USdancer, choreographer, and director. He studied in Los Angeles with Horton and later with Graham, Holm, and Weidman in New York, making his debut in Horton's company in 1950. In 1953, after Horton's death, he took over as director, then in 1954 went to New York to dance in the Broadway musical House of Flowers. In the same year he also appeared in the film Carmen Jones. A big, graceful dancer he gave his first New York concert in 1957 and in 1958 formed the Alvin Ailey American Dance Theater. In the company's first year he created Blues Suite a work exploring the pain and anger of his own African American heritage It became one of his most popular works defining his stylistic mix of modern jazz classical and black dance as well as his unique ability to fuse ...
Alvin Ailey was born in Rogers, Texas. He grew up in a single-parent household headed by his mother, Lula Elizabeth Cooper. As a boy, he helped her pick cotton. In 1942 they moved to Los Angeles, California, where she found employment in the World War II aircraft industry. Ailey attended George Washington Carver Junior High School and Jefferson High School, primarily black schools. He went on to study literature at the University of California at Los Angeles (UCLA). Ailey's dancing career started in 1949 when a high school friend, Carmen DeLavallade, introduced him to Lester Horton, his first dance instructor at the Lester Horton Dance Theater. When Horton died in 1953, Ailey became the director of the company. The following year, Ailey moved to New York City where he joined DeLavallade in the Broadway dance production House of Flowers While appearing in other stage ...
Lili Cockerille Livingston
actor, dancer, and choreographer, was born in Rogers, Texas, the son of Alvin Ailey, a laborer, and Lula Elizabeth Cliff, a cotton picker and domestic. Before Ailey was a year old, his father abandoned the family, leaving them homeless for close to six years. During that time Ailey and his mother made their way, often by foot, across the unforgiving terrain of the impoverished and bitterly racist Brazos Valley in southeastern Texas to seek shelter with relatives and find work in nearby fields.A bright curious child Ailey joined his mother in the cotton fields as soon as he could carry a sack He reveled in the sights and sounds of the gospel choirs and worshipers that he witnessed in the black Baptist churches of his youth Ailey also became acquainted with the less pious side of life through those who spent Saturday nights dancing ...
choreographer and dancer. Born in Rogers, Texas, Alvin Ailey was raised in a single-parent home headed by his mother, Lula Elizabeth Cooper. Ailey and his mother earned money by picking cotton and doing domestic work for local families. In 1942 Ailey moved to Los Angeles; he attended George Washington Carver Junior High School and Jefferson High School, where he developed an interest in music and literature. After graduation he went on to study literature at the University of California at Los Angeles.
Ailey's dance training began in 1949 when a friend, Carmen DeLavallade, introduced him to Lester Horton, founder of the Lester Horton Dance Theater. Horton was one of the few dance instructors who accepted black students, and he became Ailey's first dance coach. When Horton died in 1953 Ailey became the director of the company The following year Ailey moved to New York City where ...
Donna Waller Harper
dancer, choreographer and actress, was born Deborrah Kaye Allen in Houston, Texas, to Andrew Allen, a dentist, and Vivian Ayers-Allen, a poet and librarian; her parents had two other children, the actress Phylicia Rashad, and Hugh Allen, better known as Tex. Although she exhibited an early interest in dance and desired to join the Houston Foundation for Ballet, she was denied admission when she applied in the 1950s in what her mother saw as a clear example of discrimination. Her parents were able to pay for private ballet lessons with the Ballet Russes. She later traveled and trained in Mexico City with the Ballet Nacional de Mexico. In 1964 she returned to Houston where she once again auditioned for the Houston Foundation for Ballet This time she was not only accepted to the prestigious organization but was awarded a scholarship Her talent won her ...
tap dancer and choreographer, was born Charles Atkinson in Pratt City, Alabama, the son of Sylvan Atkinson, a construction and steel worker, and Christine Woods. At age seven Atkins moved with his mother to Buffalo, New York. Woods, herself an avid social dancer, encouraged her children to dance, and Atkins won his first local contest at age ten doing the Charleston. As a teenager Atkins made his first money as a dancer by busking at rest stops while working as a bus line porter between Buffalo and Albany. His dancing caught the attention of a talent scout for the Alhambra on the Lake, a Lake Erie nightclub, who booked Atkins as a regular act. There he learned to tap from William “Red” Porter, a dancing waiter who became Atkins's first dance partner.
