The History of Black Dancers at Houston Ballet

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Study Guide

Students who view the Breaking Boundaries Virtual Field Trip and utilize the study guide will be able to:

• Describe the history of Black dancers at Houston Ballet • Describe in words or pictures, one or more dances from Breaking Boundaries • Name one or more current/former Houston Ballet dancers and describe how race had an impact on his/her career.

The following TEKS are addressed during Virtual Field Trip and/or as a part of the extension activities included in this resource guide. (Please note that the TEKS addressed will vary depending upon the selected Virtual Field Trip.)

ENGLISH & LANGUAGE ARTS

Listening/Speaking

GRADE 1 ELA.1.27A: Listen attentively to speakers, ask relevant questions, and make pertinent comments. ELA.1.27B: Follow, restate, and give oral instructions that involve a series of related sequences of action. ELA.1.29A: Follow agreed-upon rules for discussion, including listening to others, speaking when recognized, and making appropriate contributions.

GRADE 2 ELA.2.28A: Listen attentively to speakers, ask relevant questions, and make pertinent comments. ELA.2.28B: Follow, restate, and give oral instructions that involve a series of related sequences of action. ELA.2.30A: Follow agreed-upon rules for discussion, including listening to others, speaking when recognized, and making appropriate contributions.

GRADE 3 ELA.3.29A: Listen attentively to speakers, ask relevant questions, and make pertinent comments. ELA.3.29B: Follow, restate, and give oral instructions that involve a series of related sequences of action.

GRADE 4 ELA.4.27A: Listen attentively to speakers, ask relevant questions, and make pertinent comments. ELA.4.27B: Follow, restate, and give oral instructions that involve a series of related sequences of action.

GRADE 5 ELA.5.27B: Follow, restate, and give oral instructions that include multiple action steps.

GRADE 1 ELA.1.9A: Describe the plot (problem and solution) and retell a story’s beginning, middle, and end with attention to the sequence of events ELA.1.9B: Describe characters in a story and the reasons for their actions and feelings. ELA.1.Fig19D: Make inferences about text and use textual evidence to support understanding. ELA.1.Fig19F: Make connections to own experiences, to ideas in other texts, and to the larger community and discuss textual evidence.

GRADE 2 ELA.2.Fig19D: Make inferences about text and use textual evidence to support understanding. ELA.2.Fig19E: Retell important events in stories in logical order. ELA.2.Fig19F: Make connections to own experiences, to ideas in other texts, and to the larger community and discuss textual evidence.

GRADE 3 ELA.3.7A: Explain the elements of plot and character as presented through dialogue in scripts that are read, viewed, written, or performed. ELA.3.8B: Describe the interaction of characters including their relationships and the changes they undergo. ELA.3.Fig19D: Make inferences about text and use textual evidence to support understanding. ELA.3.Fig19E: Summarize information in text, maintaining meaning and logical order. ELA.3.Fig19F: Make connections (e.g., thematic links, author analysis) between literary and informational texts with similar ideas and provide textual evidence.

GRADE 4 ELA.4.3A: Summarize and explain the lesson or message of a work of fiction as its theme. ELA.4.6A: Sequence and summarize the plot’s main events and explain their influence on future events. ELA.4.5A: Describe the structural elements particular to dramatic literature. ELA.4.6B: Describe the interaction of characters including their relationships and the changes they undergo. ELA.4.Fig19D: Make inferences about text and use textual evidence to support understanding. ELA.4.Fig19E: Summarize information in text, maintaining meaning and logical order. ELA.4.Fig19F: Make connections (e.g., thematic links, author analysis) between literary and informational texts with similar ideas and provide textual evidence.

GRADE 5 ELA.5.3A: Compare and contrast the themes or moral lessons of several works of fiction from various cultures. ELA.5.6B: Explain the roles and functions of characters in various plots, including their relationships and conflicts. ELA.5.Fig19D: Make inferences about text and use textual evidence to support understanding. ELA.5.Fig19E: Summarize and paraphrase texts in ways that maintain meaning and logical order within a text and across texts. ELA.5.Fig19F: Make connections (e.g., thematic links, author analysis) between literary and informational texts with similar ideas and provide textual evidence.

