular.” Bartee, who has choreographed for PNB and presented his first piece for Whim W’Him in May, admires Wevers’ focus on male partnering. “There is an equal give-and-take relationship in that kind of partnership that is very physically satisfying—you feel like you are being supported as much as you are supporting your partner.”
Directing—as well as dancing in—a part-time company has its own appeal, as New York City Ballet principal Daniel Ulbricht has discovered. He founded his own pickup company, recently renamed Stars of American Ballet, in 2008. Although the troupe’s mission is developing arts awareness beyond America’s cultural capitals, Ulbricht appreciates his fellow dancers’ situations. “It’s the opportunity to sometimes perform a new role, explore new partnerships,” he says. “It allows them to experiment without the pressure” and expectations of a big company.
As for Ulbricht, he admits that he “fell in love with the process of it—booking travel, acquiring rights.” He had considered returning to school, maybe to study arts administration, but has decided that company management can feel like a university education in itself. “I’m able to stimulate the intellectual and logistical side of my career,” he says. “God only knows what I’m going to be doing 10 years from now.”
This year Ulbricht’s company has tour dates in Texas, Alabama and, thanks to a personal contact, Ulan Bator, Mongolia. But travel is just a bonus. “Variety is really what keeps you going,” he says. “It sparks my dancing and my teaching.”
That makes sense to Gemma Bond, as well. The absence of variety is one thing she doesn’t miss about The Royal Ballet in London, where she danced as a first artist until she joined American Ballet Theatre five years ago. “When I was in The Royal, I wasn’t close-minded,” she says. “I was going to see others dance. But in the corps de ballet, you do the same things over and over.” Plus, The Royal “has shows all year, so there was no time for me to do any other projects.”
Now, thanks to ABT’s schedule, she is able to work with Diana Byer’s New York Theatre Ballet throughout the year. One of her works for the company had its premiere in March. “I just love the process of creating something new,” says Bond, 30. She also will make a piece for Intermezzo, a new part-time company founded by ABT soloist Craig Salstein, who considers his venture something of a cause. “I’m rebelling against the repertoire, the repeating and reviving,” says Salstein, 30.
Of course, ABT has its share of new, often innovative works, many by its artist in residence Alexei Ratmansky, but the bulk of the repertoire is still classical and doesn’t tend to show off the corps as individual dancers. Salstein, who acknowledges that the classical repertoire has been very good to him, says he sees “other people suffering in the corps, because they’re sort of chess pieces” and prone to apathy.
In October, Intermezzo will dance a program choreographed to Giuseppe Verdi’s string quartet in E minor and music from Un Ballo in Maschera at New York City’s 92nd Street Y, celebrating Verdi’s 200th birthday. Eight young dancers will take the stage and each will have his or her moment in the sun in front of a discerning New York audience. Salstein, who has also invited ABT principal Marcelo Gomes to make a work for the new company, says that Intermezzo does not signal a career move and that he doesn’t aspire to be the next artistic director of anything (“I’m not looking for an exit strategy”). It is not an ego-driven decision either, he says, because he does not expect to dance or even choreograph, for now. Freedom comes in many guises.
Anita Gates writes about the arts for The New York Times.
Latest Posts
Jan 07, 2021
Vadim Shultz, Courtesy Mariinsky Ballet
Catching Up With Maria Khoreva: The Rising Mariinsky Star on Her TV Competition Win and New Book
The coronavirus pandemic has not slowed down the Mariinsky Ballet's Maria Khoreva. Although Russia's Mariinsky Theater was closed in 2020 from March until August, the 20-year-old first soloist used the time in quarantine to her advantage. She wrote a newly published book titled Teach Me Ballet, and won Best Female Dancer on Russia's hit TV show "Grand Ballet," a competition which brings young ballet dancers from all parts of the country to the national spotlight. (This season, filmed over the summer, was broadcast on Russia's arts channel from November 4 to December 19. All seven episodes are now available on YouTube.)
Pointe spoke with Khoreva to find out more about her experience on the show, her fitness regime during quarantine and her new book.