In 1929 Atkins joined a traveling revue produced by Sammy Lewis and toured through ...
As performer, choreographer, and dance coach, Cholly Atkins mastered the art of the Tap Dance. He was best known for his team tap dancing with the great Charles “Honi” Coles.
Born in Birmingham, Alabama, and raised in Buffalo, New York, Atkins displayed a talent for the stage at an early age. He began performing at the age of ten, when he won a Charleston contest, and while attending high school he learned basic Jazz and soft-shoe dance steps. He began his formal career as a singing waiter in 1929. Soon he and dancing waiter William Porter formed the Rhythm Pals, a vaudeville song-and-dance team. After ten years, Atkins left the Rhythm Pals to begin dancing and choreographing for the Cotton Club Boys, a tap troupe that toured with Cab Calloway and performed with Bill “Bojangles” Robinson in a swing musical called The Hot Mikado at ...
was born on 3 March 1923 in Spanish Town, Jamaica, the sixth daughter of Aubrey William Allen Baxter, a civil servant for the railway and later the Public Works Department, and Fanny Beatrice Wright. As a girl, Baxter was raised in the Anglican Church and attended Wolmer’s Girls School in the 1940s. There, she trained in English country dance. Around the same time, she also converted to Catholicism. Her first professional dance training was in classical ballet, tap, and character dancing, which she was taught by the local ballet teachers Herma Dias and Hazel Johnston at Hazel Johnston Dance Studio in Kingston during the 1930s and 1940s. Later, she was awarded the Jamaica Scholarship to pursue further studies in physical education abroad, taking her to the University of Toronto, Canada.
Upon her return to Jamaica, Baxter started working as a physical education teacher at Excelsior High School, and in 1956 ...
Melanye P. White-Dixon
Over a career that spanned nearly six decades, Beatty came to be acknowledged by dance critics as one of America's most brilliant dancers and choreographers. He began his dance studies at age eleven in the late 1930s under the tutelage of Katherine Dunham and was a principal dancer with her company for several years as well as a teacher of the Dunham technique. After becoming an independent dancer in 1945, he performed in filmmaker Maya Deren's A Study in Choreography for Camera (1945), in a revival of Show Boat (1946), in Syvilla Fort's Procession and Rite (1947), and in Helen Tamiris's Inside U.S.A. (1948).
In 1947 Beatty formed his own company, called Tropicana. For the company premiere he created Southern Landscape a dance about the plight of African Americans in the South after the Civil War The ...
USdancer, choreographer, and company director. He trained with Katherine Dunham and made his professional debut in her company in 1940, undertaking additional later studies with Martha Graham. In 1946 he left Dunham to perform in musicals, including a revival of Show Boat (1946), as well as in Maya Deren's film, A Study in Choreography for Camera (1945). In 1949 he formed his own company, Tropicana, for which he created Southern Landscape, a work portraying the plight of African Americans in the South after the Civil War. In 1955 he disbanded his company, and focused on giving solo concerts and choreographing for others. His dances frequently highlighted social injustice, particularly for black Americans. A list of his works includes The Road of the Phoebe Snow (1959), the full-length Come and Get the Beauty of It Hot ...
