Happy Thanksgiving, everyone! We hope you're enjoying this wonderful day of feasting. In the spirit of the holiday, we thought we'd reflect on the dance things we're grateful for this year. Here are our editors' top picks.
Though ballet has come a long way from its early days, New York City Ballet corps member, Olivia Boisson—one of the handful of black dancers in the industry—says there's still plenty more that can be done to promote diversity within the art form. Boisson got real about her experience in an article for Women's Health, which discusses everything from Boisson's early training to her work with NYCB.
"I had a unique path to dance," says Nardia Boodoo, a luminous, elegant apprentice with The Washington Ballet. She briefly studied ballet as a child, but didn't start serious training until she was 14 years old, attending Baltimore School for the Arts. "I didn't know what a pirouette was," she says. "I would wake up really early to stretch and remember my corrections." But, a focused student, she advanced quickly: Soon she was attending prestigious summer intensives, and she earned a spot in The Washington Ballet Studio Company in 2014. Now, Boodoo is working with her childhood idol, TWB artistic director Julie Kent, and dreams of someday dancing the title role in Giselle.
Boodoo is acutely aware of the power of representation. "It has only recently become OK to have a Misty Copeland," she says. "It's no longer socially acceptable to only have girls who look exactly the same, in any aspect of entertainment. But at the same time it feels like a trend, and I'm not a trend, I'm a human being." Boodoo wants to see genuine diversity, from top to bottom. "You need teachers and directors, ballet masters and répétiteurs," she says. "Diversity on every single level is progress."
As a student at Houston Ballet's Ben Stevenson Academy, American Ballet Theatre corps member Erica Lall saw iconic former Houston Ballet principal Lauren Anderson on a regular basis. "I think I assumed her position as an African-American principal dancer was a one-time thing," Lall says. "Lauren became a principal in 1990. Why aren't there dozens of brown swan queens now?" In 2013, when Lall came to NYC for the ABT summer intensive, she registered for two weeks at Dance Theatre of Harlem. "I wanted to experience ballet in an environment where I could feel comfortable and proud of my brown skin," she says. "But I didn't have to wait, because I found acceptance at ABT right away."
Lall, who counts her colleague Copeland as a role model, is proud to be the first recipient of the Josephine Premice Fales/ABT Project Plié award, which allowed her to pursue training at ABT. "The award is one of my greatest inspirations to work relentlessly," she says. But, she adds, "the last thing I want to hear is that my talent was secondary to the need to add color." Those who've seen her ebullient, expressive dancing onstage with the company know she needn't worry.