Is There a Lack of Interest from the African-American Community for Ballet?: A Conversation with Dancer Ikolo Griffin

Now that we are all back from vacation and our normal lives have gone back into full swing, I have been spending the majority of my time working on a very personal project that I look forward to sharing with you all very soon. My absence from the blog was do to this work that I hope will produce positive and inspiring results. 

Photo Ikolo Griffin by Sandy Lee

While conducting research for this project, I discovered an interview which included myself and fellow dancer, Ikolo Griffin, published in the San Francisco Gate in 2007. The interview was conducted by Rachel Howard and raised some very important issues that should be addressed. When asked about the disparity of African-Americans in the ballet world, my fellow interviewee stated the following:

"The African American culture isn't that interested in ballet as an art form," Griffin said. "I think that's what eventually caused DTH to sink. There wasn't enough interest from the black community to support a ballet company. But African American culture has its successes in music, in sports, in jazz, in so many other fields. And the ballet has enough support from other communities."

After revisiting this interview, I contacted Ikolo to elaborate on his comments, as well as respond to a few others. Below are the questions I submitted to Mr. Griffin, as well as his responses.

In your opinion, why is there so little participation and interest for ballet by African-Americans?

Fundamentally, ballet in America today rarely offers relatable programming for the African-American community, and there is not enough effort to attract new and diverse audiences. People go to the theater to see something of themselves; to see something they can relate to and feel a genuine emotional or cultural connection. You can’t blame people for not being interested in something that is not emotionally, culturally, or artistically interesting to them. If ballet is to be a truly American art form, it should reflect all aspects of the American condition and thereby attract more interest and participation from all communities. The only place that I’ve really seen ballet inspire diverse communities was at Dance Theatre of Harlem, where despite financial setbacks there remains an active focus on building new audiences through educational programs and a repertoire that truly reflects American diversity. Another unique thing about my experience at DTH was seeing people on stage who looked like me, and knowing that young people from many cultures would see someone on stage they could relate to. It was very difficult to be a company member during DTH’s struggle for financial support and eventual closing in 2004, but it heartens me to see the potential for a new company growing. Because it’s not just about being the one black person in the corps, it’s about being given an opportunity to succeed at higher levels and to become a principal dancer. That will truly make a difference in how the African-American community can look at ballet as an art form.

You commented regarding the successes in other fields made by African-Americans and that ballet had enough support from other communities. Do you feel that it's not really necessary to push the issue over greater African-American presence in ballet, since we have so many other successes to be proud of? Would ballet even benefit from African-American presence, and why/why not?

Let’s say this: Ballet would benefit from becoming a comprehensive reflection of American culture. In this economic climate, arts organizations are in need of support on all fronts, and ballet companies will need to diversify if the art form is to survive in this century and beyond. In that sense, ballet would truly benefit from the participation of many diverse cultural communities. African-Americans have a lot to offer the ballet world, but until the doors of diversity are truly open, it will always be a struggle. I would love to see more beautiful black ballerinas on stage, and I believe that the ballet world and the African-American community would benefit from that presence.

Do you believe the problem starts in the African-American community first or the ballet community as a whole needs to take more action?

I believe the problem starts in the ballet world, and the problem is discrimination. Becoming a ballet dancer requires not only a specialized and highly trained physique, but also a tireless work ethic and, at times, a very thick skin. Dance is a visual art form; outward appearances are scrutinized to the smallest detail, so it’s no surprise that skin color comes into play. All dancers of color that I’ve met have stories of encountering the sometimes blatant cultural insensitivity that has become ingrained the fabric of ballet. The tradition of classicism in ballet can still make room for cultural diversity and the acceptance of new visions and ideals; this is how an art form evolves to remain relevant and important in the world at large. This is what needs to change in order to revolutionize the face of ballet and make new precedents for dancers of color in America.

Mr. Griffin made it clear to me that this is of course his opinion, developed from his personal experience in the ballet world. While we may only have are our own unique experiences in the end, my hope is that we can use our unique experiences and perspectives to improve the current and future prospects of young dancers.

