| 词条 | List of African-American ballerinas |
| 释义 |
}} The history of African-American ballerinas in the American ballet world is a scarce one due to racial issues and the question of whether or not African Americans had the body type to fit into this world. The ballet world changed its look about half a century ago. More companies are catering to the idea of talented African Americans in ballet, and some have even made them the faces of their companies. The idea of African Americans in the world of ballet was a rarity, because many of them lacked the opportunity to participate in the art. Black dancers typically fit into rebellious dance, practicing Graham, Limón, and Horton. However, some dancers managed to stay true their techniques and commit to making a mark in the American ballet industry. In 1969 Arthur Mitchell, the first African-American principal male dancer with a major ballet company, the New York City Ballet, founded the Dance Theatre of Harlem as a reaction to the assassination of Martin Luther King. That predominantly "colored" company gave many opportunities to all races to dance the classics as well as ballets by Balanchine and other living choreographers. African-American ballerinasRaven WilkinsonRaven Wilkinson was one of the first African-American ballerinas allowed to join a ballet company. During the 1950s, she danced with the Ballets Russes under the condition that she pose as a white woman by painting her face. After two years of increasing racial discrimination, including threats in the South, she left Ballets Russes and eventually landed a spot in the Dutch National Ballet.[1]Janet CollinsJanet Collins broke boundaries by being the first African American to grace the stage with the Metropolitan Opera ballet. She faced some of the same racial controversies as Raven Wilkinson with Ballets Russes before she found her home at the Metropolitan Opera.[2]Debra AustinDebra Austin was the very first African-American ballerina to receive a principal dancer contract with a major American ballet company in 1982 with the Pennsylvania Ballet. There she danced the principal roles in Swan Lake, Giselle, Coppélia, and La Sylphide. Dancing these roles with a white partner was a further breakthrough. Before that time, starting in 1974, Austin was dancing principal and solo roles in George Balanchine's New York City Ballet. Balanchine himself choreographed solos for her as did John Clifford who gave her her first principal role in his ballet Bartok #3 which was noticed by The New York Times as an historical first for that company. Lauren AndersonAs the first African-American principal dancer of the Houston Ballet, Lauren Anderson proved that there was a place for African Americans. She is forever an inspiration to some of today's current and up and coming ballerinas for not just being amazing as an African American, but being amazing as an ballerina.[3] Llanchie StevensonLlanchie Stevenson was the first African-American dancer at Radio City Music Hall Ballet Company and later at the National Ballet of Washington, D.C. She was a founding company member and principal dancer at Dance Theatre of Harlem.[4]Patricia JohnsonPatricia Johnson was the first African-American classically trained dancer in El Paso, Texas. She began her ballet training at the age of 10 with Ingeborg Heuser at The Ballet Centre. At the age of 16, she received a full scholarship from Arthur Mitchell to the school of the Dance Theatre of Harlem and later was invited to join the Oakland Ballet company under the direction of Ronn P. Guidi. Johnson rose to the ranks of soloist dancing roles such as Escape in Anna Sokolow's Rooms, Arabian in The Nutcracker, one of the Queens in Léonide Massine's La Boutique fantasque, an Odalisque in Michel Fokine's Scheherazade, and various roles in Eugene Loring's ballets, including Dance Hall Girl in Billy the Kid, Time unto Time, and The Tenderland. Aesha AshIn 1996, Aesha Ash broke boundaries by being an African-American member of the prominent New York City Ballet. She has also drawn a lot of commercial attention to the African-American ballet world by showing that there is more to ballet than just black and white.[3] Misty CopelandAs one of the most prominent and influential ballerinas to date, Misty Copeland broke boundaries that seemed impossible to any ballet dancer in the 21st century. Despite her late start in dance, her unlikely body type, and the color of her skin, Copeland managed to be one of the few African-American ballerinas to be appointed as a soloist.[5] In June 2015, Copeland became the first African-American female principal dancer in American Ballet Theatre's 75-year history.[6] Michaela DePrinceFeatured in the 2011 ballet documentary First Position, Michaela DePrince is a modern-day example of breaking boundaries for African Americans. Adopted from the harsh battle grounds of Sierra Leone, DePrince grew to be a force to be reckoned with in ballet competitions and intensive. Her continued success as a ballerina and her commercial view of African Americans in ballet gives the next generation hope for a continued growth for African-American ballerinas.[7] Anne Benna SimsAnne Benna Sims was the first African-American danseuse at American Ballet Theatre (ABT) and the first African-American soloist in the company's history. Sims danced with Les Grands Ballets Canadiens in 1972. At ABT she was in the first cast of the company premiere of Paul Taylor's Airs (reconstructed by Eileen Cropley); other members of the cast were Lisa Rinehart, Janet Shibata, Rebecca Wright, Brian Adams, Warren Conover and Robert La Fosse. She had earlier been featured in a revival of Antony Tudor's Undertow with Peter Fonseca. Virginia JohnsonVirginia Johnson was a founding company member and prima ballerina of Dance Theatre of Harlem[8]—known for being the "first Black classical ballet company" and "the first ballet company to prioritize Black dancers".{{Citation needed|date=March 2018}} She joined Dance Theatre of Harlem under its co-founders, Arthur Mitchell and Karel Shook, in 1969 when the company was founded. In 2009, Johnson returned to Dance Theatre of Harlem as the company's artistic director.[9] References1. ^Clark Hine, Darlene (ed.), Black Women in America: An Historical Encyclopedia', Vols 1 and 2, New York: Carlson Publishing Inc., 1993. 2. ^Dunning, Jennifer. "Janet Collins, 86: Ballerina Was First Black Artist at Met Opera." The New York Times, May 31, 2003. 3. ^1 Kourlas, Gia (May 6, 2007). "Dance: Where Are All the Black Swans?". The New York Times. Retrieved February 22, 2012. 4. ^{{cite web|url=http://mobballet.org/index.php/2017/12/27/llanchie-stevenson/|title=Llanchie Stevenson – MOBBallet.org|website=mobballet.org|accessdate=17 March 2018}} 5. ^"She's on Point: After seven years, ABT ballerina Misty Copeland becomes a soloist". Sixaholic. 2007 6. ^Cooper, Michael. [https://www.nytimes.com/2015/07/01/arts/dance/misty-copeland-is-promoted-to-principal-dancer-at-american-ballet-theater.html "Misty Copeland Is Promoted to Principal Dancer at American Ballet Theater"], The New York Times, June 30, 2015. Retrieved June 30, 2015. 7. ^Fuhrer, Margaret (20 March 2012). "Michaela DePrince". Dance Spirit magazine. 8. ^{{Cite news|url=https://www.pbt.org/blog/meet-dance-theatre-harlems-virginia-johnson/|title=Meet Virginia Johnson: From Prima Ballerina to Dance Theatre of Harlem Artistic Director|date=2017-03-14|work=Pittsburgh Ballet Theatre|access-date=2018-03-06}} 9. ^{{Cite news|url=https://www.pbt.org/blog/meet-dance-theatre-harlems-virginia-johnson/|title=Meet Virginia Johnson: From Prima Ballerina to Dance Theatre of Harlem Artistic Director|date=2017-03-14|work=Pittsburgh Ballet Theatre|access-date=2018-03-06}} External links
4 : American ballerinas|African-American ballet dancers|African-American female dancers|Lists of African-American people |
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