C. S'thembile West
choreographer, dancer, and teacher, was born in Cedar Grove, Louisiana, the son of a housepainter. His parents' names are unknown. In the small town of Cedar Grove, right outside Shreveport, Beatty's earliest dance influence was the legendary Katherine Dunham. According to the historian Joe Nash, a close friend and colleague of Beatty, Dunham invited him to “watch dances in progress” when he was eleven years old. Dunham was in rehearsal for Ruth Page'sLa Guillablesse, scheduled to open at the Chicago Civic Opera in 1933, and was trying to keep the young boy's playing from disrupting her work. Beatty danced onstage for the first time in the opera's 1934 season and emerged as a dancer of note after studying from 1937 to 1940 at Dunham's Studio de la Danse in Shreveport. He danced the role of a priest in Dunham'sYanvalou a ...
dancer, choreographer, and educator, was born in Boston, Massachusetts, to a theatrical and musical family. One of New York's most superb and demanding jazz teachers, as well as an excellent choreographer, Benjamin began his career at the age of four, studying with Elma Lewis at her well-respected School of Fine Arts. Two years later, he started studying ballet, a requirement for all of Lewis's students, no matter which style they chose to focus on. When peer pressure led Benjamin to stop dancing briefly—a not uncommon situation for young male dancers—he shifted to acting, taking classes at Boston Children's Theatre. Two years later he returned to Lewis's school and found something new: George Howard, a teacher of Haitian dance. Still a child, Benjamin knew instantly that “that's the thing I wanted to do, with the drums and everything. It was so exciting to me” (Hall, 3).
also commonly remembered as Lina Mathon-Fussman or, equally, as Lina Fussman-Mathon, was born in Port-au-Prince on 3 January 1903, one of five children of Charles Mathon, a medical doctor, and Cléante N. Marie Anne Carré Mathon. By all accounts captivated by the piano as a toddler, she was formally introduced to the instrument at the age of 4 by Haitian composer Justin Elie. She subsequently studied the classical music repertoire with the best teachers of the era, including completing advanced studies at the Ecole Notre-Dame de Sion in Paris between 1917 and 1921. Blanchet would eventually cofound the Lycée Musical de Port-au-Prince (a music school) and was later named the first director of the Conservatoire National by Haitian president Paul Eugène Magloire.
A tireless promoter of Haitian folkloric music throughout her life, Blanchet is cited as the first artist to mount stylized Vodou-influenced spektak performances on a ...
dancer and choreographer, was born Jeraldyne Kilborn in Dayton, Ohio, the daughter of Elijah Kilborn, an insurance agent, and Winifred Keith, who worked at Wright Patterson Air Force Base. Her mother played the piano, and her father had an artistic nature, which included writing poetry and soft‐shoe dancing. Although Dayton was geographically divided along racial lines at the time, Jeraldyne attended Irving Public School, which was not segregated, and Roosevelt High, which was all white when she entered and fully integrated by the time she graduated. Segregation had never been the official policy of Dayton, and African Americans freely shopped in department stores, although there were no black employees except for cleaning help. Jeraldyne's grandmother was one of the first blacks to build her own home.
Beginning at the age of eight, Blunden trained in classical ballet with Josephine Schwartz, who, with her sister Hermene was ...
Blunden, Jeraldyne (10 December 1940–22 November 1999), dancer and choreographer, was born Jeraldyne Kilborn, in Dayton, Ohio, the daughter of Elijah Kilborn, an insurance agent, and Winifred Keith Kilborn, who worked at Wright Patterson Air Force Base. Her mother played the piano and her father had an artistic nature, which included writing poetry and soft-shoe dancing. Although Dayton was geographically divided along racial lines at the time, she attended Irving Public School, which was not segregated, and Roosevelt High, which was all white when she entered and fully integrated by the time she graduated. Segregation had never been the official policy of Dayton, and African Americans freely shopped in department stores, although there were no black employees except for cleaning help. Blunden's grandmother was one of the first blacks to build her own home.
Beginning at the age of eight Blunden trained in classical ballet with Josephine ...