GRADE 6 ELA.6.5.A Establish purpose for reading assigned and self-selected texts. ELA.6.5.B Generate questions about text before, during, and after reading to deepen understanding and gain information. ELA.6.5.D Create mental images to deepen understanding. ELA.6.5.E Make connections to personal experiences, ideas in other texts, and society. ELA.6.5.F Make inferences and use evidence to support understanding. ELA.6.5.I Monitor comprehension and make adjustments such as re-reading, using background knowledge, asking questions, and annotating when understanding breaks down.

GRADE 7 ELA.7.1.A Listen actively to interpret a message and ask clarifying questions that build on others' ideas. ELA.7.3.A Adjust fluency when reading grade-level text based on the reading purpose. ELA.7.4.A Self-select text and read independently for a sustained period of time. ELA.7.5.A Establish purpose for reading assigned and self-selected texts. ELA.7.5.B Generate questions about text before, during, and after reading to deepen understanding and gain information. ELA.7.5.D Create mental images to deepen understanding. ELA.7.5.E Make connections to personal experiences, ideas in other texts, and society. ELA.7.5.I Monitor comprehension and make adjustments such as re-reading, using background knowledge, asking questions, and annotating when understanding breaks down.

GRADE 8 ELA.8.5.A Establish purpose for reading assigned and self-selected texts. ELA.8.5.B Generate questions about text before, during, and after reading to deepen understanding and gain information. ELA.8.5.C Make, correct, or confirm predictions using text features, characteristics of genre, and structures. ELA.8.5.D Create mental images to deepen understanding. ELA.8.5.E Make connections to personal experiences, ideas in other texts, and society. ELA.8.5.F Make inferences and use evidence to support understanding. ELA.8.5.I Monitor comprehension and make adjustments such as re-reading, using background knowledge, asking questions, and annotating when understanding breaks down.

HIGH SCHOOL ELA.9.4.A Establish purpose for reading assigned and self-selected texts. ELA.9.4.B Generate questions about text before, during, and after reading to deepen understanding and gain information. ELA.9.4.D Create mental images to deepen understanding. ELA.9.4.E Make connections to personal experiences, ideas in other texts, and society. ELA.9.4.F Make inferences and use evidence to support understanding. ELA.9.4.I Monitor comprehension and make adjustments such as re-reading, using background knowledge, asking questions, and annotating when understanding breaks down

Written Composition

GRADE 1 ELA.1.19B: Write short letters that put ideas in a chronological or logical sequence and use appropriate conventions (e.g., date, salutation, closing).

GRADE 2 ELA.2.19B: Write short letters that put ideas in a chronological or logical sequence and use appropriate conventions (e.g., date, salutation, closing).

GRADE 3 ELA.3.20A.i: Create brief compositions that establish a central idea in a topic sentence. ELA.3.20A.ii: Create brief compositions that include supporting sentences with simple facts, details, and explanations.

GRADE 4 ELA.4.17: Write about important personal experiences. ELA.4.18A.i: Create brief compositions that establish a central idea in a topic sentence. ELA.4.18A.ii: Create brief compositions that include supporting sentences with simple facts, details, and explanations. ELA.4.18A.iii: Create brief compositions that contain a concluding statement.

GRADE 5 ELA.5.17A: Write a personal narrative that conveys thoughts and feelings about an experience. ELA.5.18A.i: Create multi-paragraph essays to convey information about the topic that present effective introductions and concluding paragraphs. ELA.5.18A.iii: Create multi-paragraph essays to convey information about the topic that include specific facts, details, and examples in an appropriately organized structure. ELA.5.18A.iv: Create multi-paragraph essays to convey information about the topic that use a variety of sentence structures and transitions to link paragraphs.

GRADE 6 ELA.6.6.A Describe personal connections to a variety of sources, including self-selected texts. ELA.6.6.D Paraphrase and summarize texts in ways that maintain meaning and logical order. ELA.6.6.E Interact with sources in meaningful ways such as notetaking, annotating, freewriting, or illustrating. ELA.6.6.H Respond orally or in writing with appropriate register, vocabulary, tone, and voice

GRADE 7 ELA.7.6.A Describe personal connections to a variety of sources, including self-selected texts. ELA.7.6.B Write responses that demonstrate understanding of texts, including comparing sources within and across genres. ELA.7.6.E Interact with sources in meaningful ways such as notetaking, annotating, freewriting, or illustrating. ELA.7.6.G Discuss and write about the explicit or implicit meanings of text. ELA.7.6.H Respond orally or in writing with appropriate register, vocabulary, tone, and voice.

