Janet Collins, 86; Ballerina Was First Black Artist at Met Opera
Total Page：16
File Type：pdf, Size：1020Kb
Disclaimer: This is a machine generated PDF of selected content from our databases. This functionality is provided solely for your convenience and is in no way intended to replace original scanned PDF. Neither Cengage Learning nor its licensors make any representations or warranties with respect to the machine generated PDF. The PDF is automatically generated "AS IS" and "AS AVAILABLE" and are not retained in our systems. CENGAGE LEARNING AND ITS LICENSORS SPECIFICALLY DISCLAIM ANY AND ALL EXPRESS OR IMPLIED WARRANTIES, INCLUDING WITHOUT LIMITATION, ANY WARRANTIES FOR AVAILABILITY, ACCURACY, TIMELINESS, COMPLETENESS, NON-INFRINGEMENT, MERCHANTABILITY OR FITNESS FOR A PARTICULAR PURPOSE. Your use of the machine generated PDF is subject to all use restrictions contained in The Cengage Learning Subscription and License Agreement and/or the Gale In Context: Biography Terms and Conditions and by using the machine generated PDF functionality you agree to forgo any and all claims against Cengage Learning or its licensors for your use of the machine generated PDF functionality and any output derived therefrom. Janet Collins, 86; Ballerina Was First Black Artist at Met Opera Author: Jennifer Dunning Date: May 31, 2003 From: The New York Times Publisher: The New York Times Company Document Type: Obituary Length: 646 words Content Level: (Level 4) About this Person Born: March 02, 1917? in New Orleans, Louisiana, United States Died: May 28, 2003 in Fort Worth, Texas, United States Nationality: American Occupation: Ballet dancer Other Names: Collins, Janet Faye Full Text: Janet Collins, prima ballerina of the Metropolitan Opera House in the early 1950's and one of a very few black women to become prominent in American classical ballet, died on Wednesday in Fort Worth. She was 86 and lived there. Ms. Collins taught dance, choreographed, performed on Broadway and in film and appeared frequently on television. But she was best known as the exquisitely beautiful dancer who was the first black artist to perform at the Metropolitan, four years before Marian Anderson sang there. ''She was a great inspiration to me as a child in Trinidad,'' the dancer and painter Geoffrey Holder said. ''What she did by dancing the way she did -- to be prima ballerina at the Metropolitan Opera House -- gave everybody hope.'' Ms. Collins made her New York debut in 1949, dancing in her own choreography on a shared program at the 92nd Street Y. John Martin, dance critic of The New York Times, described her as ''the most exciting young dancer who has flashed across the current scene in a long time,'' calling her style an eclectic mix of modern dance and ballet. ''There is a wonderful sense of aliveness in the dancer's presence and in her moving,'' Martin wrote. ''She is not self-absorbed, but is dancing completely and wholesouledly for an audience. On the other hand, there is no air of showing off about it, no coyness or coquetry, but only an apparent desire to establish and maintain a communicative contact.'' He praised her for the sharp, clean precision, ''the piquant tang, the arresting mental vigor'' of her dancing and choreography. Ms. Collins's next triumph came the following year on Broadway in the Cole Porter musical ''Out of This World.'' Playing the role of Night, she danced an airborne solo created for her by Hanya Holm. She went from there to the Metropolitan, where she appeared as a principal dancer. She performed lead roles in ''Aida,'' ''Carmen,'' the Dance of the Hours in ''La Gioconda'' and the Bacchanale in ''Samson and Delilah.'' It was not until two decades after she left the Met, however, that she was to receive major attention again in New York when, in 1974, the Alvin Ailey American Dance Theater paid homage to her and Pearl Primus as pioneering black women in dance. Born in New Orleans, Ms. Collins moved with her family to Los Angeles at age 4. She received her first dance training at a Catholic community center and went on to study primarily with Carmelita Maracci, one of the few ballet teachers who accepted black students, and with Lester Horton and Adolph Bolm. She auditioned in Los Angeles for the Ballet Russe but said she had been told that she would either have to have special roles created for her or dance in white face. ''I said no,'' she told Anna Kisselgoff in a 1974 interview in The Times. ''I sat on the steps and I cried and cried.'' But the rejection spurred her, she said, to work even harder, hard enough to be an exception. Ms. Collins danced with Katherine Dunham and performed with the Dunham company in the 1943 film musical ''Stormy Weather.'' She also danced a solo choreographed by Jack Cole in the 1946 film ''The Thrill of Brazil,'' and worked with the filmmaker Maya Deren. She toured with Talley Beatty in a nightclub act that was sometimes billed as Rea and Rico De Gard to prevent speculation about the two light-skinned dancers' race. Ms. Collins was most active during the 1950's, when she toured with her own dance group throughout the United States and Canada and taught at academies including the School of American Ballet, affiliated with the New York City Ballet; Harkness House; and the San Francisco Ballet School. Ms. Collins is survived by a brother, Earnest, of Fort Worth, and a sister, Betty Wilkerson of Pasadena, Calif. By JENNIFER DUNNING Copyright: COPYRIGHT 2003 The New York Times Company http://www.nytimes.com Source Citation (MLA 8th Edition) Dunning, Jennifer. "Janet Collins, 86; Ballerina Was First Black Artist at Met Opera." New York Times, 31 May 2003, p. B7. Gale In Context: Biography, link.gale.com/apps/doc/A102617508/BIC?u=scschools&sid=BIC&xid=35a2bebd. Accessed 7 Jan. 2021. Gale Document Number: GALE|A102617508.