Arthur Mitchell

Total Page：16

File Type：pdf, Size：1020Kb

Arthur Mitchell (1934—2018) was a Dance Theatre of Harlem (DTH) gifted dancer and choreographer and Arthur Mitchell Arthur left the NYCB, and in 1968, he used founded several successful ballet his own money to found the DTH. His companies. dream was to provide kids from Harlem (a deprived, predominantly black area of New Early life and Career York) the opportunity to study dance, and it Born in Harlem, New York, Arthur had a became a huge success. Since its inception, difficult childhood. When he was 12, his fa- the DTH has given countless young people a ther was imprisoned and Arthur was forced way into careers in music, dance and the to start work in order to provide for his fam- arts. ily. He had a lot of different jobs, including Other achievements working as a shoe-shiner, floor-washer and butcher’s assistant. With help from a guid- In addition to starting DTH, Arthur also ance counsellor, Arthur applied to the High helped to found ballet companies in Wash- School of Performing Arts and decided to ington, and Brazil. He received many train as a classical ballet dancer. He won awards for his work, including honorary awards and scholarships for his dancing, and doctorates from Harvard and Columbia uni- in 1955 he was offered a job with the New versities and an award from New York City. York City Ballet (NYCB), becoming their first Legacy ever African-American dancer. He rose to become their principal dancer after a year Arthur is remembered for his exceptional and performed, to great acclaim, all over the dancing and for breaking down barriers. world. Some audience members, however, Thanks to his talent, hard work and deter- mination, he forged a path for aspiring objected to him dancing with a white, fe- male partner, and, despite his talent, his “Walk into a room, knowing you are black artists to follow, devoting his life to performances were not shown on commer- somebody, somebody special. Don't ever encouraging and supporting others. cial television until 1968. let them smash that or pull you down” .

Copy Link

Recommended publications

Finding Aid to the Historymakers ® Video Oral History with Arthur Mitchell
Finding Aid to The HistoryMakers ® Video Oral History with Arthur Mitchell Overview of the Collection Repository: The HistoryMakers®1900 S. Michigan Avenue Chicago, Illinois 60616 [email protected] www.thehistorymakers.com Creator: Mitchell, Arthur, 1934-2018 Title: The HistoryMakers® Video Oral History Interview with Arthur Mitchell, Dates: October 5, 2016 Bulk Dates: 2016 Physical 9 uncompressed MOV digital video files (4:21:20). Description: Abstract: Dancer, choreographer, and artistic director Arthur Mitchell (1934 - 2018 ) was a principal dancer for the New York City Ballet for fifteen years. In 1969, he co-founded the Dance Theatre of Harlem, the first African American classical ballet company and school. Mitchell was interviewed by The HistoryMakers® on October 5, 2016, in New York, New York. This collection is comprised of the original video footage of the interview. Identification: A2016_034 Language: The interview and records are in English. Biographical Note by The HistoryMakers® Dancer, choreographer and artistic director Arthur Mitchell was born on March 27, 1934 in Harlem, New York to Arthur Mitchell, Sr. and Willie Hearns Mitchell. He attended the High School of Performing Arts in Manhattan. In addition to academics, Mitchell was a member of the New Dance Group, the Choreographers Workshop, Donald McKayle and Company, and High School of Performing Arts’ Repertory Dance Company. After graduating from high school in 1952, Mitchell received scholarships to attend the Dunham School and the School of American received scholarships to attend the Dunham School and the School of American Ballet. In 1954, Mitchell danced on Broadway in House of Flowers with Geoffrey Holder, Louis Johnson, Donald McKayle, Alvin Ailey and Pearl Bailey.
