#African American women in ballet

[coochiequeens]

Today for Women History Month we honor the birthdays of two women in the arts, Janet Collins and Amanda Gorman

Janet Collins (March 7, 1917 – May 28, 2003) was an African American ballet dancer, choreographer, and teacher. She performed on Broadway, in films, and appeared frequently on television.[1] She was among the pioneers of black ballet dancing, one of the few classically trained Black dancers of her generation.

Janet Faye[2] Collins was born in New Orleans, and at the age of four moved with her family to Los Angeles, California, where Collins received her first dance training at a Catholic community center. She studied primarily with Carmelita Maracci, Lester Horton, and Adolph Bolm, who were among the few ballet teachers who accepted black students. She also had fond memories of studying with Los Angeles dance teacher Dorothy Lyndall.

Amanda S. C. Gorman[1] (born March 7, 1998)[2] is an American poet and activist. Her work focuses on issues of oppression, feminism, race, and marginalization, as well as the African diaspora. Gorman was the first person to be named National Youth Poet Laureate. She published the poetry book The One for Whom Food Is Not Enough in 2015. In 2021, she delivered her poem "The Hill We Climb" at the inauguration of U.S. President Joe Biden.

Her inauguration poem generated international acclaim, and shortly thereafter, two of her books achieved best-seller status, and she obtained a professional management contract. In February 2021, Gorman was highlighted in Time magazine's 100 Next list under the category of "Phenoms", with a profile written by Lin-Manuel Miranda.[3] That same month, Gorman became the first poet to perform at the Super Bowl, when she delivered her poem "Chorus of the Captains" at Super Bowl LV.

Born in Los Angeles, California,[5][6] Gorman was raised by her single mother, Joan Wicks, a 6th-grade English teacher in Watts,[7] with her two siblings.[5][8] Her twin sister, Gabrielle, is an activist[9] and filmmaker.[10]Gorman has said she grew up in an environment with limited television access.[11] She has described her young self as a "weird child" who enjoyed reading and writing and was encouraged by her mother.[5]

Gorman has an auditory processing disorder and is hypersensitive to sound.[5] She also had a speech impediment during childhood.[12][13]Gorman participated in speech therapy during her childhood and Elida Kocharian of The Harvard Crimson wrote in 2018, "Gorman doesn't view her speech impediment as a crutch—rather, she sees it as a gift and a strength."[14] Gorman told The Harvard Gazette in 2018, "I always saw it as a strength because since I was experiencing these obstacles in terms of my auditory and vocal skills, I became really good at reading and writing. I realized that at a young age when I was reciting the Marianne Deborah Williamson quote that 'Our deepest fear is not that we are inadequate, our deepest fear is that we are powerful beyond measure' to my mom."[1] In 2021, Gorman told CBS This Morning co-host Anthony Mason that she used songs as a form of speech therapy, and explained, "My favorite thing to practice was the song 'Aaron Burr, Sir,' from Hamilton because it is jam-packed with R's. And I said, 'if I can keep up with Leslie in this track, then I am on my way to being able to say this R in a poem."

[importantwomensbirthdays]

Stephanie Dabney

Stephanie Dabney was born in 1958 in Philadelphia, Pennsylvania. Dabney joined the Dance Theater of Harlem at the age of 16. She would become a principal dancer at the company and an international star who inspired young Black dancers. Dabney built an impressive repertoire with the Dance Theater of Harlem, and became known for her dramatic characterizations as well as her flexibility, technique, and elegance. In 1982, she gave her breakout performance as the title character in a reinterpretation of Stravinsky's "The Firebird". Dabney went on to perform this role around the world. In 1990, she was diagnosed with HIV, but continued to perform with the Dance Theater of Harlem until 1994.

Stephanie Dabney died in 2022 at the age of 64.

[historysisco]

On This Day in New York City History February 2, 1935: Dancer Anne Raven Wilkinson (February 2, 1935 – December 17, 2018) was born in New York City, New York. Wilkinson has the distinction of being the first African-American woman to dance for a major classical ballet company.

