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Feb 24, 2021
Courtesy Dance Theatre of Harlem
Cicely Tyson and the Enduring Legacy of Arthur Mitchell’s Dance Theatre of Harlem
Cicely Tyson, the legendary 96-year-old Black actress whose February 16 funeral at Harlem's Abyssinian Baptist Church was attended by, among others, Tyler Perry, Lenny Kravitz, and Bill and Hillary Clinton, is remembered for performances that transcended stereotypes and made an indelible impression on a nation's heart and soul.
Among the most fondly remembered is her breakout role in the 1972 movie Sounder, which depicts a Black sharecropper family's struggle to survive in the Jim Crow South. The role catapulted Tyson to stardom, winning her an Academy Award nomination and a reputation as someone committed to enhancing Blacks' representation in the arts. Throughout a seven-decade career, countless critically acclaimed, award-winning roles in films, onstage and on television reaffirmed that image. Yet one role reflecting the depth of that commitment is much less visible—the supporting one she played working with longtime friend Arthur Mitchell when he envisioned, shaped and established the groundbreaking Dance Theatre of Harlem.
<p>The first time many learned of it was during the Riverside Church tribute following Mitchell's passing in 2018. There the elegant, petite <a href="https://www.youtube.com/watch?v=3MUjL3NJNDY" target="_blank">Tyson recalled</a>, through tears and laughter, their decades-long friendship: "To say he was one of the dearest persons in my life is an understatement." The story she shared that day, which is recounted in her current memoir <em>Just As I Am </em>(written with Michelle Buford)<em>,</em> involves an important piece of dance history.</p><p>Following the 1968 assassination of civil rights leader Dr. Martin Luther King, Jr., Tyson writes that she and Mitchell, like so many others, wanted to "carry on Dr. King's legacy...to move his dream from rhetoric to reality." Then, Mitchell had a brainstorm. It happened one morning at 3 am, during one of their hours-long, late-night phone calls that had become a habit following their chance meeting on a New York City street several years earlier, when Tyson's star was beginning to ascend and Mitchell's was shining bright at New York City Ballet, where he would become the company's first Black principal dancer. That night on the phone, Mitchell had a eureka moment: "I've decided what we should do. I am going to form my own dance company." Tyson recalls, "The fervor in my friend's voice, the passion with which he spoke, dragged me from my bed. I washed my face, pulled on a trench over my pajamas, and took a cab over to his place a few streets away. On Arthur's living room floor, amid papers and photographs he'd assembled while brainstorming, we sat talking about how we could move his vision forward."</p>
<img lazy-loadable="true" data-runner-src="https://assets.rebelmouse.io/eyJhbGciOiJIUzI1NiIsInR5cCI6IkpXVCJ9.eyJpbWFnZSI6Imh0dHBzOi8vYXNzZXRzLnJibC5tcy8yNTY4NDI4NS9vcmlnaW4uanBnIiwiZXhwaXJlc19hdCI6MTYzOTI2OTU1Nn0.XF4xUBhukgq2kpz1QEsZktBArxnvZ4G7xGrXZRBMCsc/img.jpg?width=980" id="fc42d" class="rm-shortcode" data-rm-shortcode-id="96d361ea5563acd38e2086449af67f1f" data-rm-shortcode-name="rebelmouse-image" alt="Cicely Tyson, wearing a billowy white blouse and her shoulder-length hair in braids reaches towards something across the table at Dance Theatre of Harlem's costume shop. Karel Shook, a white man with light hair and in a black T-shirt, sits to her right while Zelda Wynn Valdes, a black woman with short hair and glasses, sits to her right. A male and female Black dancer stand behind them, looking on." data-width="2664" data-height="1842" />
In foreground, from left: Karel Shook, Tyson and costume designer Zelda Wynn Valdes
Thaddeus Goven, Jr., Courtesy Dance Theatre of Harlem
<p>Before the sun came up, they had invited the actor Brock Peters, a mutual friend, to join the deliberations. The three thrashed out Mitchell's vision, as Tyson writes, of "opening a classical ballet school, a place where Black children—toes pointed, horizons expanded—could learn the rigors and discipline that had lifted him toward prominence." And, as the saying goes, the rest is history. Mitchell would reach<strong> </strong>out to his mentor, famed ballet teacher Karel Shook, beckoning him to return to New York from the Netherlands to be part of the venture, and secure the pivotal support of NYCB's George Balanchine and Lincoln Kirstein.</p><p>Countless young dancers have benefited from the vision hatched during a late-night phone call between two close friends. Not the least among them is DTH's current artistic director and founding company member Virginia Johnson, whose career includes critically acclaimed performances in such ballets as Balanchine's <em>Agon, Giselle, A Streetcar Named Desire</em> and <em>Fall River Legend. </em></p>
