Tag: African-American dancers

Juilliard-Bound Amari Frazier, 18, Brings Dance to Underserved Groups Through Chicago Non-Profit, Step Into Joy

Amari Frazier (photo by Thomas More Photography)

The day after he turned 18, Amari Frazier learned he had been accepted into New York’s most prestigious arts college Juilliard to study dance. But the real gift could be how he rewards Chicago’s South Side with dance now and for decades to come.

Frazier, a soon-to-graduate senior dancer at The Chicago Academy for the Arts, has used dance to spread love with the non-profit he founded a year ago with friends called Step Into Joy. Step Into Joy performs at churches and groups for those who have been abused, first by dancing for the audience and then dancing with them.

Amari Frazier (photo via Donna Frazier)

After attending Juilliard, Frazier plans to return to Chicago and build on Step Into Joy to create a dance academy for those who can’t afford it.

“I feel like you need to spread love in the world, more than hate, and there’s a lot of hate on the South and West sides,” Frazier said. “I just want to change the world and change the look of the South and West sides and how people are there. There are better ways to go about things, and dance is a great way to communicate with people. I know I can use dance to really help people and putting smiles on people’s faces.”

To see the Step Into Joy dancers in action, click here.

“He wants to give back to his community,” Donna Frazier said. “He sees the struggles in people, and he realizes where dance has taken him, and where it can take others.”

Frazier is the 10th Academy student to be accepted into Juilliard during Chicago Academy Dance Chair Randy Duncan’s tenure. Duncan said Frazier is “is a dancer of enormous talent and has a solid dedication to the art of dance.”

“His ability to focus is outstanding! Amari is one of those rare dancers that catches on to movement after only seeing it once,”  Duncan said. “He understands and delivers the message a choreographer gives with all the technique and emotion necessary, which allows him to capture and magnify the spirit of the dance.”

Frazier said attending The Academy has been a godsend for him as a student and performer. And he said it’s only the beginning.

“I want to provide kids who don’t have the funds for dance – because dancing is very expensive – with the resources through my foundation because everyone should have the opportunity to be able to do what they want,” Frazier said. “Dreams should be fulfilled, and they’re possible.”

For more information on Step Into Joy, visit https://stepintojoy.wixsite.com/stepintojoy

R.I.P. Dance Legend Arthur Mitchell, 84, Founder of the Dance Theater of Harlem

Arthur Mitchell in 1963. (Credit: Jack Mitchell/Getty Images)

by Jennifer Dunning via nytimes.com

Arthur Mitchell, a charismatic dancer with New York City Ballet in the 1950s and ’60s and the founding director of the groundbreaking Dance Theater of Harlem, died on Wednesday in Manhattan. He was 84. His death, at a hospital, was caused by complications of heart failure, said Juli Mills-Ross, a niece. He lived in Manhattan.

Mr. Mitchell, the first black ballet dancer to achieve international stardom, was one of the most popular dancers with New York City Ballet, where he danced from 1956 to 1968 and displayed a dazzling presence, superlative artistry and powerful sense of self.

That charisma served him well as the director of Dance Theater of Harlem, the nation’s first major black classical company, as it navigated its way through severe financial problems in recent decades and complex aesthetic questions about the relationship of black contemporary dancers to an 18th-century European art form.

Born in Harlem on March 27, 1934, Arthur Adam Mitchell Jr. was one of five children. His father was a building superintendent, and his mother, Willie Mae (Hearns) Mitchell, was a homemaker.

An avid social dancer all his life, Mr. Mitchell had his first exposure to formal training when a junior high school guidance counselor saw him dancing at a class party and suggested that he audition for the High School of Performing Arts in Manhattan.

Mr. Mitchell worked so hard there that in stretching he tore his stomach muscles and was hospitalized. But he was soon performing with the school’s modern-dance ensemble and experimenting with his own choreography. He also performed in Europe and the United States with Donald McKayle (who died in April), Louis Johnson, Sophie Maslow and Anna Sokolow, and he played an angel in a 1952 revival of the Virgil Thomson-Gertrude Stein opera “Four Saints in Three Acts” in New York and Paris.

Mr. Mitchell was 18 when he began studying with Mr. Shook, a demanding ballet teacher who encouraged black dancers to train in classical dance. On his graduation from the High School of Performing Arts he was offered a modern-dance scholarship at Bennington College in Vermont and a ballet scholarship at the School of American Ballet in New York. He chose to study ballet, although there were almost no performing outlets for black dancers in the field.

