Harlem Dance History

Brandon Pereira
Dance History Final
Jillian Pena

In most dance forms and styles, references are made from historical dances that people may not even be aware of. Dancing is influenced from all sorts of cultures, based on historical events or the region these countries belong to. Through slavery American dance was influenced by African dance, and in turn the African slaves were influenced by the dances already performed in this country. This can be seen in many dance forms created and altered in the United States. One company in particular that draws many references to the African esthetics of dance, as well as historical events is The Dance Theatre of Harlem. The Dance Theatre of Harlem is the first African American classical ballet
company in the world. The company was founded by Arthur Mitchell, then of the New York City Ballet, and he was the first African American principal dancer in a company of international standing. The Dance theatre of Harlem has quite a vast range in repertoire with multiple works from George Balanchine, Jerome Robbins, Arthur Mitchell and Alvin Ailey. Focusing on the discipline of dance, Arthur Mitchell brought ballet to Harlem and The Dance Theatre of Harlem evolved from a school with educational programs and professional training into a world-class touring company as its artists became powerful ambassadors for all of America. In 2009, the New York Public Library for the Performing Arts at Lincoln Center and Dance Theatre of Harlem exhibited the company 's rare costumes, photos and other memorabilia. The California African American Museum has supplemented the exhibit with the staging of costumes and video from four iconic ballets and adding life-sized banners and other imagery to illuminate the 40 years of history during which Dance Theatre of Harlem and Arthur Mitchell have received over 300 official citations for excellence. The Dance Theatre of Harlem has many things in common with the Africanist Aesthetic in history, especially when it comes to embracing conflicts. Both the company and the aesthetic compliment each other with the understanding of contrariety, difference, juxtaposition, cooling, texturizing and embracing dissonance. Both the company and the aesthetic had a focus on referencing classics, but reinventing as well. Polyrythms are seen a lot within the companys repertoire, as well as a lack of concern for European standards. The Dance Theatre of Harlem is an excellent example of a company that uses movement styles and forms from early in African American history, and makes it evident throughout all of the companies works, and still exuding that same focus today.
I believe this company reimagines ideas and references from history with pushing the envelope constantly by trying to go against typical stereotypes of African American dancers. By having an all African American company, that’s already pushing a stereotype and breaking boundaries of history. They consistently prove that they are just as classically trained and beautiful as any other white dancer, and have the notoriety of any other internationally recognized ballet companies. They constantly drew reference from classical ballet and the African aesthetics, by creating/performing ballets with new ideas and points of view. By changing music, the fast movements, broken lines, bold costumes, the not so historical partnering, and the historical pieces of black history, the company constantly reinvented themselves as well as reimagined ballets through influences like the African
aesthetic. Arthur Mitchell and the Dance Theatre of Harlem have reimagined many references in dance history, and have drawn back to their cultures as inspiration. Firebird was originally a ballet created and performed in Russia by Maurice Bejart. Arthur Mitchell had come up with the idea to bring Maurice and Firebird to the United States to be performed by his dance theatre, but with a twist. Maurice and Arthur decided to recreate the ballet so it made sense for the ballet to be performed with the Dance Theatre of Harlem. They changed the location of the story line to be in the Caribbean, with these grandiose costumes and changed the movements to compliment the dancers, as well as shock the audience. Both Maurice and Arthur wanted to reimagine the story and the dancing to emulate the lives of the dancers. They both wanted to give a vast variety in the movement between extremely athletic and fast movements, while also contrasting those movements with their classical Balanchine training. Another piece Arthur Mitchell had reimagined was the ever so popular and classical Giselle. While on tour with the company in the 80’s, he wanted to take Giselle’s typical story and add some twists to it. He first chose to take Giselle out of her original setting in Austria and wanted to bring her to the States, specifically Louisiana. He was interested in Americanizing Giselle, making her a new, neoclassical Giselle. By casting the show with only Mulatto Giselle’s, it gave the classical variations a new look and feeling throughout the entire ballet. Arthur Mitchell believes that this variation was one of the many that really challenged the company and him to reinvent dance but also reflect on where they came from. He said he originally wasn’t so interested in the classical side of this story, but he then realized that he would be cheating his dancers if they weren’t able to endure both sides of the spectrum. He believes that by balancing and understanding both contrasting Giselle’s, the company had a growth in maturity while embodying a story not typically meant for African American females. Probably the most controversial and most famous work to be put on the company was George Balanchine’s “Agon” in 1957.
The reason it was so memorable and controversial was because it was a cast filled with white woman and one black man, and than man being Arthur Mitchell. Agon is a terribly exposing dance, technically, emotionally and physically. The piece requires a lot of focus, force, agility and speed, like many other Balanchine works. “The music, by Igor Stravinsky, is jarring and without meter. The dance, Athletic, modern and elegant. The Agon pas de deux is a true expression of the style of the Dance Theatre of Harlem.” (Times Magazine)
“Our company is as strong technically as any professional ballet company,” says Virginia Johnson, artistic director for New York City’s Dance Theatre of Harlem today. The pas de deux from Act 3 of the ballet classic Swan Lake is, after all, part of the company’s repertoire. But, as Johnson explains, the Dance Theatre of Harlem strives for something different. “We are a neo-classical company. Our work is based on the idea of moving ballet forward and giving audiences today something that maybe helps them understand their own lives in a different
way.” With the ideas of constantly pushing the envelope and striving to break boundaries, The Dance Theatre of Harlem and all its members have successfully proven themselves to the world. Through reimaging classics, reinventing themselves and others works, the company has managed to develop their own sense of identity, while remaining aware of their history and what they constantly draw back to. The company is a great example of the African Aesthetics in dance history still being used and being relevant today. The companies’ goal is still to try and progress the ballet world to go places it has yet to go, and they are still striving to push boundaries and limitations that have been placed on them. They are also a great example of a neo classical company that draws inspiration and passion from events in black history that help them be the elite, mature talented people they are.

Works Cited

Pioli, Katherine. "Dance Theatre of Harlem." Salt Lake City Arts & Entertainment. N.p., 3 Mar. 2012. Web. 21 Apr. 2014.

Defrantz, Thomas. "100 Treasures - Dance Theatre of Harlem." 100 Treasures - Dance Theatre of Harlem. N.p., 2 May 1995. Web. 21 Apr. 2014.