GRADE 8 ELA.8.6.A Describe personal connections to a variety of sources, including self-selected texts. ELA.8.6.B Write responses that demonstrate understanding of texts, including comparing sources within and across genres. ELA.8.6.E Interact with sources in meaningful ways such as notetaking, annotating, freewriting, or illustrating. ELA 8.6.H Respond orally or in writing with appropriate register, vocabulary, tone, and voice. ELA 8.6.G Discuss and write about the explicit or implicit meanings of text.

HIGH SCHOOL ELA.9.4.E Make connections to personal experiences, ideas in other texts, and society. ELA.9.4.I Monitor comprehension and adjust such as re-reading, using background knowledge, asking questions, and annotating when understanding breaks down. ELA.9.5.A Describe personal connections to a variety of sources, including self-selected texts. ELA.9.5.B Write responses that demonstrate understanding of texts, including comparing texts within and across genres. ELA.9.5.E Interact with sources in meaningful ways such as notetaking, annotating, freewriting, or illustrating. ELA.9.5.F Respond using acquired content and academic vocabulary as appropriate. ELA.9.4.E Make connections to personal experiences, ideas in other texts, and society.

ELA.10.1.A Engage in meaningful and respectful discourse by listening actively, responding appropriately, and adjusting communication to audiences and purposes. ELA.10.2.A Use print or digital resources such as glossaries or technical dictionaries to clarify and validate understanding of the precise and appropriate meaning of technical or discipline-based vocabulary. ELA.10.2.B Analyze context to distinguish among denotative, connotative, and figurative meanings of words. ELA.10.3.A Self-select text and read independently for a sustained period of time.

ELA.11.4.B Generate questions about text before, during, and after reading to deepen understanding and gain information. ELA.11.4.D Create mental images to deepen understanding. ELA.11.4.F Make inferences and use evidence to support understanding. ELA.11.4.G Evaluate details read to understand key ideas. ELA.11.4.I Monitor comprehension and make adjustments such as re-reading, using background knowledge, asking questions, annotating, and using outside sources when understanding breaks down.

ELA.12.6.D Evaluate how the historical, social, and economic context of setting(s) influences the plot, characterization, and theme.

DANCE

KINDER-GRADE 2 DANCE.K–2.3.1: Understand the differences in dances through historical periods. DANCE.K–2.2b.4: Understand and remember proper performer, audience, and classroom behavior. DANCE.K–2.3.4: Apply dance concepts to the other content areas. DANCE.K–2.4.1: Remember, understand, and perform movement sequences or dances communicating and expressing feelings and/or ideas. DANCE.K–2.4.2: Evaluate and explain the dance content, meanings, or social/cultural context within the dance observed and/or performed. DANCE.K–2.4.4: Observe and understand the differences of artistic movement choices and its effects on audience.

GRADE 3-GRADE 5 DANCE.3–5.2b.4: Understand and apply proper performer, audience, and classroom behavior. DANCE.3–5.3.1: Analyze and evaluate the differences in dances through historical periods as communicated through dance movement. DANCE.3–5.3.4: Understand and apply dance concepts in various media to the other content areas. DANCE.3–5.4.1: Analyze, evaluate, and perform movement sequences or dances communicating and expressing feelings and/or ideas. DANCE.3–5.4.2: Evaluate and apply dance content, meanings, or social/cultural context within the dance observed and/or performed. DANCE.3–5.4.4: Analyze, evaluate, and apply the differences of artistic choices and its effects on audience and/or performer.

MIDDLE SCHOOL MS DANCE. 1-3.1C define body science applications through dance genres, styles, and vocabulary. MS DANCE. 1-3.2A recognize basic principles of proper body alignment. MS DANCE. 1-3.3A identify various dance genres and styles such as ballet, jazz, tap, modern dance, musical theatre dance, and world dance forms. MS DANCE. 1-3.4B identify movement characteristics of historical and cultural dance forms and the contributions of their artists. MS DANCE. 1-3.4C identify a dance representative of one’s heritage or environment. MS DANCE. 1-3.5A define the quality and effectiveness of dance performances while incorporating appropriate etiquette in the classroom and performances. MS DANCE. 1-3.5B identify relationships between dance and other content areas.