<p><strong>What was your reaction when you found out that you would be participating in "Grand Ballet"?</strong></p><p>Given the situation with the pandemic, I had thought the competition would be canceled. But to my pleasant surprise, we started rehearsals at the end of May, and the filming began in July at a film studio in Moscow. For me, it was a great honor to represent the Mariinsky Theater, and I am very grateful to my director, Yuri Fateev, for believing in me and entrusting me to represent my theater on this project. After a long hiatus from the stage, I was so happy to be back in the studio and onstage doing what I love.</p><p><strong>Tell us about the rehearsals.</strong></p><p>I was initially supposed to perform with Nikita Korneyev, but after he was injured, Mariinsky Ballet principal dancer Vladimir Shklyarov stepped in and partnered me. It was challenging to get back onstage after the quarantine, but I found the whole rehearsal process to be incredibly inspiring. It was a miracle to prepare six different programs in such a short time—and I am still amazed at this. During the lockdown, we had missed the stage very much, so the eagerness to perform provided us with strength, enthusiasm and motivation.</p>
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<p><strong>What was it like performing on the show?</strong></p><p>"Grand Ballet" is not an ordinary ballet competition. For instance, there would be times during the performances when a cameraman would run out onto the stage to take a close-up shot and often this would happen at the most crucial moment of our performance. The most important thing for us was to dance as beautifully as we could, and we got used to performing in the film studio versus on the stage in the theater.</p><p><strong>The four judges, who are professional ballet artists, gave your corrections in front of millions of TV viewers. How did you feel about it?</strong></p><p>I really love and appreciate criticism—this is what allows me to grow. I think that when you are not corrected, you are at a standstill. We listen to criticism every day from our teachers in the studio, so I am very grateful to the jury for their comments and advice. And I think their corrections were also of interest to the TV audience: Learning about intricacies and nuances of a ballet performance was a kind of master class for them, too.</p>
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<p><strong>In the first episode, which was called "Calling Card," you performed a pas de deux from <em>The Sleeping Beauty</em>. Why did you choose this piece?</strong></p><p>I danced my premiere of Aurora at the Mariinsky in February, right before the pandemic. And we all agreed unanimously, including our wonderful coach Elvira Tarasova and the show's organizers, that this would be the best piece for my "Calling Card" episode.</p><p><strong>For the sixth round, you danced Christopher Wheeldon's <em><a href="https://www.youtube.com/watch?v=FXwGWw95xlY&list=PL66DIGaegedpYCvbwRooepACWyfnvn-m-&index=3">After the Rain</a></em>. How did you prepare?</strong></p><p>I have always dreamed of working with Christopher Wheeldon. To prepare, we first learned all the choreography with his assistant, and then Christopher himself joined rehearsals via Zoom from his apartment in New York City. We could feel his energy even through a computer screen! It certainly was an unforgettable experience. He gave us a lot of interpretive freedom, encouraging us to tell our own story and show our own personality.</p>
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Khoreva (third from left) with her fellow "Grand Ballet" contestants and jury members
Courtesy Mariinsky Ballet
<p><strong>What were your favorite memories about this competition?</strong></p><p>My two favorite moments were the fifth and sixth rounds of the competition. In the<a href="https://youtu.be/gV-kAH5jABQ?t=5417" target="_blank"> fifth round</a>, we premiered a new ballet, created specifically for this project by Alexander Sergeev, our colleague and soloist at the Mariinsky Theater. It is a vigorous work, with cheerful music and virtuosic choreography. Then in the sixth round, we danced <em>After the Rain</em>, which is slow and atmospheric. It was such a joy to prepare and perform such amazing and contrasting contemporary pieces.</p><p><strong>Last spring and summer, how did you spend your time during the quarantine? What did you do to keep in shape and stay motivated?</strong></p><p>I exercised at home and began sharing my fitness exercises on my YouTube channel. My videos really resonated with the viewers: the number of subscribers increased every day. People enjoyed the fitness classes that we could do together online as a community. I found inspiration both in my subscribers and in my friends, with whom I corresponded on Instagram. We all have become very close during this time.</p>