Wilkinson was born into a middle class black family in Harlem. Her father was a medical doctor and her mother a ballet dancer. Her love for ballet was born from watching a performance of the Ballet Russe de Monte Carlo, a dance group that she would make history with.

Wilkinson would face difficulties in getting accepted to the Ballet Russe de Monter Carlo. Twice she was rejected before she was accepted at the age of 20 in 1955 by the director of the Ballet Russe de Monte Carlo, Serge Denham.

After leaving the group in the early 1960, Wilkinson would dance with a number row groups before retiring in 1974. That would be a short lived retirement. In the same year Wilkinson would join the New York City Opera and dance for them until 1985. In her later years she would serve as mentor to Misty Copeland who was a trailblazer in her own right. Copeland was the first African American to become a principal dancer at the American Ballet Theatre.

Wilkinson passed away on December 17, 2018 at the age of 83.

#AnneRavenWilkinson #BalletRusseDeMonteCarlo #AfricanAmericanHistory #AfricanAmericanStudies #BlackHistory #BlackStudies #BlackHistoryMatters #WomensHistory #WomensStudies #HERStory #DanceHistory #NewYorkHistory #NYHistory #NYCHistory #History #Historia #Histoire #Geschichte #HistorySisco

https://www.instagram.com/p/CoKa8wxuhZG/?igshid=NGJjMDIxMWI=

[feminoiredesigns]

Black Ballet Dancer Sitting With Sunflowers and Pumpkins

Zazzle

[theafroamericaine]

A Brief History on Majorette Dancing in Black Culture

The term "majorette" comes from the Dutch word "Dansmarietjes" meaning "Dance Marys" referring to young women that are performing a carnival dance; it originated in Germany's Rhineland.

Eventually the dance made it's way down to the American South. Majorette dancing picked up in the 1960s in African American culture. At the Orange Blossom Classic in Miami, FL of 1968, The Golden Girls (GGs) of Alcorn State University (HBCU in Mississippi) gave the first known majorette performance. The ensemble consisted of eight girls and left a lasting impression.

Majorette dance teams, along with their bands played a significant role in HBCU culture after that. They are known for their acrobatic, jazz, ballet, hip-hop, burlesque, bucking, cabaret styles of dance. The groups appearance are always on point, dazzling outfits, laid hairstyles, entertainment props.... Synchronization, team spirit and confidence are the key points to performing.

Fast forward to today, this art form has picked up in mainstream media significantly; thanks to Lifetime's TV show Bring It!, Beychella and TikTok trends. Hard work and dedication goes into these performances, it's not just about entertainment for the audiences, but culture, sisterhood, community and legacy.

Source

[cartermagazine]

Today In History

Janet Collins broke color barriers in the 1950s when she became the first African American prima ballerina and one of the very few prominent black women in American classical ballet.

Collins was born in New Orleans, LA, on this date March 7, 1917, and today we are honored to share a glimpse into the life of a crucial figure in ballet history.

Ms. Collins made her debut as the leading dancer in the Met’s production of “Aïda.” She went on to become the first African American prima ballerina with the Metropolitan Opera. Ms. Collins was also a member of SAB’s guest faculty, teaching modern dance classes at the School from 1949-1950 and then again from 1967-1969.

“Everything was clear. But the speed with which Janet Collins moved was unbelievable,” said Arthur Mitchell an American dancer, choreographer, and director who was the first African American to become a principal dancer with a major ballet troupe, New York City Ballet. He later cofounded the Dance Theatre of Harlem.

“There was a wonderful feeling of flight all the time, but not flight to get away, flight to move. And she really reveled in the movement, she reveled in the movement. And as Balanchine said, ‘a dance is movement through time and space.’ She was the embodiment of that when she danced.”