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<p>Recalling the charismatic Tyson, Johnson said recently that the actress was not only a dear friend of Mitchell's but also served on the DTH board for a time,<strong> </strong>becoming one of the company's national advisors. "[She was] a voice we looked to," said Johnson, "to tell us how she saw DTH in the world as the world changed, moving forward." Tyson even accompanied DTH on tour, teaching acting classes for the dancers. "It was an amazing experience," Johnson said. "She was teaching us a craft that we would use as dancers as much as she used it as an actor." In fact, while Johnson's roles in such dramatic ballets as Agnes De Mille's <em>Fall River Legend</em> "came in the '80s, when Tyson was no longer that involved with the company," Johnson said, "what she taught me in those early days stayed with me and were part of the tools I used to develop those characters."</p>
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<p>Of course, Cicely Tyson will always be remembered as the legendary actress whose career reflected a desire to shatter stereotypes and battle injustice. She portrayed characters who embodied strength, resilience and dignity. She must also be remembered as Arthur Mitchell's dear friend who helped form the blueprint of a ballet company that would accomplish a similar mission: shattering stereotypes and battling injustice while embodying excellence.</p>
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Feb 22, 2021
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As Ballet Looks Toward Its Future, Let's Talk About Its Troubling Emotional Demands
As a ballet student, I distinctively remember being told that to survive ballet as a profession, one must be exceptionally thick-skinned and resilient. I always assumed it was because of the physically demanding nature of ballet: long rehearsal hours, challenging and stressful performances, and physical pain.
It wasn't until I joined a ballet company that I learned the true meaning behind those words: that the reason one needs thick skin is not because of the physical demands, but because of the unfair and unnecessary emotional demands.
Undoubtedly, emotional and physical strength go hand in hand to some extent. But the kind of emotional demand I am talking about here is different; it is not the strength one finds in oneself in moments of fatigue or unwillingness. It is the strength one must have when being bullied, humiliated, screamed at, manipulated or harassed.
<p>The conditioning to endure intimidation and humiliation starts early for ballet dancers. Ballet<strong> </strong>training leaves very little space for the unique characteristics and personalities of young pupils. Instead, each student must fit into a mold that looks the same and acts the same. They learn that it is unacceptable to speak their mind or to challenge authority—all you must do is smile, nod and do as you're told. Ballet students become completely dependent on their teachers, and what comes to shape their sense of self is the words, opinions and attitudes of their instructors.</p><p>In many schools, there is little understanding of pedagogy and psychology; pedagogical training is based upon teachers' own experiences. Still, too often, ballet training fails to recognize children's vulnerability. Not every child learns and develops the same, and they have different needs and body types. Rather than fostering care, empathy and creativity, ballet training encourages a "survival of the fittest" mentality. This can easily lead dancers to believe that ballet is only for strong-minded people. On the way, we lose a staggering number of beautiful artists who are just as able, only too vulnerable. </p><p>From my own years in ballet school, I remember my teacher comparing me to other students, calling me a "cloud head" and a "lethargic snail," and continuously mocking me for my weight. There were some wonderful moments as well, moments when I felt ecstatic onstage or after a well-executed rehearsal, or when I felt I was cared for by a teacher who believed in me and my individualistic abilities. But even then, fear and insecurity shadowed every accomplishment.</p>
<p>This hostile environment continues from ballet schools to company life. In most cases, directors, ballet masters and choreographers are authority figures that, more often than not, hold all the ropes in their hands, making decisions that affect the lives of young, impressionable artists. Unfortunately, dancers too easily become marionette dolls who move, act and do what they are told with no personal agency, and with fear of being replaced or pushed aside at any moment.</p><p>Ballet as an art form is not emotionally hostile, tough or cruel. It is the atmosphere created around it. It is those certain choreographers who are bullies, those directors who play mind games, and those répétiteurs who humiliate and scream.