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<p><strong>You also just wrote a book, published in December. What is it about?</strong></p><p>The idea to write a book was born during the quarantine. I was approached by the publisher with a proposal to write a practical guide, in which I would share my fitness exercises and methods of doing them. The book is 400 pages long and called <em>Teach Me Ballet</em>. In it, I share my personal experiences and talk about ballet classes as well as fitness exercises. I think it will be interesting not only for ballet professionals, but for everyone who wants to stay fit—the subtitle of the book is <em>How to Educate Your Body</em>. I also share stories that influenced my path in ballet and talk about various gadgets—what helps me onstage and in class—the things that have now become such a part of my regimen that I can't imagine my life in ballet without them.</p><p><strong>The Mariinsky Ballet's season started up again in the fall. What have been your most memorable performances after the quarantine? How does it feel to perform in a partially filled theater?</strong></p><p>I was fortunate to dance in two works by Alexei Ratmansky: the company premiere of <em>Seven Sonatas</em> and <em>Concerto DSCH</em>. For <em>Seven Sonatas</em>, Alexei worked with us via Zoom on the technique, as well as the details and intricacies of the choreography. Dancing in these two ballets was simply pure happiness. And I must say, when we are onstage now, we do not feel that the theater is only partially filled. The audience always welcomes us with great warmth—and even greater appreciation.</p>
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Jan 14, 2021
Karolina Kuras, Courtesy ROH
The Royal Ballet’s Yasmine Naghdi Shares Her Go-to Self-Care Ritual and Her Favorite Recipe
Royal Ballet principal Yasmine Naghdi had been gearing up to star as the Sugarplum Fairy in a December livestream performance of The Nutcracker when London went back into heavy COVID-19 restrictions. The performance was canceled, but Naghdi has been taking this current setback, and the challenges the pandemic has brought over the last 10 months, in stride. In addition to keeping up with her training, she's been taking Italian lessons virtually and preparing elaborate meals with her boyfriend ("We're both real foodies," she says). Last fall, Naghdi, who has always loved cooking, travel, design and self-care, decided to share her offstage passions with fans on her new Instagram page, @lifestyle_by_yas.
Naghdi recently talked with us about staying flexible to the UK's lockdown changes and her post-performance wellness routine, plus offered a recipe for her favorite pasta dish.
<img lazy-loadable="true" src="https://assets.rebelmouse.io/eyJhbGciOiJIUzI1NiIsInR5cCI6IkpXVCJ9.eyJpbWFnZSI6Imh0dHBzOi8vYXNzZXRzLnJibC5tcy8yNTQ1NTAwMy9vcmlnaW4uanBnIiwiZXhwaXJlc19hdCI6MTY1MDA3NjM4Nn0.IAqI-l1l__hBkeGpRe2K_ezqFKLgnw87pcvld0_0XUQ/img.jpg?width=980" id="f5d6e" class="rm-shortcode" data-rm-shortcode-id="a925d7e1076c9063d72b45a6405f4836" data-rm-shortcode-name="rebelmouse-image" alt="A ballerina in a tiara and light pink tutu, tights and pointe shoes stands in attitude with her right arm up and her left arm around her partner's right shoulder. He stands in tendu and wears a matching jacket and tights and crown." />
Naghdi and Matthew Ball in The Royal Ballet's Nutcracker
Karolina Kuras, Courtesy ROH
<p><strong>How was it preparing for the livestream performance of <em>The Nutcracker</em> last month, only to have it canceled due to new COVID-19 restrictions in London?</strong></p><p>We worked so hard to get ourselves up to peak condition, and, I admit, it's been trickier than usual. Normally, at this point in the season we would have performed multiple ballets and our stamina would be in tip-top form. However, this wasn't the case this year. I managed to perform four times from March until December. When the announcement on December 19 came out introducing harsher restrictions, the company was notified and the livestream had to be canceled. This was very sad news for us all, but everyone's health is the main priority. [The show was replaced with an online performance of Christopher Wheeldon's 2017 production of <a href="https://stream.roh.org.uk/packages/alice-s-adventures-in-wonderland-2017/videos/alices-adventures-in-wonderland-2017?