CARTER™️ Magazine

[innertigerkid]

about me 🦢˚｡⋆౨ৎ

♡ my birthday is september 2nd and i’m 16 ♡

♡ i’m an enfj, African American and a virgo ♱✮♱

♡ my fav musicians are charli xcx, lana del rey, noah cyrus, montell fish, jene, lorde, isaac gracie, the internet, the foreesters, enhypen, snsd, rihanna, mac miller, ariana grande, the weekend, khalid, chapell roan, tommy feburary 6, lisa, mitski, com truise, eyedress, anything in the twilight movies, isabel LaRosa, artemas, beach house, tv girl, doja, and blood orange♡♡

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♡ my fav tv shows are the office, nana, scream queens, gossip girl, panic, baby, young royals, love chunibyo and other delusions, skins, succession, the boys, vampire diaries, boys over flowers, oshi no ko, dance moms, erased, hirugao, sex in the city, the bear, and skam♡

currently watching: fruits basket & kimi no todoke

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♡Bye!!♡

Linktree: https://linktr.ee/felonegirl

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[chaaliapinz]

any 2014 tumblr girlies or whatever want an alternative vampire weekend online space where you can talk about the band critically and hopefully not get attacked by angry fanboys?

I am not one of you as I was too west coast public school to have been exposed to the band until 2022 but once they started touring I developed a really strong unhealthy autism fixation on the tour videos and now I'm choreographin fuckin ballet to every single album opener they have knowing well that there is a good likelihood that the lead singer is an abuser whose not 100% with it attitudes toward women have leaked into his interviews and they have not given fair credit and treatment to the global south (particularly Africa) which inspired a lot of their music and some lyrics (they haven't named a specific country/style let alone artist which inspired their "African music" influences to most peoples' knowledge and some of their references to various cities and historical events feel a little trivializing). I would consider getting a PhD in American Studies so that I could write a fat dissertation on the band and have an acceptable critical fixation on it with a social component but you see I'm not strong enough for academia.

[lotus-flower-writes-history]

The Unofficial Black History Book

Janet Collins (1917-2003)

The history of ballet began around the 1500s in Italy. The term "ballet" stems from the Italian word "Ballare," meaning to dance. When ballet was introduced to America in the early twentieth century, it was a new form of art. Unfortunately, African Americans couldn't be part of ballet culture for many years, saying that our bodies were wrong for ballet.

Until one woman broke one of the last major color barriers in classical ballet, 

This is her story.

Janet Faye Collins became the first African American prima ballerina and one of the very few prominent black women in American classical ballet. And the first black prima ballerina to perform with the Metropolitan Opera Ballet in New York City, New York.

She broke one of the last major color barriers in Classical Ballet.

Janet Collins was born on March 2, 1917, in New Orleans, Louisiana. Her mother was a seamstress, and her father was a tailor. They moved to Los Angeles, California, in 1921, when she was four years old.

She started taking private dancing lessons at a Catholic community center, and ironically, Collin's parents urged her to study painting rather than dance. Because at that time, art seemed to offer more opportunities to gifted African Americans than classical dance.

Collins studied art on a scholarship at Los Angeles City College and later at the Los Angeles Art Center School.

But she continued her dance training and attracted the attention of Adolph Bohm, Carmelita Maracci, and Mia Slavenska. All prominent dance instructors agreed to work with her. She continued her dance training with Carmelita Maracci, who was one of the few dance teachers at the time to accept black students.

At the age of 15, Janet prepared to audition for Leonide Massine and the De Basil Ballet Russe Company. The company was performing in Los Angeles during its American tour and advertised for an aspiring young dancer to audition for the company.

When it was Janet's turn, she was one of the best to audition. She moved with such beauty and grace that all the other ballerinas applauded her.

Massine saw her talent and accepted her into the company. But only under one condition...

He told her she would have to paint her face white for performances.

Going further into my notes, she was told that she would either need "special roles" created for her or dance with a white face to disguise the fact that she was black.

Collins left the audition in tears and vowed to perfect her art so that race would not be an issue.

In an exchange quoted in U.S. News & World Report, she responded, "I thought talent mattered, not color."