<strong> </strong>For some odd reason, all of this is thought to just be "how it is." It is acceptable and normal. Many still believe that to create good art, one must be broken; that to produce something good onstage, the process has to involve screaming and shouting; that to get the best out of an artist, one must be tough, not kind.</p><p>During my nine-year professional career, I had the pleasure of working with extraordinary choreographers and répétiteurs who created an exciting and safe atmosphere in the studios. On the other hand, I lived in a constant state of fear. I felt that I had no control over my artistry or expression; every gesture, every movement, every choice was in somebody else's hands and one wrong move could destroy everything. No matter how unfair or cruel certain decisions were, they were always referred to as "artistic choices." During my career, I was told that I needed to have sex with men, be more feminine, be thinner but not too thin, be stronger, be more confident, have more personality but always stay in line…the list goes on. I was told to rehearse a variation on my own for months for an upcoming ballet only to see the cast list didn't even include my name. I was told to change how I dress, walked and talked. At the age of 18, my director told me that I must have a boyfriend and lots of crazy adventures outside of ballet to be interesting onstage. At the same time, a répétiteur told me that a good, dedicated ballet dancer must be committed only to dance and spend a minimum of eight hours at the theater daily. I always felt conflicted and unsure, unable to trust my own knowledge of my body or my own opinions. Whatever I did, somebody thought it was wrong or not enough. </p>
<p>Diverse body types and ethnicities are traditionally not celebrated in ballet, and neither are unique personalities and emotions. But every dancer's history, cultural context and lifeworld is colorful and personal. Some artists are strong and undefeatable, others are vulnerable. While screaming and yelling might push one dancer to her very best, it might break someone else. Ballet schools and companies need to recognize each student as an individual. No workplace, artist or performance has ever been ruined by fostering an empathetic and kind atmosphere.</p><p>Ballet demands discipline, resilience and patience, but there is no reason why these assets cannot be developed through care and support. Thick skin is not built by belittling. One's will is not strengthened with manipulation. When it comes to ballet, it is often thought that the end justifies the means. For some, art gives legitimacy to bad pedagogy. For generations, we have bowed in front of creative geniuses, putting them on a pedestal despite their ways. But no art is good art if it leaves broken artists behind.</p>
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<p>The circle keeps going: Broken dancers become broken teachers who produce broken pupils. It is time to create an art form that is inclusive and accepts mistakes and vulnerability. After all, the best art happens when one allows oneself to be vulnerable. Ballet, too, is at its best when what happens on the inside shows just as much as beautiful lines and clean movement.</p><p>There has been much concern in recent years about ballet's place in the modern world. Will it become one of those ancient art forms that's left in history, or will it continue to resonate with the viewers and artists of today? Perhaps the only way ballet can survive and keep its place is if it leaves its oppressive traditions behind and evolves along with the world into a kinder, more empathetic and accepting environment.</p>
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Feb 24, 2021
Artists of the Australian Ballet perform the "Kingdom of the Shades" from La Bayadère. Lynette Wills, Courtesy Australian Ballet.
Catch the Australian Ballet’s Livestreamed Season Premiere This Weekend
After a yearlong hiatus, the Australian Ballet is ready to return to the stage. The company's season opener, titled Summertime at the Ballet, packs a great deal of firsts: It marks the ballet's first performance before a live audience since the start of the pandemic; the first time the company takes the stage under the leadership of its new artistic director, David Hallberg; and the first time Australian Ballet performs at the Melbourne & Olympic Parks Margaret Court Arena. Another important first: The performance will be livestreamed not only in Australia but all over the world. Summertime at the Ballet will be broadcast February 28 at 11:45 am AEDT (that's 7:45 pm EST on February 27 here in the U.S.), with bonus features, such as interviews and commentary. It will be accessible for 48 hours to accommodate all time zones.
This livestream will be provided via the Australian Ballet's newly launched digital platform, Live on Ballet TV. "One of my main goals is for the company to be seen by as many people around the world as possible," says Hallberg, the American-born international star who took the helm at the Australian Ballet in January. "Which is why Live on Ballet TV is such an integral part of my vision artistically."