_ga=2.41391211.875849276.1610326384-272174007.1608646171" target="_blank" rel="noopener noreferrer"><em>Alice's Adventures in Wonderland</em></a><em>, </em>available to watch until January 21.] </p><p><strong>What was the inspiration for launching your @lifestyle_by_yas Instagram page during the pandemic?</strong></p><p>I had so much time on my hands that my creativity needed an outlet. In the early stages, I shared meals and the cozy, designed corners in my new home on my ballet Instagram page. But I realized I'd better create an entirely different account exclusively geared towards my other passions, like international travel, interior design, collecting unique decorative objects and sourcing vintage couture. The pandemic restricted my moves, so I haven't been able to share as much as I had hoped. I also love all things self-care, so I plan to include more of my skin-care rituals, makeup, etc. I imagine the page to be something like a mood board while sharing recipes, past travels (with hopefully more travels in the future!) and more.</p><p><strong>What will be your go-to travel spot, post-pandemic?</strong></p><p>I hope to be able to travel to a warm country, wherever that may be. Last year my boyfriend and I had various holidays planned, but they all got canceled: Rio de Janeiro in January, Tuscany during Easter and the Greek islands for the summer. I love the proximity of the sea wherever I go on holiday, and I am currently dreaming of island hopping in Indonesia.</p>
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</div></blockquote></div><p><strong></strong><strong>What's your favorite self-care regimen after a performance and to beat the winter blues?</strong></p><p>As soon as I arrive home after a performance, I run a hot bath, adding Epsom salts to aid muscle recovery. I also add Molton Brown Cypress and Sea Fennel bath crystals, as the smell is absolutely wonderful.</p><p>To beat the winter blues, I use The Sanctuary Spa salt scrub, to get rid of dead skin, and a rich, moisturizing hair mask (I love Kerastase Paris Chronologiste mask). Once out of the bath, I use a rubber hydration mask by Dr. Jart+, and then I finish off with Dermalogica antioxidant hydra-mist. After blow-drying my hair, I work some Kerastase oil into the tips of my hair. I'll also do an at-home manicure; currently I'm using Essie's Treat Love & Color polish. It is a light pink that's great as an everyday color, and it's not distracting onstage, either.</p>
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<p><strong>What's your favorite winter comfort food, and do you have a recipe you can share?</strong></p><p>My favorite winter comfort food would be a big plate of pasta or mushroom risotto. My absolute favorite recipe is linguine alle vongole (pasta with clams). I've developed my own take on it after learning from relatives and online recipes. It is beyond delicious, and it does not taste nor smell fishy at all. It's easy to make but does require attention to detail. </p>
Yasmine Naghdi's Linguine Alle Vongole Recipe
<img lazy-loadable="true" src="https://assets.rebelmouse.io/eyJhbGciOiJIUzI1NiIsInR5cCI6IkpXVCJ9.eyJpbWFnZSI6Imh0dHBzOi8vYXNzZXRzLnJibC5tcy8yNTQ1NDkwMS9vcmlnaW4ucG5nIiwiZXhwaXJlc19hdCI6MTY2NjgzNTg4NH0.AUfgqIPLzrohWBQfE9RpfIYKPCOih-NQt8CgZVt9ufQ/img.png?width=980" id="b87f5" class="rm-shortcode" data-rm-shortcode-id="0879746c011be14495610644b7444976" data-rm-shortcode-name="rebelmouse-image" alt="A close photo of white plate with linguine pasta, clams and parsley" />Getty Images
<p>The ingredients are:</p><p>800 g (1.8 lbs) fresh clams, about 200 g (7 oz) per person</p><p>3–5 garlic cloves, peeled and finely chopped</p><p>1–2 handfuls fresh parsley, finely chopped</p><p>1 pepperoncino (red chili pepper) or dried flakes (amount depends on your preference)</p><p>4–5 tbsps extra-virgin olive oil</p><p>320–400 g (11–14 oz) linguine or spaghetti</p><p>1/2 glass dry white wine</p><p>Earlier in the day, soak the clams in cold water and add 2–3 teaspoons of salt (ONLY). Leave the clams in throughout the day, as they will release sand. </p><p>Finely chop the peeled garlic, parsley and chili so you have this ready when it's time to cook. (Remove the seeds from the chili if you want a milder flavor.)</p><p>Wash the clams in cold water and remove any with broken shells. </p><p>Put a pot of water on to boil for the pasta.</p><p>While the water is heating: In a deep frying pan, add half of the olive oil, chopped parsley, garlic and chili pepper. Throw in the clams and cook, covered, over high heat until they have opened (about 5 minutes). Shake the pan gently every so often to make sure the clams cook through evenly.</p><p>Allow the clams to cool a little, then remove the meat from most of the clamshells, keeping some intact for decoration. Set the meat aside and discard the empty shells.</p><p>Filter the clam liquid from the pan several times. Don't discard it; this liquid is crucial to the flavoring of your pasta!</p>