Collins found a cold reception in professional ballet, despite her training. However, she didn't let that set her back, and she continued to perform.

In the 1930s, when she was still in her teenage years, she performed as an adagio dancer in vaudeville productions.

In 1940, she became the principal dancer for the Los Angeles musical productions of "Run Little Chillun" and "The Mikado in Swing". At this time, she worked with the Katherine Dunham Dance Company.

In 1943, she performed in the musical film "Stormy Weather," and in 1946, she appeared in the film, "Thrill of Brazil."

In 1949, Collins made her New York debut after performing her own choreography on a shared program at the 92nd Street NY. In the same year, and after two more performances, Dance Magazine named her "The most outstanding debutante of the season."

Collins made her debut as a prima ballerina on November 3rd, 1948, at the Las Palmas Theater in Los Angeles, and critics praised her as a one-of-a-kind performer.

Zachary Solov, the Metropolitan Opera House's ballet master, noticed her in a Broadway production of Cole Porter's "Out of this World" in 1951. Solov then invited Collins to join the Metropolitan Company when she was 34.

November 13th, 1951: Collins broke a color barrier after her performance of ‘Aida'. She was the first African American prima ballerina with the Metropolitan Opera after a year of joining the Corps de Ballet. It marked the first time a black artist had joined the permanent company.

Unfortunately, Collins faced racism on the road as the company toured southern cities, despite her success in New York. 

She was kept off stage due to Race laws, and sometimes her parts were performed by understudies who were white.

She remained at the Met until 1954. She would then go on to tour across the United States and Canada. She then began teaching ballet, which included using dance in the rehabilitation of the handicapped.

She also taught at the School of American Ballet, the San Francisco Ballet School, and the Harkness House.

Janet retired from performing and teaching in 1974. She spent the last years of her life painting religious subjects in her studio in Seattle.

Janet Collins died on May 28th, 2003, in Fort Worth, Texas, at 86 years old.

Despite all that was thrown at her, Janet Collins made a legacy for herself by becoming the first African-American Prima ballerina with the Metropolitan Opera and breaking its color line. 

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[jemeryas]

Having the opportunity to explore this year’s Met Costume Exhibit ‘Women Dressing Women’ gave me the chance to learn just how big of a role that women had in helping shape the fashion industry into what it is today. Presented in what I would call a four act play, act I titled ‘Anonymity’ begins with the entrance of women in the fashion world. Dressmaking was first seen as an extension of domestic work in the 16th century done by women, but as the growing vocation made its way to the United States women would begin embroidering their work as to have it be rightfully credited to them, but also helping fashion historians keep track of who designed what.

Act II is what I could only cheekily refer to as “old maiden clothes.” Or the birthplace of female autonomy in creating pieces such as lingerie and evening gowns. As I was walking through this part of the exhibit I couldn’t help but chuckle at the idea of some of these pieces being considered lingerie. For example, when staring at Marie Gerber’s ‘Evening Ensemble’ I kept thinking how conservative it is when I compare it to big lingerie brands such as Victoria’s Secret and Savage Fenty. Having grown up on those brands it’s not that strange to see why I would think Gerber was being a bit too modest with her design. Another of my favorite look from this act included Jeanne Lanvin’s ‘Cyclone’ evening gown who would create her own boutique with no financial backing.