Following my interview with Mr. Griffin, he introduced the topic of mixed heritage dancers and requested an opportunity to speak more on the subject.  Here Mr. Griffin has opened up about some of the challenges he has confronted, introduces us to his organization, as well as his thoughts on where ballet needs to head in the future.

In June 2001, I left my home in San Francisco for a new life in New York with the Dance Theatre of Harlem. I didn’t know what to expect, and I certainly got more than I had bargained for. I finally found myself around people I could relate to, and this is how I realized my significance as a mixed heritage ballet dancer. I had grown up in the San Francisco Ballet School from the age of eight and danced with the professional company for seven years when I realized I had hit the glass ceiling. I could have spent my whole career there and never made it past the corps de ballet. At DTH I saw my potential reflected in the people around me, whereas at SFB there was always somebody with a gold medal and a luscious head of hair to complement the leading roles. I had been restricted by my own success as the “hometown outreach boy” in San Francisco, and at DTH I had a new opportunity for my talents to shine. And they did! Before DTH, I never would have imagined being able to perform leading roles on opening night at Lincoln Center State Theater. For three short years I was truly a principal dancer in my own right; I grew most artistically in those three years because I could see the success of other dancers of color around me. There was something about being around other mixed-heritage dancers that took away the pressure of “tokenism” and allowed me to relax enough to open up and grow as an artist. I had finally found a place to share the experience of being a mixed heritage ballet dancer with others like me.
Arthur Mitchell taught me the importance of having a cause behind my dancing, and that we represent something greater than ourselves. I’ve taken that and applied it to my mission of spreading mixed-heritage awareness in my home community. For the past ten years or so, I have partnered with my best friend, Nathalie-Andree Muzac, to create Living Bridges, an effort dedicated to mixed-heritage awareness education. We assert that people of mixed heritage are not “halves” but wholes. We must allow ourselves to feel wholly who we are, to acknowledge every cultural aspect of our heritage and ancestry as a complete part of our being. For me, that means owning both my father’s African roots and my mother’s Jewish traditions. I’m not half-black, half-Jewish, I’m fully both. Often, people of mixed heritage feel forced to choose or trapped in between, never feeling like they fit in with any culture. In some cultures, being mixed can diminish status and devalue an individual’s cultural rights. We are teaching empowerment through lectures, classes, and dance presentations to show the cultural richness of being mixed heritage and to encourage others to become living bridges in their own communities. It’s this cultural richness that needs to be incorporated into ballet as a classical art form in the modern era.


I encourage you to read about his organization, Living Bridges, at Http://ikolo.net/ikolo.net/Home.html

Despite our varying backgrounds, many of us can identify with the feeling of being an outsider, and understand that feelings of marginalization or tokenism is unhealthy in any professional environment. Diverse and inclusive environments provide space for individuals to grow, flourish and share their unique identity with the world.

I want to thank Mr. Griffin for his generosity in willing to participate and open up about such a personal and sensitive topic. I believe such honesty and openness is not only cathartic, but builds bridges of understanding by making us realize how truly connected we are to one another.

Summer is here!

 Summer is here and so too is the mood of leisure and relaxation. For most dancers this is the time to search for new jobs, going on tour to new and exciting places, or getting a much needed respite from a demanding season. For my part, I will be taking the next several weeks to enjoy my family and friends while working on some personal projects. I am also interested in expanding the format of my blog and would love to hear your insights. 

This blog was inspired by the numerous dancers who have contacted me over the years seeking advice and mentorship. I wanted to provide a useful outlet to share information and common experiences, as well as give a piece of myself back to the art community that has given me so much. Initially, I wanted to help by sharing my experiences, but soon realized that I feel a deeper involvement when I hear about your journeys and respond to your questions.  I am considering adding a interactive element to my blog, where readers can share questions, concerns, grips or personal experiences. I have discovered that many artists that email me or post to this blog have similar areas of concern and interest. Many feel isolated and alone. I feel a more community based dialogue can help eliminate unnecessary feelings of isolation, as well as inspire. There are so many wonderful, yet unheard stories, so many moments of inspiration, triumph  and accomplishment—these victories, great and small, should be celebrated and shared.