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<p>Cook the pasta for half the time it says on the box. You don't need salt, as the clams will already be a little salty.</p><p>In the meantime, heat up a wok or deep frying pan with olive oil and the rest of the garlic, chopped parsley and chili.</p><p>Once your pasta is half cooked, don't drain it; instead, transfer it into your frying pan, allowing some pasta water to go with it. Add the clam juice you previously filtered bit by bit, which allows the pasta to continue to cook while absorbing the juice's flavor. Add the white wine, and once the juice has been absorbed and you are 1 minute away from the full cooking time of your pasta, add the clam meat. Continue cooking for 3 minutes.</p><p>Mix everything together well and serve immediately, with another sprinkling of chopped parsley and olive oil.</p>
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Jan 13, 2021
From left: Anthony Crickmay, Courtesy Dance Theatre of Harlem Archives; Courtesy Ballethnic
Lydia Abarca Mitchell, Arthur Mitchell's First Ballerina, Builds On Her Mentor's Legacy in Atlanta
It is the urgency of going in a week or two before opening night that Lydia Abarca Mitchell loves most about coaching. But in her role as Ballethnic Dance Company's rehearsal director, she's not just getting the troupe ready for the stage. Abarca Mitchell—no relation to Arthur Mitchell—was Mitchell's first prima ballerina when he founded Dance Theatre of Harlem with Karel Shook; through her coaching, Abarca Mitchell works to pass her mentor's legacy to the next generation.
"She has the same sensibility" as Arthur Mitchell, says Ballethnic co-artistic director Nena Gilreath. "She's very direct, all about the mission and the excellence, but very caring."
Ballethnic is based in East Point, a suburban city bordering Atlanta. In a metropolitan area with a history of racism and where funding is hard-won, it is crucial for the Black-led ballet company to present polished, professional productions. "Ms. Lydia" provides the "hard last eye" before the curtain opens in front of an audience.
For more than 25 years, coaching at Ballethnic has been a lifeline back to Abarca Mitchell's days with DTH. She had a stellar career, both with the company and beyond, but left the stage at age 30 after an injury sustained performing in Dancin' on Broadway. Her husband's job transferred them to Atlanta, where she transitioned to a full-time job as a medical transcriptionist while raising a family. Now retired from her second career, Abarca Mitchell continues to forward Arthur Mitchell's legacy, not only through coaching but also by building community among DTH alumni and writing her memoirs—a fairy-tale story of a child who came from the Harlem public-housing projects and became a trailblazing Black ballerina.
Abarca Mitchell grew up during the 1950s and '60s, the oldest of seven in a tight-knit family. She always danced, taking cues from Hollywood figures until a fourth-grade teacher saw her talent and encouraged her to seek formal training. The family couldn't afford ballet lessons, but Abarca Mitchell earned a scholarship to attend The Juilliard School's Saturday youth program, and later the Harkness Ballet's professional training program. But for all of those ballet classes, Abarca Mitchell never had the opportunity to see or perform in a ballet production. She didn't understand the purpose behind ballet's tedious class exercises.
When the fast-growing Harkness Ballet moved its scholarship students to the June Taylor Studio on Broadway, Abarca Mitchell remembers hearing live drumming, clapping and laughter coming from the studio across the hall. It was a jazz class taught by Jaime Rogers, who'd played Loco in the West Side Story movie. Abarca Mitchell started sneaking into Rogers' classes.
When Harkness informed her that her scholarship was exclusively for ballet, Abarca Mitchell left the program. She saw no future for herself in the white-dominated ballet world, and focused on academics during her last two years of high school.
At 17, Abarca Mitchell met Arthur Mitchell. He had made history as the first Black principal dancer with New York City Ballet, which he had joined in 1955, and had just begun to shape what would become Dance Theatre of Harlem when he hired Abarca Mitchell in 1968. Within a month, she was back on pointe. Within two months, she was performing in Arthur Mitchell's Tones. "I didn't even know what ballet was until I was onstage," Abarca Mitchell says. "All of a sudden, it was my heart and soul."