Act III titled ‘Agency’ and could be compared to the third wave of feminism, saw a more revealing woman break into the scene. With the rise of the British Punk scene and popular rock bands like The Rolling Stones, Sex Pistols and Black Sabbath, it inspired British designers like Betsey Johnson and Vivienne Westwood to help create a new, edgy look that could match this subversive culture. Fashion was no longer just for the elite, it became an important symbol in cultural revolution and rebellion. Something that women designers could understand and relate to as they continued to push into the mainstream and make their collections not just works of art but a loud disruption to a corrupt and stiff society. Some of my favorite looks from this act include Betsey Johnson’s ‘Paraphernalia’ that I consider paying homage to the rise of hippie culture and the Beatles smash hit ‘Yellow Submarine.’ It was made most famous by model Baby Jane Holzer. Vivienne Westwood’s ‘On Liberty’ recognizes the British High Class and fun fact Vivienne Westwood’s second husband Malcolm McLaren was the manager of the Sex Pistols and Vivienne would often times design their wardrobes growing popularity for both her and the band. I would also be remiss if I didn’t mention the work of Ann Lowe, an African American designer who would go on to make, and then remake the day before due to a flood in her basement, Jackie Kennedy’s wedding dress which she would receive no credit for.

Act IV titled ‘Absence/Omission’ would introduce the “modern woman” created to feature and examine the inclusion of women with different body types as well as showcasing designs made for women who live with disabilities such as Aaron Philips who would have a mannequin modeled after her wearing peices designed by Collina Strada. Aaron Philips is most notable for her debut in the Moschino Fall ‘22 show. This act will also feature pieces from Danish designer Jasmin Søe who creates ensembles for those who live with achondroplasia(little person syndrome) as well as Ester Manas who is known for championing plus size women with her creations.

Though my favorite pieces would in this exhibit would come from Marie Grazia Chiuri ensemble for Dior. Marie captures everything I love about Dior, the combining of high luxury activities with haute couture to match in this fencing inspired ensemble. Tory Burch’s 2024 resort white dress is simplistic in nature but reminds me of something out of the classical Swan Lake ballet show(or if you’re a bit edgy the 2010 cult film ‘Black Swan’). Along with Simone Rocha’s couture dress that I can absolutely give no notes on, these would be my favorite pieces that I found myself coming back to often. Donna Karen’s ‘93 evening dress is honorably mentioned too due to Hillary Clinton wearing it (very distastefully in my opinion) at the 1993 State Dinner. However the gown itself was beautiful and reminded me of a longer version of Maddie Perez’s New Years dress in season 2 of ‘Euphoria.’

Overall these collection was both inspiring to see. I have only had the opportunity to visit the Met costume exhibit twice. The previous time focusing on works of Karl Lagerfeld. This exhibit however taught me more about women’s role in fashion and their struggle to breakthrough than any fashion course I could potentially take. The importance of preserving this history is obvious. Without the knowledge of Ann Lowe, Jackie Kennedy’s famous wedding dress would have continued to go uncredited and a Black woman would have been forgotten to history. These are the types of exhibits that matter. In preserving and showcasing our history, we are able to teach and inspire a new generation of fashion critics, designers and models to see what is possible in this amazing industry and if you find yourself in New York I would highly recommend making time to check out the exhibit.

[lboogie1906]

Aesha Ash (December 30, 1977) is a ballerina. During most of her career at the NYC Ballet, she was the only African American ballerina.

She was born and raised in Rochester, New York. She started ballet, tap, and jazz at 5 at a local studio. When she was 10, she switched studios to focus on ballet. At age 13, she traveled to New York City to train at the School of American Ballet’s summer intensive. She attended the course for two more years before being accepted as a full-time student. She won the Mae L. Wien Awards for Outstanding Promise. She became the school’s associate chair of faculty in the summer of 2022. At age 18, she joined the corps de ballet at New York City Ballet. In 2003, she moved to Switzerland to perform as a soloist in the Béjart Ballet. She then returned to the US in 2005 to join the Alonzo King LINES Ballet, a contemporary ballet company in San Francisco. She retired from ballet in 2008. After retirement, she started the Swan Dreams Project, a project that encourages African-American girls to become ballet dancers. She received an award from the National Women’s History Museum for her contribution to the arts. She was featured in the 2016 book The Ballerina’s Little Black Book.

She married Natale Ruello, a senior director at Forward Networks, and has two children. #africanhistory365 #africanexcellence

[realtorjamier]

Things to Do in the DMV in February!

Love and patriotism are alive and well in the DMV this February, with events and festivities that warm the heart and feed the soul. 