<p>The Australian Ballet has been a second home for Hallberg for nearly 10 years, and he has established a special connection with the company and its dancers. But in his new role, he says he comes "with fresh eyes and a fresh perspective," as well as his experience performing with some of the world's most illustrious ballet companies—experience which, he hopes, will allow him "to invigorate the Australian Ballet and its dancers" and bring them into the new era.</p><p>So what can the audience expect from the season's inaugural performance?</p><p>"Summertime at the Ballet is a big gala program that really shows off the talent in the company," says Hallberg. It opens with "Kingdom of the Shades" from <em>La </em><em>Bayadère</em>, "which in my opinion is the greatest display of the women's corps de ballet in the classical repertoire," says Hallberg. The program also includes Balanchine's <em>Tchaikovsky Pas de Deux</em>,<em> </em>as well as<em> </em>the pas de deux and finale of <em>Theme and Variations</em>. "There are also ballets by the company's resident choreographers, including Tim Harbour and Alice Topp, that highlight the work being created here in Australia."</p>
<img lazy-loadable="true" data-runner-src="https://assets.rebelmouse.io/eyJhbGciOiJIUzI1NiIsInR5cCI6IkpXVCJ9.eyJpbWFnZSI6Imh0dHBzOi8vYXNzZXRzLnJibC5tcy8yNTY4MzEyNS9vcmlnaW4uanBnIiwiZXhwaXJlc19hdCI6MTY0MzUzNjIxMX0.9Oo7mSTCsBE3wYv5Ze_87eavi6AWOilKrd-8zCWRH3c/img.jpg?width=980" id="57eb3" class="rm-shortcode" data-rm-shortcode-id="6259ea5abba076e8aa8347d692074dc3" data-rm-shortcode-name="rebelmouse-image" alt="A blond David Hallberg is shown from the back wearing a black tank top, watching rehearsal with his arms crossed. In front of him in the dance studio, three lines of ballerinas kneel on their right knee with their left leg extended and cambr\u00e9 slightly back with their arms in third position. They each wear a leotard, pink tights, pointe shoes and a white practice tutu." data-width="1440" data-height="1080" />
David Hallberg rehearses the corps de ballet in "The Kingdom of the Shades" from La Bayadère.
Christopher Rodgers Wilson, Courtesy Australian Ballet
<p>After a year offstage, it's no small feat to prepare such an impressive gala program, which will also include excerpts from <em>Don Quixote</em>, <em>Spartacus</em>, <em>The Merry Widow</em> and <em>Swan Lake</em>, among other pieces.</p><p>"I'm really proud of how we have prepared this program, and I've had a very productive time in the studios with all of the dancers, shaping the work," says Hallberg. While describing his approach to coaching, the new artistic director emphasizes the importance of developing and nurturing the dancers. "Every artist is different. Everyone has strengths and weaknesses. I observe, and then connect my experience to the dancer I am working with. There is so much fulfillment in seeing a dancer bloom under your development." </p><p>The performance will be held at Melbourne's Margaret Court Arena, notably acclaimed for hosting the Australian Open. The unconventional venue will offer some rare perks for ballet spectators, as there will be no customary curtain or wings. "The audience will see everything, from the warm-up to the entrances and exits," explains Hallberg. "We usually hide behind a curtain, and show the audience what we want them to see. But this time they will see everything, to the action onstage to the collapse of fatigue in the wings!" </p>
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<img lazy-loadable="true" data-runner-src="https://assets.rebelmouse.io/eyJhbGciOiJIUzI1NiIsInR5cCI6IkpXVCJ9.eyJpbWFnZSI6Imh0dHBzOi8vYXNzZXRzLnJibC5tcy8yNTY4MzA5OS9vcmlnaW4uanBnIiwiZXhwaXJlc19hdCI6MTYzODI0Mzg0N30.GjiLcL9mBnjVGY5NSURqIEccIjjSO8bT_KT2aFxeAi4/img.jpg?width=980" id="3f2d4" class="rm-shortcode" data-rm-shortcode-id="bbcc53c350fdf7b373ddd9a614ccbcb4" data-rm-shortcode-name="rebelmouse-image" alt="Wearing a black T-shirt, leggings and dance sneakers, David Hallberg stands in tendu derriere on his left leg with his arms in high fifth. A group of ballerinas in practice tutus watch." data-width="1350" data-height="1080" />
Hallberg in rehearsal
Christopher Rodgers Wilson, Courtesy Australian Ballet
<p>When talking about the company's new streaming platform Live on Ballet TV, Hallberg says he wants to spread the word about the company nationally and internationally. "We are very lucky to be able to perform in front of a live audience," he says, "but there are certainly people in Australia who cannot come to the show because of the pandemic. We are still recovering as a community. So it is imperative that we allow everyone to have the opportunity to see this program, including our international audience."</p><p>Hallberg is also excited to present the company's dancers. "We are beginning a new era, building a new generation of Australian dancers, and creating and upholding repertoire that is so important to be seen," he says. "It's a great turning point for this company that I know the world will enjoy."</p>
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