HIGH SCHOOL DANCE.I-III.1C Recognize knowledge of dance genres, styles, and vocabulary. DANCE.I-III.4C Identify historical figures and their significance in dance history. DANCE.I-III.5A Incorporate appropriate movement vocabulary when identifying qualities and discussing meaning of performance or production in dance. DANCE.I-III.5B Demonstrate appropriate audience behavior and etiquette in the classroom and at performances. DANCE.I-III.5C Identify relationships between dance and other content areas.

Readiness Standards/Aligned Readiness

THE FIRST BLACK DANCERS IN HOUSTON BALLET’S HISTORY

Adrian Vincent James Houston Ballet’s 1st Black Dancer

Dancer, choreographer, director and educator, Adrian Vincent James was born and raised in Washington, DC and has over fifty years of experience in the performing arts. Adrian studied at the Jones-Haywood School of Ballet and the Regional Ballet School in the Washington area. He has directed, choreographed, and performed with many companies, and is honored to be the first African American member of the internationally acclaimed Houston Ballet. He continues to teach dance at Duke Ellington School of the Arts, and is Ballet Master at the Divine Dance Institute in Maryland. Adrian Vincent James in Glen Tetley’s Daphnis and Chloe

Sandra Organ Houston Ballet’s 1st Black Female Dancer Sandra Organ was Houston Ballet’s first Black ballerina and danced with the company for 15 years (1982-97) as a soloist. Organ taught at the Houston Ballet Academy for 18 years including the Adult Division and in the Dance for Parkinson’s program. She is a master teacher, guest artist choreographer, and panelist at numerous dance academies, universities, and regional ballet schools in Houston and beyond. She currently teaches in the afterschool ballet program for San Antonio’s St. Mary’s Hall as well as adults’ intermediate/advanced ballet at Ballet Austin.

Sandra Organ in Dark Elegies SCAN THIS QR Photo: Jim Caldwell CODE TO HEAR MORE FROM THESE DANCERS!

HOUSTON BALLET’S FIRST BLACK PRINCIPAL DANCER

Native Houstonian, Lauren Anderson danced with Houston Ballet from 1983 to 2006, performing leading roles in all the great classical ballets. She has appeared on stages across the world, and in the process, has become one of Houston Ballet’s most beloved stars. She trained exclusively at Houston Ballet's Ben Stevenson Academy from the age of seven. She joined Houston Ballet in 1983 as a Corps de Ballet member, in 1987 was promoted to Soloist and in 1990 became the first Black dancer to be promoted to Principal Dancer. In January 2007, Ms. Anderson assumed her new role of in Houston Ballet’s Education and Community Engagement program where she teaches master classes in area schools, and gives lectures to students on dance and her historic career as one of America’s most distinguished Black ballerinas. Lauren Anderson in Sleeping Beauty Photo: Geoff Winningham

Smithsonian’s National Museum of African American History and Culture Ms. Anderson is a pioneer as the first principal dancer of the Houston Ballet. Both her costume from Cleopatra and her pointe shoes from her last performance were added to the museum’s collection in 2016. Former Artistic Director Ben Stevenson created Cleopatra for Ms. Anderson in 1999.

Scan this QR CODE to virtually visit the Cultural Expressions Exhibit at NMAAHC

Pointe Shoes. Collection of the Smithsonian National Museum of African American History and Culture, Gift of Lauren Anderson

Lauren Anderson Ben Stevenson’s in Swan Lake Photo: Jim Caldwell

Lauren Anderson and Ken Lelliott Lauren Anderson and Yin Le in Ben Stevenson’s in Ben Stevenson’s Coppelia Alice in Wonderland Photo: Geoff Winningham

Q: GROWING UP, WHAT WAS IT LIKE TO DANCE AS A BLACK BALLERINA? A: It wasn’t a thing until it became a thing. When you become an teenager, you realize you don’t look like everybody else. You want to look like everybody. You want to be like everybody. You want to fit in, and I just kind of didn’t. However, I was never treated that way at Houston Ballet. But I felt like I didn’t fit in. I saw Dance Theatre of Harlem when I was 9, and that’s when I realized that I hadn’t seen a Black ballerina before.

Q: HOW DOES IT FEEL TO BE INCLUDED IN THE NATIONAL MUSEUM OF AFRICAN AMERICAN HISTORY AND CULTURE? A: It’s an honor to be in a national museum. The museum starts with slavery and goes all the way up through successes, all kinds of achievements. Then you get to theater and music and dance. And like I said, I saw the Dance Theatre of Harlem when I was 9, and I’m displayed in the same case as the they are. I really think if I hadn’t seen that company, I don’t think I’d be dancing.