[Show full text]
In the Zone with Dance Theatre of Harlem by Lynn Matluck Brooks
Photo: Rachel Neville In the Zone with Dance Theatre of Harlem by Lynn Matluck Brooks Although they were playing in Philadelphia directly opposite Alvin Ailey American Dance Theater—a company that competes for similar audiences—Dance Theatre of Harlem (DTH) drew a full house at the Annenberg Center (University of Pennsylvania). In that house on Saturday evening was the founder of Philadelphia Dance Company (PHILADANCO), Joan Myers Brown, who has ignited generations of dancers, particularly black dancers, in this city. Brown received a warm ovation when one of her former dancers, Robert Garland, acknowledged her from the Annenberg stage. Garland, DTH’s first Resident Choreographer, graciously acknowledged his Philly roots, his family, and his start with ’Danco. He then shared with the audience that the dancers from DTH and Ailey had gathered earlier with Brown and ’Danco to celebrate Brown’s contributions to their artistic trajectories and to the art of dance in Philly and beyond. That mood of warm, familial celebration set us up for the dancing that followed. Thus, it was apt that Garland chose to premiere his new work, Nyman String Quartet No. 2, in Philadelphia, as the program-opener. The work mixed contrasting signals that I found difficult to reconcile: the ten dancers wore lush pink-and-purple costumes and flashed showy, virtuosic dance phrases, set against the minimalist shifts of Nyman’s music and the stripped-to-the-bare-walls backstage and wings. Oddly, the extra space this staging choice allowed the dancers—who certainly can move big!—remained unused, essentially unacknowledged. Garland sent the dancers onto the stage in varied groupings that alternated and occasionally intermixed boogie with batterie, bopping with bourrees, hip thrusts and shoulder circles with split-leaps and chasses.
[Show full text]
Dance, American Dance
DA CONSTAANTLYN EVOLVINGCE TRADITION AD CONSTAANTLY NEVOLVINGCE TRADITION BY OCTAVIO ROCA here is no time like the Michael Smuin’s jazzy abandon, in present to look at the future of Broadway’s newfound love of dance, American dance. So much in every daring bit of performance art keeps coming, so much is left that tries to redefine what dance is behind, and the uncertainty and what it is not. American dancers Tand immense promise of all that lies today represent the finest, most ahead tell us that the young century exciting, and most diverse aspects of is witnessing a watershed in our country’s cultural riches. American dance history. Candid The phenomenal aspect of dance is shots of American artists on the that it takes two to give meaning to move reveal a wide-open landscape the phenomenon. The meaning of a of dance, from classical to modern dance arises not in a vacuum but in to postmodern and beyond. public, in real life, in the magical Each of our dance traditions moment when an audience witnesses carries a distinctive flavor, and each a performance. What makes demands attention: the living American dance unique is not just its legacies of George Balanchine and A poster advertises the appearance of New distinctive, multicultural mix of Antony Tudor, the ever-surprising York City Ballet as part of Festival Verdi influences, but also the distinctively 2001 in Parma, Italy. genius of Merce Cunningham, the American mix of its audiences. That all-American exuberance of Paul Taylor, the social mix is even more of a melting pot as the new commitment of Bill T.
[Show full text]
Telling All Our Stories Arts + Diversity
NUMBER 1. 2016 TELLING ALL OUR STORIES ARTS + DIVERSITY 33881_GPO NEA Arts.indd 1 3/11/16 3:46 PM THIS ISSUE We know that the arts can be a powerful tool to tell our stories. And yet, one needn’t look 01 further than the 2016 Oscars controversy Aaron Dworkin to know that certain stories remain more Telling All the Stories frequently told and celebrated than others. NATIONAL COUNCIL ON THE ARTS by paulette beete Jane Chu Chairman For example, only four percent of classical Bruce Carter symphony musicians are African American. Aaron Dworkin Just five percent of professional staff in art Lee Greenwood museums are people of color, with even 05 Deepa Gupta fewer among senior management. In film Sandra Cisneros Paul W. Hodes and television, there are nearly five men for Recognizing Ourselves Maria Rosario Jackson Emil Kang every woman working as a writer, director, by rebecca gross or producer. Charlotte Kessler María López De León Rick Lowe This issue of NEA Arts looks at artists who David “Mas” Masumoto recognize these disparities, and are seeking Irvin Mayfield to make changes within their fields to tell 08 Barbara Ernst Prey all our stories. Aaron Dworkin discusses Shirin Neshat Ranee Ramaswamy his efforts to diversify the color of classical A Mystical, Spiritual Quality Diane Rodriguez music, while Shirin Neshat’s desire to by rebecca gross Tom Rothman redefine what Islam means in America today Olga Viso is shown through her visual arts. Arthur EX-OFFICIO Mitchell talks about changing the snow-white Sen. Tammy Baldwin (d-wi) complexion of classical ballet, and Lin-Manuel 12 Rep.