My vision for this blog is to serve as catalyst for frank, honest and respectful dialogue, where our voices can be heard and our issues and concerns shared. I want artists to have a place to both celebrate their craft and challenge it when necessary. Nothing is off limits. I want to hear your stories, which are therapeutic not only to me,  but I hope to you and others as well.

Please feel free to write to this blog or leave a message on The Black Swan Diaries Faceook page. You may remain anonymous upon your request.

Thank you all for your support throughout the year. I am looking forward to hearing your input and sharing your insights. Have a great summer everyone!

Where's My Spotlight?

 It’s never a good feeling when a dancer is not selected for a desired role on casting day. I have seen many disenchanted young dancers carry this disappointment into the next performance. However, I often remind them that the joys of performing are not confined to soloist and principal roles. The love of this wonderful art should not end when the spotlight leaves you.

Some of my fondest performances were less intense ballets as a member of the corps.The pressure of a solo performance, or more intense role, was removed and I was free to become a part of an uninhibited and collective experience.  I sometimes used less spotlighted roles to experiment with hair, make-up, varied technical approaches and even experimenting with a new pointe shoe. In each role I would also search for moments of inspiration that would allow me to get lost in the composition and choreography so that I could make the performance my own. My love of dancing was not pegged to the amount of attention I received. Although, I am keenly aware of dancers desire to feel rewarded and appreciated by being cast in premier roles. Casting often seems like a vindication of our efforts. However, we should not let disappointment rob us of the joy that comes with being totally connected with our passion.  The focus should be on how we perform, not what we perform—we should seek to immerse ourselves in every role, and in so doing, make it indelibly our own. 

I, like many young dancers, would have given anything to perform certain ballets, and I have certainly had my share of casting upsets-the occasional ballet dream became more frequent and vivid during these times. However, I can look back on all my performances and say I made the most of each one, whether a proud soloist or free-spirited member of the corps. I didn’t let casting steal my joy of performing—and neither should you. After all, you never know who may be watching.

Stay inspired!

BALLET: A Love Affair

From the moment I laid eyes on a pointe shoe, my curiosity took hold of me and I just knew that I had to dig deeper into this world of ballet and discover its majesty.

From tutus to tiaras, there are so many things about the imagery and majesty of ballet that captured my young adolescent heart. However, as I matured I started falling in love with the challenges that ballet posed. I found pleasure in mastering variations, pointe work and the complexities of partnering. Ballet at once occupied a space of great effort and magic. Ballet is where my passion met my inherent drive to push and perfect. The pressure to maintain grace, elegance and discipline before discerning audiences became not only palatable, but a joy! I have never been comfortable being the center of attention. Yet, when I performed it was as if all onlookers had disappeared. It was through this splendid isolation that I was able to bear my soul with such honesty and sincerity. Even preparation rituals were sensory-filled pleasures, from the stroke of my make-up brush, the mist of hair spray to the splash of a favorite perfume. The headpiece, the earrings and the costume, the race of my heartbeat before the curtain rose, the adrenaline after a successful performance, all seemed to nourish some mystic part of my being. This world seemed uniquely my own, and was a part of a fantasy I could indulge in night after night. A true love addiction.

Ballet taught me so much about myself and given expression to a person I never knew existed. It was because of ballet that I learned how strong and resilient I truly am. I learned that there is more than one way to achieve a desired result and what works for one may not work for another. I learned that beauty comes in many shapes and colors, that life is full of contradictions- sometimes you need to dig down to lift yourself up.  Finally, ballet has allowed me to experience my dreams in living color.

The magic of ballet starts well before the curtain raises and I am so honored to say that I have experienced every moment of it.