Beneath Mr. Mitchell’s gleaming smile and sunny charm was a tenacity of belief and purpose that could be almost frightening. In Lincoln Kirstein, a founder with Balanchine of the City Ballet school and company, Mr. Mitchell found a similarly stubborn friend. To get into the company’s corps de ballet, Mr. Kirstein told him, he must dance like a principal.

During his student years, Mr. Mitchell performed in modern dance and on Broadway in “House of Flowers,” and he was on tour in Europe with the John Butler Dance Theater when the invitation came to join City Ballet for the 1955-56 season.

When asked in an interview with The New York Times in January what he considered his greatest achievement, he said, “That I actually bucked society, and an art form that was three, four hundred years old, and brought black people into it.”

His dancing in just two roles created for him by New York City Ballet founder and choreographer George Balanchine ensured him a place in American ballet history.

In the first, in “Agon,” a trailblazing masterwork of 20th-century ballet that had its premiere in 1957, Mr. Mitchell embodied the edgy energy of the piece in a difficult, central pas de deux that Balanchine choreographed for him and Diana Adams. In this duet, “Balanchine explored most fully the possibilities of linear design in two extraordinary supple and beautifully trained human bodies,” the dance historian and critic Lillian Moore wrote.

“Can you imagine the audacity to take an African-American and Diana Adams, the essence and purity of Caucasian dance, and to put them together on the stage?” he said. “Everybody was against him. He knew what he was going against, and he said, ‘You know my dear, this has got to be perfect.’ ”

Five years after “Agon,” Balanchine created the role of a lifetime for Mr. Mitchell as the high-flying, hard-dancing, naughty Puck in “A Midsummer Night’s Dream.” He danced the part, Walter Terry wrote, “as if he were Mercury subjected to a hotfoot.”

Mr. Mitchell would forever be identified with the role.

One of the last ballets Mr. Mitchell performed with City Ballet was Balanchine’s “Requiem Canticles,” a tribute to the Rev. Dr. Martin Luther King Jr. created shortly after he was killed in 1968. Profoundly affected by the King assassination, Mr. Mitchell began to work toward establishing a school that would provide the children of Harlem with the kinds of opportunities he had had.

Mr. Mitchell, center, working with members of the Dance Theater of Harlem in 1997. He founded the company in 1969 with the dance teacher Karel Shook, a friend and longtime mentor. (Sara Krulwich/The New York Times)

He founded the Dance Theater of Harlem the next year with Karel Shook, a friend and longtime mentor. In the early 2000s, the company, along with its dance school, faced mounting debt, and it was forced to go on hiatus in 2004. But it returned to performance in reduced form in 2012 and now tours regularly and performs at City Center. The school today has more than 300 students.

Mr. Mitchell became artistic director emeritus of Dance Theater in 2011.

He returned to the company in August to oversee a production of “Tones II,” a restaging of one of his older ballets. It is to be performed in April, to commemorate Dance Theater’s 50th anniversary.

Little Known Black History Fact: Pelagie Green Wren 1st Chorus Dancer of Color Hired by St. Louis Opera House

Pelagie Green was the first black person to join St. Louis’ Muny Opera House dance chorus in 1962. While her appearance was historical, it was also life-threatening. For her own safety, 19-year-old Pelagie Green was under the constant watch of Officer Charles Wren, a black police officer whom she later married. Green went on to open the Pelagie Green Wren Academy of Dance in St. Louis.  She also dedicated her teachings to St. Louis Public Schools. She was cited as sometimes waiving tuition fees for students who couldn’t afford training.

The Pelagie Green Wren dancers continued to perform all over the city, including at the esteemed Kiel Opera House. Her students have later gone to Broadway. While Green-Wren was the first to join the chorus, the first black performers appeared on the Muny stage in 1930 in the production “Show Boat.”

The Muny Opera House is the oldest outdoor theater in the U.S. The venue opened its stage in 1916 with a production of “Aida”. Following the production of “Show Boat”, the opera house featured shows with all-black casts such as “Porgy and Bess”, “The Wiz” (1982) and “Ain’t Misbehavin”. There were also re-productions of “Hello, Dolly!” starring Pearl Bailey and Cab Calloway and “Guys and Dolls” featuring stage legends Leslie Uggams and Richard Roundtree.  Pelagie Green Wren passed away on September 19th. Her funeral was held yesterday in St. Louis, Mo. She was 71 years old.

article by Erica L. Taylor via blackamericaweb.com