Thomas F. DeFrantz
Afro‐Caribbean dancer and choreographer, was born Percival Sebastian Borde in Port of Spain, Trinidad, the son of George Paul Borde, a veterinarian, and Augustine Francis Lambie. Borde grew up in Trinidad, where he finished secondary schooling at Queens Royal College and took an appointment with the Trinidad Railway Company. Around 1942 he began formal research on Afro‐Caribbean dance and performed with the Little Carib Dance Theatre. In 1949 he married Joyce Guppy, with whom he had one child. The year of their divorce is unknown.
Borde took easily to dancing and the study of dance as a function of Caribbean culture. In the early 1950s he acted as director of the Little Carib Theatre in Trinidad. In 1953 he met the noted American anthropologist and dancer Pearl Primus who was conducting field research in Caribbean folklore Primus convinced Borde to immigrate to the United States as ...
Thomas F. DeFrantz
was born on 30 December 1922 in Port of Spain, Trinidad, the son of George Paul Borde, a veterinarian, and Augustine Francis Lambie. Borde grew up in Trinidad, the second of three boys in a family of six children. He finished secondary schooling at the Queens Royal College of the West Indies in Port of Spain, and took an appointment as a civil servant with the state railway corporation. Around 1943 he began formally studying dance and performing with local companies; six years later he married Joyce Guppy, with whom he had a child. Borde and Guppy later divorced.
Tall handsome and likeable Borde took easily to dancing and the study of dance as a function of Caribbean culture He began by studying with the internationally noted Trinidadian artist and dancer Boscoe Holder and later studied with Beryl McBurnie a galvanizing force in Trinidadian folk dance transformed for the stage ...
Brenda Dixon Gottschild
Most of Bradley's professional career was spent in England and Europe, and little is recorded of his American work. This problem is shared by other African-American choreographers of his generation, such as Leonard Harper, Clarence Robinson, and Addison Carey. In addition, the date and place of his birth are uncertain, as is the date of his stage debut.
Bradley grew up in Harrisburg, Pennsylvania, and later, after his mother's death, moved to Harlem in New York City, where he lived in a boardinghouse for performers. His early influences included Dancing Dotson and Jack Wiggins, dancers on the black vaudeville circuit; precision dancers Rufus Greenlee and Thaddeus Drayton, who were fellow rooming-house boarders; and the inventive Eddie Rector In the mid 1920s after working as an elevator operator Bradley took a chorus job in a musical revue at Connie s Inn in upper Manhattan Subsequently ...
Constance Valis Hill
choreographer and jazz tap dancer, was born Clarence Bradley in Harrisburg, Pennsylvania. His parents' names and occupations are unknown. His father died when he was quite young, and his religious mother brought him up strictly. After seeing the tap dancers Jack Wiggins and Clarence “Dancing” Dotson at a local theater, Bradley learned to do the time step on one foot by age eight. He taught himself the Charleston, the strut, the drag, the shuffle, and a vast assortment of African American vernacular dances.
After his mother died when he was fourteen, Bradley went to live with a brother-in-law in Utica, New York, and worked as a hotel busboy. A few months later he ran away to New York City and lived at a Harlem boardinghouse inhabited by many show people, especially dancers. With a group of other youngsters that included Derby Wilson who became a well known tap dancer ...
Barbara Toomer Davis
dancer, teacher, choreographer, and community activist, was born in Philadelphia, Pennsylvania, the only child of Nellie W. Lewis, a research and chemical engineer during World War II, and Julius T. Myers, a chef. Lewis's determination to pursue her interest in chemistry provided a model of high expectations and self-confidence for Brown that enabled her to venture into a world closed to African Americans in the 1940s and 1950s.
Brown was encouraged by a high school teacher to join an after school classical ballet dance club and later took lessons in a private studio Because of de facto desegregation and racism Brown could not enroll in any of the local dance schools for white students but this did not stop her from pursuing her dream Instead she studied a variety of dance forms at the Sydney School of Dance in Philadelphia a school for black dancers Upon her graduation ...