On November 6th, 2017, Harlem Stage opened its doors for a ballet class led by Misty Copeland and a talkback featuring both Copeland and Carmen de Lavallade. Organized by the Dance Theatre of Harlem and Harlem School for the Arts, it was an opportunity for young dancers of color and the wider community to connect with the two iconic figures: Misty Copeland, the first African-American woman to be promoted to principal dancer in the American Ballet Theatre and Carmen de Lavallade, a multi-talented legend and former principal dancer for the Metropolitan Opera, Alvin Ailey American Dance Theater and the Lester Horton Dance Theater.
The first portion of the night was dedicated to the ballet class for students representing both the Dance Theatre of Harlem and the Harlem School for the Arts. As a teacher, Copeland embodied gentle, down-to-earth authority, unopposed to getting on the floor to adjust a stance or hold up a limb. With a focus on proper technique, her descriptive breakdown of the body mechanics at work in each exercise, made the tasks easy to understand and her encouraging demeanor exuded both patience and humor.
The students themselves should be commended for their poise. Looking to be between the ages of 7 and 14, their calmness before a live audience, cameramen and a celebrity teacher was admirable.
When the ballet barres were put away, de Lavallade came out to lead the youth with a less structured approach. Emphasizing the importance of a harmonious partnership between the individual and her/his own body, and between the body and the music, de Lavallade encouraged students to use their imaginations to feel and embody a story. After all, great artistry is more than simply executing steps or relying on counts.
The second portion of the night featured a discussion with the artists, moderated by dance historian and critic, Zita Allen. Guided by thoughtful questions from the students, both women expressed their great love for dance and offered insight into their lives as successful professionals.
De Lavallade was extremely humble, often citing her predecessor and cousin, Janet Collins, the first African-American to be hired full-time by the Metropolitan Opera (as a prima ballerina). Collins' struggle with bigotry in the industry opened doorways for dancers such as de Lavallade and many others.
In the vein of creating opportunities for dancers of color, Copeland spoke of the American Ballet Theatre's diversity initiative, which she inspired, entitled Project Plié. "There's money in diversity," Lavallade added, making a point about how increased diversity among artists correlates with the increased diversity among patrons of the arts.
As the evening came to a close, de Lavallade made sure to expound upon the practical and spiritual value of artists. She used the handprints left on cave walls by early humans, as an example; "We are storytellers. Without artists, we don't know where we came from."
Photo By Marc Millman
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