[Show full text]
The National Arts Awards Chair
1 Edye and Eli Broad salute Americans for the Arts and 2 tonight’s honorees for their commitment ensuring broad access to the arts 2014 Americans for the Arts National Arts Awards Monday, October 20, 2014 Welcome from Robert L. Lynch Performance by YoungArts Alumni President and CEO of Americans for the Arts Outstanding Contributions to the Arts Award Legacy Award American Legion Auxiliary Madeleine H. Berman Presented by Nolen V. Bivens, Presented by Anne Parsons Brigadier General, U.S. Army, (Ret) Accepted by Janet Jefford Lifetime Achievement Award Richard Serra Eli and Edythe Broad Award for 3 Presented by Jennifer Russell Philanthropy in the Arts Vicki and Roger Sant Arts Education Award Presented by The Honorable Christopher J. Dodd P.S. ARTS Presented by Ben Stiller Bell Family Foundation Young Artist Award Accepted by Joshua B. Tanzer David Hallberg Presented by RoseLee Goldberg Dinner Closing Remarks Robert L. Lynch introduction of Maria Bell Abel Lopez, Chair, Americans for the Arts Vice Chairman, Americans for the Arts Board of Board of Directors Directors and Chair, National Arts Awards and Robert L. Lynch Greetings from the Board Chair and President It is our pleasure to welcome you to our annual Americans for the Arts National Arts Awards. Tonight we again celebrate a select group of cultural leaders— groundbreaking artists, visionary philanthropists, and two outstanding nonprofit organizations—who help ensure that every American has access to the transformative power of the arts. We gratefully acknowledge the contributions of all of our honorees. In this time of increasing challenges to our nation’s security and the sacrifices made by our servicemen and women and their families, we are especially pleased to recognize the American Legion Auxiliary, one of our many partners in the work we do with the military and veterans on the role of the arts & healing.
[Show full text]
Dance Theatre of Harlem Press Release
Media Contact: Carly Leviton FOR IMMEDIATE RELEASE Carol Fox and Associates October 21, 2014 (773) 327-3830 x 104 [email protected] DANCE THEATRE OF HARLEM RETURNS TO CHICAGO AFTER 16 YEARS AT THE AUDITORIUM THEATRE, NOVEMBER 21 – 23, 2014 Diverse Mixed Rep Program Includes “Gloria,” “Return” and “Dancing on the Front Porch of Heaven” CHICAGO — After 16 years, the Auditorium Theatre of Roosevelt University welcomes back Dance Theatre of Harlem (DTH) to Chicago as part of its 125th Anniversary Season celebration, November 21 – 23, 2014. Led by Artistic Director Virginia Johnson, the acclaimed company brings a stunning mixed repertory program including “Gloria” and “Return” by Robert Garland and “Dancing on the Front Porch of Heaven” by Ulysses Dove. Heralded by the “Washington Post” as “unequivocally cool,” DTH has made a bold statement in the world of ballet and continues to break boundaries and persevere. Tickets ($30 – $95) are on sale now and available online at AuditoriumTheatre.org, by calling (800) 982-ARTS (2787) or at the Auditorium Theatre Box Office (50 E Congress Pkwy). “After 16 years, it is a privilege to host the return of Dance Theatre of Harlem and we could not be more thrilled that this pioneering company is back to regale audiences with their stunning repertoire and incredible dancers,” said Auditorium Theatre Executive Director Brett Batterson. “This company offers audiences a truly unique experience and we are so thrilled to introduce a new generation of Auditorium audiences to Dance Theatre of Harlem, especially during our 125th Anniversary Season.” Dance Theatre of Harlem Programming “The Auditorium Theatre was one of my favorite places to perform when I was a dancer with Dance Theatre of Harlem,” said Artistic Director Virginia Johnson.