Feb. 1 – 26

George Washington Birthday Celebration

Alexandria, VA

As the adopted hometown of George Washington, the City of Alexandria celebrates his birthday every year throughout the month of February with events like the Cherry Challenge Restaurant Contest where each participating restaurant creates its own cherry cocktail, appetizer, entree and/or dessert. Washington-themed tours, ceremonies, balls, and galas educate and entertain guests. The George Washington Birthday Parade marches a mile-long route through the streets of Alexandria on Monday, February 20 beginning at 1 p.m.

Feb. 1 – 11

Harry Potter: A Forbidden Forest Experience

Morven Park 41580 Sunday Morning Lane Leesburg, VA

Set in the beautiful woodland on the Morven Park grounds, this nighttime woodland trail experience is filled with wizarding wonders – all brought to life by award-winning theatrical designers. This 60-90 minute interactive walk through the woods allows guests of all ages to cast spells, meet magical creatures, and enjoy a selection of Harry Potter-inspired food and drinks.

Feb. 1 (ongoing exhibit)

Powerful Partnerships: Civil War-Era Couples

National Portrait Gallery 8th and G Streets, NW Washington, DC

This exhibit features five dynamic duos who made their mark on U.S. history during tumultuous times. Also on display and similarly themed, is “Family Ties: Daguerreotype Portraits,” which reflects familial relations documented by early cameras.

Feb. 3 – 5

Chocolate Lovers Festival

City of Fairfax, VA Check the event schedule for exact locations.

Search for the GOLDEN TICKET in historic downtown Fairfax City during the Chocolate Lovers Festival! Three of the limited-edition chocolate bars that are scattered throughout the city will include golden tickets for chocolate lovers gift baskets. But everyone who attends the festival will be a winner as they will be surrounded by the finest chocolate confections in the region: cakes, candies, brownies, fudge — so much sweetness!

Feb. 3 – 5

Spring Home Show

Fredericksburg Expo and Conference Center 2371 Carl D. Silver Parkway Fredericksburg, VA

Get inspired for your upcoming landscaping projects, home improvements, updated decor, and more.

Feb. 4

Black Homesteaders of the South

National Museum of African American History & Culture Concourse, Oprah Winfrey Theater (and online streaming) 1400 Constitution Ave. NW Washington, DC

Genealogist Bernice A. Bennett tells the stories of African American families who became landowners through the Homestead Act of 1862. She explores how these families navigated the process and what this legacy means for their descendents. Make sure to catch the NMAAHC’s many February exhibitions including “Spirit in the Dark,” the story of religion in Black America, and “A Changing America: 1968 and Beyond,” which explores contemporary Black life.

Feb. 4

Fire in Ice

Downtown Frederick, MD

Experience a winter wonderland in Downtown Frederick. The city will be transformed by  hundreds of unique ice sculptures.  

Feb. 10

I Dream a World Selections from Brian Lander’s Portraits of Remarkable Black Women: Part II

National Portrait Gallery 8th and G Streets, NW Washington, DC

Pulitzer-Prize winning photographer Brian Lanker’s subjects include women who have made significant contributions to the arts, activism, literature, politics, sports, and more. This installation includes Althea Gibson, Odetta, Cicely Tyson, and Oprah Winfrey.

Feb. 15 – 19

Romeo and Juliet

American Ballet Theatre John F. Kennedy Center for the Performing Arts 2700 F St. NW Washington, DC

Enjoy the beauty of Renaissance Italy as you experience the most iconic story of star-crossed lovers. The American Ballet Theatre’s and The Kennedy Center Opera House Orchestra present this lavish production through Sergei Prokofiev’s music, Kenneth MacMillan’s choreography and Nicholas Georgiadis’ colossal sets and lavish costumes. 

Feb. 17 – 19

Mid-Atlantic Jazz Festival

Hilton Hotel and Executive Meeting Center 1750 Rockville Pike Rockville, MD  

Enjoy three days of jazz on four different stages including concerts, master classes, interviews with artists, dancing, and jam sessions. 