That Little Green-Eyed Monster

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Many of us have dreams of a better life and wonder how things might have been had we always walked on the sunnier side of the street. I grew up in a working class, urban neighborhood, and always envied the suburban kids who seemed to have very plum lives. As a dancer, I wished I had the natural gifts of some of my counterparts who performed so effortlessly, as if they were simply born to dance. However, with maturity I have learned to embrace my own unique journey as one that instilled hard work, perseverance and appreciation for all of life’s gifts. I also learned to use other’s success as inspiration, instead of a source of envy. I use the gifts I admire in others to motivate myself to push harder and dream bigger. Through the process of humbling myself, allowing others to inspire me, I learned to try. Through trying I learned to fail, and through failure I was able to inspire many.

Ballet was not innate and did not come naturally to me. Becoming a ballerina took a willingness to humbly place myself amongst superior talent with a student’s mind and a heart determined to succeed. I no longer envy my neighbor’s gifts, I chose to learn and be inspired by them. Even the unobtainable can serve as inspiration!

With a positive attitude, the willingness to embrace inspiration around us, and the faith to try—we can obtain our dreams.

Dear Aspiring Artist,

Throughout my career, I refused to allow the obstacles of fear or rejection to prevent me from obtaining my goals. Through belief in myself, support of loved ones and sheer force of will, I was able to leave my modest, working class home and perform in some of the world’s great halls and theatres. I have accomplished things in my short life that have been long unobtainable for so many. I am truly blessed and grateful to all those who have given me support and challenged me to be greater than even my own expectations.  That encouragement and inspiration fueled me, and I in turn would like to encourage young people struggling to realize their dreams to never give up hope! I am proud of my modest beginnings, strengthened by the hills and valleys I’ve walked throughout my career, and encouraged by my victory over adversity. You never know when your opportunity will present itself—so don’t give up on yourself or your passions!  Keeping believing in yourself and your reward will come by way of victory, or perhaps just the simple satisfaction that you invested your all, tried your best, and never gave up on yourself!

With love,
Aesha Ash

FROM PRINCESS TO DIVA

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As a young girl,  who I choose to look up to was definitely affected by the morals and values my parents put into place at a young age.  I wonder now, as I see it becoming the norm that women exploit themselves, from magazines to videos, who are the role models for young women and girls today.  My childhood “idols” were strongly influenced by the values instilled by my parents. However, with women’s self-exploitation prevalent throughout popular culture, from videos to magazines, I wonder who young women are looking up to today, and what cues are they receiving from their heroes.

I recall offering to teach ballet at a community center some time ago. I worked with only a small group of children, but I was struck by the lack of interest many of them had with ballet. They were completely aloof regarding all things classical--it seemed only my pointe shoes could grab their attention. However, my class was more than just ballet instruction, I wanted to impart the lesson that ballet could teach them how to comport themselves with dignity and grace through its discipline, impeccable form and decorum. I wanted to show them that they did not have to be overly sexualized to be beautiful.This was the lesson my mother taught me, which was reinforced through ballet.  After an evening of implementing this lesson in my small class, I was heartbroken to see these young ladies, not old enough to drive, emulating the lewd and suggestive dances of video vixens while waiting for their rides home. Unfortunately, this behavior is commonplace, and endorsed by the silence of adults. I left the program feeling hopeless and unproductive—besides, I had only a couple of days to work with them, while the destructive lyrics and images pumped from their radios, televisions and computers worked on them everyday.  How could lessons regarding dignity, discipline and grace compete with a 24 hour cycle of glamorized exploitation set to enticing baselines and special effects?

As I see more and more young women emulating what they see represented in the media, I often wonder what happened to admiring women of substance. Why is it acceptable for many of our young women to behave like divas and dress like sex objects? We should stand as a community of parents, neighbors and people of good conscience to resist this wave of vulgarity pawning itself off as entertainment.  We should stop teaching young women through our silence and indifference that it’s acceptable to exploit your beauty and be seen as a sexual object. Our daughters, sisters and nieces are more than “eye candy” or half-naked video props, they are princesses who should understand their value and worth.

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I look forward to having more opportunity to offer the benefits of my classical training to more and more young women and girls. I do believe that it is possible to capture their attention and win their appreciation. It will definitely take a little more work and creativity to undo their media induced trance, but it can be done!