Q: HOW HAVE YOU SEEN OPPORTUNITIES CHANGE FOR BLACK DANCERS? A: I think because of social media and television dance shows, more people are interested in dance. So the more people interested in dance, the more kinds of people you’re going to have dancing. Laws are different now, people are different, and generations are different. People have more education. People aren’t as ignorant on color and racism. Do we have a long way to go? Yes, absolutely. However, it’s definitely better, and it’s definitely different because there are so many dancers of color, not just Black, of all kinds of colors, dancing everywhere.

Harper Watters joined the Houston Ballet as an apprentice in 2011, after being promoted from Houston Ballet’s second company , Houston Ballet II. Originally from Dover New Hampshire, Mr. Watters became a Corps de Ballet member in 2012, was promoted to Demi-soloist in 2016 and to a Soloist 2017.

Harper Watters in Stanton Welch’s Clear Photo: Amitava Sarkar

Kellen Hornbuckle joined Houston Ballet as an Apprentice in 2018, after being promoted from Houston Ballet’s second company, Houston Ballet II. Originally from Virginia Beach, Virginia, Hornbuckle started attending Houston Ballet Academy’s Summer Intensive Program in 2012. She was promoted to a Corps de Ballet member in 2019.

Kellen Hornbuckle in Ben Stevenson’s Coppelia Photo: Amitava Sarkar

Naazir Muhammad is a member of the Corps de Ballet at Houston Ballet. He is from Brooklyn, New York and has trained at Brooklyn Ballet School, and the Houston Ballet Academy. He joined the company in 2017 as an Apprentice after being promoted from Houston Ballet’s second company, Houston Ballet II. In 2018 he was promoted to Houston Ballet’s Corps de Ballet.

Naazir Muhammad SCAN THIS QR in Stanton Welch’s The Nutcracker CODE TO HEAR Photo: Amitava Sarkar MORE FROM THESE DANCERS!

1998

Caleb

Mitchell

1996

Ayisha Ayisha

McMillan

Carlos Acosta

& &

1993

Kiya

Sturm

Deon Deon Allen

1988

1983

Lauren

Anderson

1982

Organ

Sandra

1976

James

Adrian

Vincent Vincent

1955

Ballet Ballet

Houston Houston

company

becomes a becomes professional professional

Neal

Burks

2021

2018

Kellen

Hornbuckle

2017

Naazir Naazir

Muhummad

2015

Daniel

Durrett

2011

Harper

Watters

Rupert

2010

Edwards

2008

Michael

McGonegal

2007

Katlyn

Addison

2003

Chavo

Killingsworth

2000

Williams Cleopatra

Don Quixote Choreography: Ben Stevenson, OBE Music: Ludwig Minkus Costume and Set Design: Judanna Lynn World Premiere: March 9, 1999 Wortham Theater Center Houston, TX

Lauren Anderson and Carlos Acosta in Ben Stevenson’s Don Quixote Photo: Geoff Winningham

Former Artistic Director Ben Stevenson created Don Quixote for Black Principal Dancers Lauren Anderson and Carlos Acosta in 1995. The ballet was originally created in Russia in 1869 and was first performed in the United States in 1980. Mr. Stevenson’s production was acclaimed for the way it showcased the talents of the lead dancers.

“Mr. Acosta and Ms. Anderson took the vehicle that Mr. Stevenson rechoreographed for them and raced away with it. To say that they ran off with the show would be to underestimate the flourish and forceful technique (triple fouettes on a dime) that Ms. Anderson displays so naturally and the superstar charisma that defines every aspect of Mr. Acosta's dancing.” -Anna Kisselgoff, The New York Times

The story of Don Quixote is loosely based on a book by Cervantes. The title character is an older man determined to find the woman he saw in his dreams, Dulcinea. On his journey, he travels to Barcelona where he meets Kitri (Ms. Anderson) the innkeeper's daughter, and Basilio( Mr. Acosta), a barber. Don Quixote is bewitched by Kitri’s beauty and thinks she is his Dulcinea.

Kitri’s father wants her to marry the wealthy Don Quixote, but she is in love with Basilio. They trick her father into marrying them and the whole town celebrates their love. Kitri and Basilio dance a Grand Pas de Deux at their wedding.