Feb. 24 – 25

Virginia Black History Month Association Events

Hilton Alexandria Mark Center 5000 Seminary Road Alexandria, VA

Attend the free Black Health Fair and Relationship Seminar on Friday, Feb. 24 at 4 p.m. The Black Health Fair includes dozens of health organizations who will provide lifesaving information, perform on-the-spot prescreening, and/or set up health appointments. The Relationship Seminar features professional relationship experts to empower guests with information on how to keep their relationships healthy and positive.

The keynote speaker for the 2023 Virginia Black History Month Gala is veteran actor, singer, and producer Leon Robinson who played the lead role in the 2000 film “Little Richard.”

[wikiuntamed]

On this day in Wikipedia: Thursday, 14th September

Welcome, Välkommen, Dzień dobry, नमस्ते 🤗 What does @Wikipedia say about 14th September through the years 🏛️📜🗓️?

14th September 2022 🗓️ : Event - Death and state funeral of Elizabeth II Death of Queen Elizabeth II: The Queen's coffin is taken from Buckingham Palace, placed on a gun carriage of The King's Troop Royal Horse Artillery and moved in a procession to Westminster Hall for her lying in state over the next four days with the queue of mourners stretching for miles along the River Thames. "Elizabeth II, queen of the United Kingdom and the other Commonwealth realms, died on 8 September 2022 at Balmoral Castle in Scotland, at the age of 96. Elizabeth's reign of over 70 years was the longest of any British monarch. She was succeeded by her eldest son, Charles. Elizabeth's coffin lay at..."

Image licensed under CC0? by Department for Digital, Culture, Media and Sport

14th September 2018 🗓️ : Death - Ethel Johnson (wrestler) Ethel Johnson, American professional wrestler (b. 1935) "Ethel Blanche Hairston (née Wingo; May 14, 1935 – September 14, 2018) was an American professional wrestler whose ring name was Ethel Johnson. She debuted at age 16, becoming the first African-American women's champion. She was a fan favorite, billed as "the biggest attraction to hit girl wrestling..."

14th September 2013 🗓️ : Death - Maksym Bilyi (footballer, born 1989) Maksym Bilyi, Ukrainian footballer (b. 1989) "Maksym Ivanovych Bilyi (Ukrainian: Максим Іванович Білий; 27 April 1989 – 14 September 2013) was a Ukrainian football midfielder...."

Image licensed under CC BY-SA 3.0? by Виктория Сидорова

14th September 1973 🗓️ : Birth - Mike Ward (comedian) Mike Ward, Canadian comedian and actor "Michael John Ward (born September 14, 1973) is a Canadian comedian. He performs comedy in both French and English...."

Image licensed under CC BY-SA 2.0? by Lisa Gansky from New York, NY, USA

14th September 1923 🗓️ : Birth - Nicholas Georgiadis Nicholas Georgiadis, Greek painter and costume designer (d. 2001) "Nicholas Georgiadis CBE (Greek: Νίκος Γεωργιάδης; 14 September 1923 – 10 March 2001) was a Greek painter, stage and costume designer, best known for his work in ballet, particularly in collaboration with Sir Kenneth MacMillan...."

14th September 1821 🗓️ : Death - Heinrich Kuhl Heinrich Kuhl, German naturalist and zoologist (b. 1797) "Heinrich Kuhl (17 September 1797 – 14 September 1821) was a German naturalist and zoologist. Kuhl was born in Hanau (Hesse, Germany). Between 1817 and 1820, he was the assistant of professor Th. van Swinderen, docent natural history at the University of Groningen in Groningen (the Netherlands). In..."

Image by Friedrich Fleischmann (1791—1834), German painter and engraver

14th September 🗓️ : Holiday - Engineer's Day (Romania) "Engineer's Day is observed in several countries on various dates of the year...."