[Show full text]
NEA Chronology Final
THE NATIONAL ENDOWMENT FOR THE ARTS 1965 2000 A BRIEF CHRONOLOGY OF FEDERAL SUPPORT FOR THE ARTS President Johnson signs the National Foundation on the Arts and the Humanities Act, establishing the National Endowment for the Arts and the National Endowment for the Humanities, on September 29, 1965. Foreword he National Foundation on the Arts and the Humanities Act The thirty-five year public investment in the arts has paid tremen Twas passed by Congress and signed into law by President dous dividends. Since 1965, the Endowment has awarded more Johnson in 1965. It states, “While no government can call a great than 111,000 grants to arts organizations and artists in all 50 states artist or scholar into existence, it is necessary and appropriate for and the six U.S. jurisdictions. The number of state and jurisdic the Federal Government to help create and sustain not only a tional arts agencies has grown from 5 to 56. Local arts agencies climate encouraging freedom of thought, imagination, and now number over 4,000 – up from 400. Nonprofit theaters have inquiry, but also the material conditions facilitating the release of grown from 56 to 340, symphony orchestras have nearly doubled this creative talent.” On September 29 of that year, the National in number from 980 to 1,800, opera companies have multiplied Endowment for the Arts – a new public agency dedicated to from 27 to 113, and now there are 18 times as many dance com strengthening the artistic life of this country – was created. panies as there were in 1965.
[Show full text]
2019 Alumni Notes Newsletter
ALUMNI & FRIENDS OF ALUMNI NOTES FIORELLO H. LAGUARDIA HS OF 2019 MUSIC & ART AND PERFORMING ARTS "I loved the freedom of going to school where people could be whatever they 1 wanted to be, that the creative 2 side of us was "A family of artists that as important as represented all walks the academic." of life and cultures, – Laurie J. Greenwald were accepting 4 (PA '74) and encouraging 3 of one another and demonstrated what people should be like, what America should be like, what the world should be like." – Rudy Valentine (M&A '67) 7 6 – Marlon Wayans "Going to LaGuardia was a blessing." (LaG '90) 5 1 I would not be frank or human if I did not take pride in this institution and its students. – Mayor Fiorello Henry LaGuardia, 1939 DID YOU KNOW? The bust of Toscanini that once graced the halls of the High School of Music & Art now stands guard opposite the entrance to LaGuardia's Concert Hall. WE’RE Please LIKE and FOLLOW us at facebook.com/AlumniandFriends and on Instagram @lagalumniandfriends. Stay up-to-date on alumni news, reunion information, and 2 SOCIAL! event details. Keep an eye out for FREE tickets to LaGuardia performances! Award and the Florence Mandell Memorial Art Award; Michelle Li (LaG '19), recipient of the Class of M&A 1960 Award and the Class of M&A 1952 Award Michelle Li (LaG '19), recipient of the Class M&A 1960 Award and the Florence Mandell Memorial Art Award; Award Photography to bottom) Rebecca Park (LaG '18), recipient of the Mary Zoe Descoteaux (LaG '18), recipient of the King Sang Wong Frank & Pablo Award; (Top THANK YOU FROM ALUMNI & FRIENDS (A&F) Dear Friends, When I entered LaGuardia in 1985 I was part of the second incoming class at the “new building.” My classmates and I have the distinction of being the first to audition at the LaGuardia building, which was not quite finished.