Arthur Mitchell made sure his dancers saw NYCB perform, and subsequently brought Balanchine's Agon, Concerto Barocco and other NYCB works into the DTH repertoire. "Physically and emotionally, I felt the connection of jazz in Balanchine's choreography," Abarca Mitchell says. "His neoclassical style was just funky to me. I could totally relate."
For the first time, Abarca Mitchell danced with people who looked like her and shared the same aspirations, she says, with a leader who "saw us through his eyes of love and achievement."
In Abarca Mitchell's 30s, after a performing career that took her from DTH to the film version of The Wiz to Bob Fosse's Dancin' and beyond, her husband's job took their family to Atlanta. She soon connected with Gilreath and Waverly Lucas. The couple, also DTH alumni, were influenced by Arthur Mitchell's model when they founded Ballethnic, seeking to create access for dancers of all backgrounds to develop as classical dancers and perform a repertoire that represents the company's culturally diverse home city. Over time, Abarca Mitchell became a trusted advisor.
Abarca Mitchell goes in at least twice a year to coach Ballethnic's productions—such as Urban Nutcracker, set in Atlanta's historically Black Sweet Auburn neighborhood, and The Leopard Tale, which features the company's signature blend of classical pointe work with polyrhythmic dance forms of the African diaspora. These final rehearsals give Abarca Mitchell a way to fast-track the transfer of her mentor's values.
Lydia Abarca Mitchell works with Ballethnic's Calvin Gentry and Karla Tyson.
Courtesy Ballethnic Dance Company
She recalls that Arthur Mitchell taught his dancers to present themselves at their finest—to enter a room with their heads held high and shoulders back—and to dress, speak and walk with dignity and self-respect. He reminded them that they were pioneers and ambassadors for Blacks in ballet. As the company gained international stature—Abarca Mitchell was the first Black female ballerina to appear on the cover of Dance Magazine, in 1975—he insisted the dancers remain humble and in service to the greater mission. But he was also a taskmaster. "No nonsense, no excuses," Abarca Mitchell says. "There was no slack. If he was rehearsing something that you're not in, you'd better be on the side learning it."
"He didn't throw compliments around at all. You had to really kill yourself to get a smile from him." After a run-through, she says, "you didn't want to be singled out."
Abarca Mitchell takes a slightly different approach, though she doesn't compromise on the values her mentor instilled. When coaching large casts of all ages and different levels for Ballethnic, she has found ways to inspire people without tearing them down. She calls it a "tough love" approach.
"I've got to make them want to do it. I don't want to beat them into doing it," Abarca Mitchell says. "I tell them, 'You're here because you want to be, and because you auditioned and were accepted. Now, show me why I should keep you here.'"
"I tell them, 'I'm here to make sure you'll look good—you know: 'That looks fake. Let's make it look real. Think about what you're doing, so that it's not just a gesture.'"
Arthur Mitchell instilled this level of emotional honesty in his dancers, and it was key to the company's quick success. "We were bringing a thought forward," says Abarca Mitchell. "We were bringing a feeling forward, so that the audience could connect with us."
In addition to her position as rehearsal director for Ballethnic, Abarca Mitchell is today part of 152nd Street Black Ballet Legacy, a group of DTH alumni who seek to give voice to people responsible for the company's success in its early years. "It's incredible," she says, "how many people took something from DTH and applied it to their lives."
As Ballethnic prepares to co-host the International Association of Blacks in Dance Conference and Festival in January 2022, Abarca Mitchell hopes to help strengthen the network of dance companies associated with Ballethnic, such as Memphis' Collage Dance Collective. "The dream is for all of us to collaborate with each other," she says, "so that it becomes more normal to see a Black ballerina, so it's not just a token appearance."
Today's young dancers face different challenges from what Abarca Mitchell faced. She finds that they're more easily distracted, and sometimes act entitled, because they don't know or appreciate how hard earlier Black ballerinas like herself worked to clear a path for them. But what she's passing on will benefit them, whether they choose to pursue dance careers or become doctors, lawyers, professors or something else entirely. "The principles are the same," she says. "Work for what you want, and you will achieve it."