Courtesy Manzi

Power Through "Nutcracker" with Jenelle Manzi's Dairy-Free and Gluten-Free Energy Fudge and Maple Bars

Ballet and baking have more in common than their first two letters. As in the studio, sometimes you attempt something new in the kitchen and it works out great.

And, sometimes, it fails spectacularly—an outcome that New York City Ballet corps member Jenelle Manzi is no stranger to in baking. "The first time I tried to make vanilla cupcakes with this strawberry rose frosting, I was using essential rose oil," she recalls, "I put two drops in an entire batch of icing and I realized I needed about a quarter of a drop. They tasted like perfume. They were completely inedible."



Manzi has since mastered her strawberry rose frosting's delicate flavor balance, as well as plenty of other recipes for healthy snacks and indulgent treats. She cut gluten out of her diet out of necessity, but she's a passionate proponent for conscious eating whether or not you have certain allergies or intolerances. Her recipes are full of wholesome, nutritious ingredients to power her busy life at NYCB, particularly during Nutcracker season (during which she runs the snow scene as many as four times in one day in rehearsal and performance!).

While you'll find plenty of picture-perfect recipes on her website and Instagram, Manzi shared two treats exclusively for Pointe readers: "Two delicious ways to satisfy your sweet tooth without compromising your energy levels during the busy Nutcracker season!"

Dark Chocolate Peppermint Energy Fudge spiked with Spirulina

Courtesy Manzi

This recipe is inspired by the fond memories I have of getting peppermint hot chocolate before ballet class when I was younger. I've always loved the flavor combination of chocolate and mint, particularly around the holidays. These drinks unfortunately tend to be loaded with sugar, which is not always the best thing for a dancer's energy levels. With this fudge, I tried to lower the sugar content so that it still tastes decadent, but it does not give you the quick energy spike and dreaded crash afterwards. I also added a tablespoon of spirulina to give it a little extra nutritional boost!

Ingredients:

9-10 oz unsweetened good quality chocolate (Scharffen Berger is a good choice)

¾ cup nut butter (try cashew, almond, pumpkin etc.)

¼ cup coconut oil

¼ cup maple syrup

3 medjool dates

1 tsp vanilla extract

1 tsp peppermint extract

¼ tsp sea salt

1 tbs spirulina powder

2 tbs arrowroot starch/flour

1 tbs cacao nibs for topping

Method:

  1. Line a 9x5 pan with parchment paper and set aside.
  2. Using a double boiler or makeshift double boiler (bowl set on top of a pot) melt the chocolate and coconut oil until silky smooth.
  3. Next, add the nut butter, maple syrup, dates, vanilla, peppermint, salt, spirulina, and arrowroot into the food processor.
  4. Carefully pour in the melted chocolate mixture and mix everything until smooth and thoroughly combined, scraping down the sides as needed.
  5. If the mixture is too thick, simply thin with a touch more maple syrup or coconut oil.
  6. Pour the mixture into the prepared pan and spread evenly. Smooth out the top, and sprinkle with cacao nibs (optional).
  7. Place your fudge in the freezer for about 20 minutes to allow it to set. Cut into small even squares and either enjoy right away or store in the refrigerator for about 1 week. You can also store the fudge in the freezer for up to a month. The fudge is best enjoyed at room temperature!

Cranberry Macadamia Maple Bars

Courtesy Manzi

These bars are naturally sweet, a touch salty, and reminiscent of my favorite cookie combination - white chocolate cranberry macadamia! While the search continues for dairy and refined sugar free white chocolate chips to add to the recipe, these bars combine healthy fats with an abundance of satisfying flavors that are perfect for a quick midday pick me up!

Ingredients:

1½ cups chopped macadamia nuts

½ cup chopped cashew

½ cup chopped pumpkin seeds

½ cup of puffed brown rice finely ground

1 cup puffed brown rice

1 tbs ground flaxseed

½ cup brown rice syrup

2 tbs coconut butter

1-2 tbs maple sugar

2 tbs lucuma (optional)

1 tsp vanilla

¼ tsp sea salt

⅓ cup dried cranberry

**If you're feeling more indulgent, you can add in some white chocolate chips

Method:

1. Set oven to 350°F

2. Prepare a square 9" glass baking dish lined with parchment paper

3. Mix all of the dry ingredients together (besides lucuma powder) in a large bowl.

4. Using a double boiler or saucepan, add in your brown rice syrup, coconut butter, lucuma, and vanilla - warm and stir until they are silky smooth.

5. Spoon the caramel-like mixture over the dry ingredients and mix with your hands until fully combined.

6. Split into two batches and press each batch as flat as possible into the baking dish.

7. Bake for 10-12 minutes.

8. Let cool slightly and cut into rectangular bars.

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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.

Two dancers in blue and black practice clothes and face masks, the woman in pointe shoes, pose together in a first arabesque tendu. Abarca Mitchell steps out of a mirrored pose as she adjusts the fingertips of the male dancer.

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."

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