[Show full text]
QR Codes ONLY
QR Codes ONLY IF you have already assembled your Periodic Table, you can print and laminate these QR codes and attach them to your Periodic Table. 1 Benjamin Banneker 3 Frederick Douglass 11 Medgar Evers 19 Fannie Lou Hamer 37 Martin Luther 55 Mary McLeod 73 Rosa Parks 4 Marian Anderson King Jr. Bethune 12 Misty Copeland 20 Dr. Mae Jemison 38 Robert Louis 56 Simone Manuel Johnson 74 Thurgood 21 Tomi Adeyemi 22 Kwame Alexander 23 Maya Angelou Marshall 24 James Baldwin 25 Octavia Butler 26 Lucille Clifton 27 Ta-Nehisi Coates 28 Ralph Ellison 29 Roxane Gay 39 Langston Hughes 40 Zora Neale Hurston 41 Nella Larsen 42 Audre Lorde 43 Toni Morrison 44 Jason Reynolds 45 Alice Walker 46 Phillis Wheatley 47 Colson 64 Jacqueline Whitehead Woodson 65 Richard Wright 57 Muhammad Ali 58 Simone Biles 60 Lebron James 59 Michael Jordan 61 Jesse Owens 62 Jackie Robinson 63 Venus & Serena Williams 75 Louis Armstrong 76 Chuck Berry 77 Beyonce 78 Aretha Franklin 79 Donald Glover 80 Prince 81 Esperanza 30 Halle Berry Spalding 13 Josephine Baker 31 Laverne Cox 48 Morgan Freeman 49 Whoopi Goldberg 50 James Earl Jones 66 Nichelle Nichols 67 Sidney Poitier 68 Issa Rae 69 Will Smith 70 Denzel 5 Blanche Bruce 14 Shirley Chisholm Washington 32 Barbara Jordan 33 John Lewis 51 Carrie Meek 52 Barack Obama 71 Frederica Wilson 6 David Blackwell 7 Edward Bouchet 8 Otis Boykin 9 Alexa Canady 15 George Carruthers 16 Annie Easley 17 Marie Maynard Daly 34 George 35 Betty Washington 53 Roger Arliner 2 George Foreman Washington Carver Greene Young 10 Jay-Z 18 Garrett Morgan 36 Annie Turnbo 54 Madam CJ Walker Malone 72 Oprah Winfrey 82 Alvin Ailey 83 Jean-Michel 84 Jacob Lawrence Basquiat 85 Arthur Mitchell 86 Amy Sherald 87 Alma Woodsey 88 James VanDerZee Thomas 89 Kehinde Wiley 90 Kara Walker Sources: • Biography.com, A&E Networks Television, www.biography.com/.
[Show full text]
In 1968, at the Height of the Civil Rights Movement, Arthur Mitchell Founded Dance Theatre of Harlem. His Vision Remains One Of
In 1968, at the height of the civil rights movement, Arthur Mitchell founded Dance Theatre of Harlem. His vision Danceremains one of the most democratic in dance. Words by Djassi DaCosta Johnson In moments of extreme injustice was going on. He relaxed the dress The company gained momentum “Arthur Mitchell created a space for a lot of people who had been told, ‘You can’t do this.’” and frustration the most impact- code to encourage enrollment in the midst of the Black Power ful art is born. This is true of the by young men who preferred to movement, Johnson recalls. “But inception of one of the most influ- dance in jean shorts and T-shirts. there wasn’t a sense of militancy ential American ballet companies To accommodate his growing ros- around the idea of making black of the last five decades, Dance The- ter of students, he eventually part- people visible in this art form. It atre of Harlem. nered with his former ballet mas- was more that he made dancers Arthur Mitchell created the ter Karel Shook to help him run aware of the fact that they could company in New York City, af- the school and direct what would define their own identity. That they ter making history in 1955 as the eventually become Dance Theatre didn’t have to be defined by some- first black principal dancer at of Harlem. The company would body else’s perception of them.” New York City Ballet. He was also grow to have a lasting impact on The roots of ballet are steeped the famed protégé of George Bal- the American ballet scene and be- in the Renaissance and Baroque anchine—the Russian-born danc- come a beacon for black dancers eras in Europe, specifically France er, choreographer and co-founder worldwide.