Ms. Anderson danced the roles of Kitri, a real person, and Dulcinea, Don Quixote’s vision. Lauren Anderson and Carlos Acosta in Ben Stevenson’s Don Quixote

ONE DANCER. TWO ROLES

In Don Quixote, the role of Kitri and Dulcinea are performed by the same dancer.

Who is Kitri? Kitri is the innkeeper’s daughter who is featured in Act I and Act III. She and Basillio are in love and marry in Act III.

Lauren Anderson as Kitri Lauren Anderson as Kitri I in Don Quixote, Act I In Don Quixote, Act III Photo: Geoff Winningham Who is Dulcinea? Photo: Geoff Winningham Dulcinea is a vison in Don Quixote’s imagination. She dances with him with as the Queen of the Dryads in Act II. Dryads are mythological Lauren Anderson as Dulcinea nymphs. in Don Quixote, Act II Photo: Geoff Winningham Design of Dulcinea's costume by Judanna Lynn

Ballet companies around the world often use a ranking system to divide their dancers based on experience. At Houston Ballet, there are six ranks: Apprentice, Corps de Ballet, Demi-Soloist, Soloist, First Soloist and Principal Dancer. The company’s Artistic Director promotes dancers through the levels of the company. The salary of a dancer is also tied to their level.

Principal Dancer is the highest level a dancer can reach. A dancer can be promoted to principal dancer if they have achieved a high level of technical ability combined with artistry and strong acting skills. Principal Dancers always dance leading roles.

First Soloists are dancers who have spent several years performing at the soloist level. They are frequently cast in leading roles.

Prinipal Dancer Karina Gonzalez & Soloists are dancers Soloist Harper Watters in The Nutcracker Photo: Amitava Sarkar who already have had experience dancing soloist roles. They have proven themselves as artists and are regularly featured in classical and contemporary ballets.

Demi-soloist dancers have usually spent a few years in the Corps de Ballet and have proven themselves through hard work and performing well on stage. These dancers start to get opportunities to dance soloist roles Soloist Sandra Organ in ballets. in Ben Stevenson’s The Sleeping Beauty Photo: Geoff Winningham Corps de Ballet is a French word that literally means “the body of the ballet.” It is the largest group of dancers and the level where most professional dancers begin. These dancers are often in large group dances, working together as one unit. Apprentices are dancers who have recently finished their training. This is a one-year position and is an opportunity for the dancer and company to see if they are a match. Corps de Ballet Dancers in Ben Stevenson’s Copellia Photo: Amitava Sarkar

second position First position

third position Fourth position

Fifth position Can you make all 5 positions? Added Challenge: Try keeping your back straight.

Ballet dancers use 5 positions of the feet when they dance. Their legs are turned out, meaning their toes point to the side instead of the front. Men and women use the same positions.

First position second position

third position

Fourth position

Fifth position

Try making all 5 positions. Which one was the hardest?

The mission of Houston Ballet is to inspire a lasting love and appreciation for dance through artistic excellence, exhilarating performances, innovative choreography, and superb educational programs.

Houston Ballet Foundation was formed in 1955 and Houston Ballet Academy, a school for nurturing talented dance students with dreams of professional dancing, was established that same year. In 1969, the professional resident company was founded drawing upon the strength of the Academy.

In 1976, the Houston Ballet conducted a national and international search for an Artistic Director. Ben Stevenson, formerly director of the National Ballet of Washington D.C., Principal Dancer and Ballet Master with the London Festival Ballet, was hired and served as Artistic Director until 2003. Through his exceptional leadership and direction, Houston Ballet developed a broad repertory including both classical and contemporary works as well as an Academy with a first-rate professional training school.

In 1987, the company moved into its new performing home, the magnificent Wortham Center, a facility with which few performing arts houses in the world can compare.

In July 2003, the acclaimed Australian choreographer Stanton Welch assumed the leadership of Houston Ballet, America's fourth largest ballet company, as artistic director. Since his arrival, Mr. Welch has transformed Houston Ballet by raising the level of classical technique, infusing the company with new energy, drive and vision; introducing works by distinguished choreographers to the repertoire; and attracting some of the world's best coaches to Houston to work with the dancers. He has created works for such prestigious international companies as Houston Ballet, San Francisco Ballet, American Ballet Theatre, The Australian Ballet, Birmingham Royal Ballet, and Royal Danish Ballet.