[cartermagazine]

Today In History Janet Collins broke color barriers in the 1950s when she became the first African American prima ballerina and one of the very few prominent black women in American classical ballet. Collins was born in New Orleans, LA, on this date March 7, 1917, and today we are honored to share a glimpse into the life of a crucial figure in ballet history. Ms. Collins made her debut as the leading dancer in the Met’s production of “Aïda.” She went on to become the first African American prima ballerina with the Metropolitan Opera. Ms. Collins was also a member of SAB’s guest faculty, teaching modern dance classes at the School from 1949-1950 and then again from 1967-1969. “Everything was clear. But the speed with which Janet Collins moved was unbelievable,” said Arthur Mitchell an American dancer, choreographer, and director who was the first African American to become a principal dancer with a major ballet troupe, New York City Ballet. He later cofounded the Dance Theatre of Harlem. “There was a wonderful feeling of flight all the time, but not flight to get away, flight to move. And she really reveled in the movement, she reveled in the movement. And as Balanchine said, ‘a dance is movement through time and space.’ She was the embodiment of that when she danced.” CARTER™️ Magazine carter-mag.com #wherehistoryandhiphopmeet #historyandhiphop365 #cartermagazine #carter #janetcollins #womenshistorymonth #blackhistorymonth #blackhistory #history #staywoke #ballet https://www.instagram.com/p/CpfDH8_uRaO/?igshid=NGJjMDIxMWI=

[theblackinfluencers]

Black Women In Dance

Black dancers helped impact the American dance scene significantly. Here are some of the most famous black dancers who broke countless barriers in their pursuit of artistry. These incredible contributions are an encouragement toward teaching people of different colors. 

Listed are a few of the game changers.

Misty Copeland

Misty Copeland started her ballet studies when she was only 13 years old at San Pedro City Ballet. One of her famous mentors is Raven Wilkinson, who broke new ground during the 1950s. Soon, Misty won first place in the Music Center Spotlight Awards at the age of 15. In the summer, Misty got accepted with a full scholarship into the intensive program.

Despite her difference in skin color and body type, she kept climbing the ranks with her unique skill. In 2007, Misty Copeland was the first black ballet dancer who pursued a solo career in two decades.

Ebony Williams

Among famous black dancers, Ebony Williams is a shining candidate not to miss. She has performed in the Super Bowl with Beyonce and danced for her “Single Ladies” MV. Besides that, she also showed up in many other videos for celebrities such as Ciara, Rihanna, and Justin Timberlake. She has been known as a contemporary dancer for Cedarlake Contemporary Ballet. It’s a 10-year-old firm that has climbed to the top in the eyes of the whole world.

Katherine Dunham

Famous black American dancer, choreographer, author, anthropologist, and social activist. Dunham had one of the greatest dance careers in African-American and European theaters. She had directed her dance firm for several years and excelled in every field.

Her dance career began once she took part in the Little Theater Firm of Harper Avenue. She devoted herself to ballet and other dance forms, including Javanese, Balinese, and Spanish. When Dunham turned 21 years old, she established the Ballets Negres Group. This dance group got targeted to teach young black dancers about their heritage. Aside from that, Dunham owns different accomplishments that go further than her performance. She had a long list of activist work, such as performances to continue a 47-day hunger strike. This event took place to protest the inhumane treatment of the Haitian refugees.

Janet Collins

Janet Collins, was a forerunner for black female ballet dancers. She was one of very few black women to become prominent in American classical ballet in the 1950s, inspiring a generation and giving hope for a more equal society.

Collins began dancing in Los Angeles and eventually relocated to New York. Her big debut was to her own choreography in 1949 on a shared program at the 92nd Street Y. She was well received, being praised for her sharp, technical precision. After performing on Broadway in the Cole Porter musical Out of This World, she was hired as a principal dancer at the Metropolitan Opera House in the early 1950s.

Throughout her career, Collins also danced alongside Katherine Dunham and performed with the Dunham company in the 1943 film musical Stormy Weather.

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