[Show full text]
Arts & Entertainment
THE NEW YORK AMSTERDAM NEWS July 25, 2019 - July 31, 2019 • 13 Arts & Entertainment Pg. 15 Film/TV pages 14 | Theater page 16 | Art page 16 | Trends page 17 | Jazz page 18 ‘The Young Lords’ NDI: There is a rose in East Harlem By ZITA ALLEN struction every Saturday from Special to the AmNews January through June, from 10 a.m.-1 p.m.. During the There is a rose in East school year, they continue to Harlem where hundreds of participate in the In-School youngsters learn ballet, tap, Program, serving as role modern dance, music, cho- models for their peers. Like reography and more while Tyler, SWAT dancers tackle experiencing “a love of the even more advanced chore- arts, a passion for learn- ography and even perform ing and a desire to strive in what’s called the Event of for their personal best.” The the Year program, “a theme- name of the rose is the Na- based event fully-realized tional Dance Institute. theatrical event at Skirball Founded in 1976 by New with a live band, profession- York City Ballet principal al costume,” which Weinstein dancer Jacques d’Amboise, says “surrounds children with NDI impacts millions of chil- a sense of what it is like to take dren with its joyful, rigorous something from the studio and intellectually engaging and bring it to the stage.” programs. A team that in- That’s a big turning point. cludes d’Amboise as founder Then from there they’re in- and president, Executive Di- vited to join the summer pro- rector Tracie Lester and Artis- gram and from there they’re tic Director Ellen Weinstein, invited back to participate in heads it.
[Show full text]
Dorathi Bock Pierre Dance Collection, 1929-1996
http://oac.cdlib.org/findaid/ark:/13030/c8pc33q9 No online items Finding Aid for the Dorathi Bock Pierre dance collection, 1929-1996 Processed by Megan Hahn Fraser and Jesse Erickson, March 2012, with assistance from Lindsay Chaney, May 2013; machine-readable finding aid created by Caroline Cubé. UCLA Library Special Collections Room A1713, Charles E. Young Research Library Box 951575 Los Angeles, CA 90095-1575 Email: [email protected] URL: http://www.library.ucla.edu/libraries/special/scweb/ ©2013 The Regents of the University of California. All rights reserved. Finding Aid for the Dorathi Bock 1937 1 Pierre dance collection, 1929-1996 Descriptive Summary Title: Dorathi Bock Pierre dance collection Date (inclusive): 1929-1996 Collection number: 1937 Creator: Pierre, Dorathi Bock. Extent: 27 linear ft.(67 boxes) Abstract: Collection of photographs, performance programs, publicity information, and clippings related to dance, gathered by Dorathi Bock Pierre, a dance writer and publicist. Language: Finding aid is written in English. Language of the Material: Materials are in English. Repository: University of California, Los Angeles. Library Special Collections. Los Angeles, California 90095-1575 Physical location: Stored off-site at SRLF. Advance notice is required for access to the collection. Please contact UCLA Library Special Collections for paging information. Restrictions on Access Open for research. STORED OFF-SITE AT SRLF. Advance notice is required for access to the collection. Please contact UCLA Library Special Collections for paging information. Restrictions on Use and Reproduction Property rights to the physical object belong to the UC Regents. Literary rights, including copyright, are retained by the creators and their heirs.
[Show full text]