In 2011, Houston Ballet moved into its new home, the largest dance center in North America, Houston Ballet’s Center for Dance; with over 70,000 square feet, and a bridge connecting it to the Wortham Theater.

Today, Houston Ballet continues to delight and inspire audiences through artistic excellence and innovative choreography. The 2019-2020 year marked the 50th anniversary of Houston Ballet.

Want to Learn More? Scan these QR Codes!

HoustonBallet.org Wikipedia.org

Dancers, like athletes, have to wear special clothes for both practice and performance. Class and Rehearsal: In rehearsal, both boys and girls wear leotards and tights. Just like football players at the line of scrimmage, dancers need to move fast. It’s best not to have lots of clothing in the way to add friction. So dancers and many other athletes wear extra tight pants to help them move faster and more clearly.

Team USA Track Outfits Houston Ballet Academy in class. Photo: Cameron Durham Performances: Houston Ballet dancers wear all different kinds of costumes, depending on the ballet they are performing. U of H football uniform. In classical ballets, women wear tutus, and men wear tunics. In the photo at right, the Sugar Plum Fairy is wearing a classical tutu, pointe shoes and tiara. Her Cavalier is wearing a tunic, tights and ballet slippers. Pointe shoes are satin ballet slippers that have a hard tip that allows female dancers dance on the tips of their toes. In contemporary ballets, dancers wear all kinds of costumes. In the picture at left, the male dancer is wearing tights and ballet slippers, and the female dancer is wearing a leotard, skirt and pointe shoes. Houston Ballet Academy Dancers Former Houston Ballet Academy Dancers Photo: Cameron Durham Photo: Amitava Sarkar

Teachers, below are questions for your students to think about before and during the video.

The dancers in Breaking Boundaries talked about obstacles they faced being Black in the ballet world. Name one of these challenges and describe how it makes you feel?

What race or ethnicity do you identify as? Your parents? Grandparents?

Have you or your family experienced or witnessed any racial inequity? How did you/they overcome these challenges?

The New York times—Blackface at the Ballet Highlights a Global Divide on Race (December 2019)

Dance Magazine—How I Deal with Racist Remarks as a Ballet Dancer of Color (February 2020)

Pointe Magazine—Beyond Solidarity Statements: The Real Work Ballet Organizations Must Do to Dismantle Systemic Racism (August 2020)

The Harvard Crimson—An Open Letter to the Ballet Community (June 2020)

Dance Spirt—Houston Ballet's Harper Watters: Thoughts on My First Uprising (June 2020)

DW: Made for Minds—Berlin State Ballet dancer speaks out about racism (December 2020)

Dance Magazine—Dancing While Black: 8 Pros on How Ballet Can Work Toward Racial Equity (January 2021)

• Academy’s Summer Intensive: During the summer, students attend a multiweek, all-day program that enriches and complements their previous dance education.

• BIPOC: Black, Indigenous, People of Color.

• Choreographer: the person who makes up the steps that the dancers do in the performance.

• Composer: the person who makes up the music that the dancers move to in the performance.

• Designer: the person who designs lights, sets, and/or costumes for a stage production.

• Grand Pas de deux: In ballet, a pas de deux is a dance duet in which two dancers, typically a male and a female, perform ballet steps together.

• Houston Ballet II/HBII: The second company of Houston Ballet. It provides students the opportunity to dance leading roles and to allow dancers to develop technical and artistic skills through performance experience.

• Houston Ballet Academy: The Academy trains over 1,000 students a year. It offers training designed to take students from their first introduction to movement through a full course of ballet study.

• Houston Ballet’s Company: The fourth-largest professional ballet company in the United States, based in Houston, Texas.

• Leotard and Tights: Practice clothes worn by ballet dancers.

• Pointe shoes: A ballet shoe with a hard tip worn by women that allows them to dance on the tips of their toes.

• Prix de Lausanne Ballet Competition: An international competition for young dancers aged 15 to 18 who are not yet professionals.

• Smithsonian’s National Museum of African American History and Culture: A Smithsonian Institution museum located on the National Mall in Washington, D.C. It was established in December 2003 and opened its permanent home in September 2016 with a ceremony led by President Barack Obama.

• Tiara: A small crown that a female dancer wears on her head.

• Tunic: A long shirt made of heavy material worn by a male dancer in classical ballets.

• Tutu: The costume worn by female dancers in classical ballets. It can be long or short.