The MLS Master was made for me with the diverse nature nd the opportunity to choice classes that are of particular interest to the student. My final project was more tha enjoyable only with the knowledge that there is so much to learn! I finually made it.

This Black history month has been extra special for many African Americans as we celebrate the first African American President. Indiana University of South Bend has also made history introducing the first Black dean Dr. Marvin Curtis to the Raclin School of Arts at Indiana University of South Bend.

The event was very elegant with the conductor/composer in formal attire. Marvin Curtis explained the title of the performance, “Lift Every Voice,” as a part of the way African Americans celebrated their pain and triumphs during and after slavery. The songs were called “spirituals” and were created and sang by slaves. In the text of a spiritual, the speech was broken but the words were clearly understood to uplift the spirit of the weary souls produced by the injustices of slavery.

After the civil war, the spiritual style of song was replaced by gospel. Dean Curtis attempted to explain how the gospel song “Lift Every Voice” also known as the Negro National Anthem, has a rich heritage that is older than The Star Spangled Banner adopted in 1933.

After the brief history of Black music was explained, I was enlightened and enjoyed the beginning of the program of accomplished Black musicians. The soloist included a pianist, violinist and flute. Each artist performed skillfully as well as dramatically. The beauty in the folk songs were the happy and uplifting nature of the material at such difficult times for African Americans. It gave an understanding of the Anthem, “Lift Every Voice” because African Americans had to use song to sooth their pains and encourage their souls for a better day.

Well the better day was definitely displayed as the composer/conductor Marvin Curtis ended the program with the South Bend Symphonic Choir Gospel Ensemble and the University Chorus of IU South Bend. As they sang a combination of gospel songs, the beauty was the multi-racial choir conducted by an African American conductor. My expectations expanded to a reality that there are Black conductor/composers that can produce, direct and create works of art that defy the myths that African Americans belong in certain styles of music. Marvin Curtis proved this point when he conducted the song he created, “The City on a Hill”sang for President Clinton during his presidency. Being a native of Chicago, it was very encouraging to see the talent of African Americans displayed so excellently in South Bend. The theme song was “Lift Every Voice” and my soul was uplifted as we together Black and White celebrated the spirit of the African American in this historical year!

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At-risk Black females have allowed the American culture to define “image” and “beauty” through the eyes of another race. The images of “beauty” on television and (Ms usa)media have largely reflected “European” females images, while “Black” female images have often been stereotyped negatively. As a result, the strongest Black female can experience difficulty defining worth in a biased society. When she accepts society’s biased definition of beauty, destructive behaviors can result.  Some of the negative behaviors that can affect at-risk females and minorities are anorexia, promiscuity, teen pregnancies, drugs and high drop outs rates.
The destructive behaviors of African-American females have caused great concerned for their parents. Some parent’s solution to solve their daughter’s destructive behavior has been to appeal to clergy and school sports. Church youth groups have attempted to be a positive solution for African-American females, but despite their efforts, many Black females continue to engage in negative behaviors that threaten their future.

To end these destructive behaviors, we must redefine the “image” of African American Michelle females. One of the negative images that African-American females have identified with are mothers with “live in” boyfriends and a learned behavior that accepts sex without commitment. These females have learned to identify with African American male rapper’s definition of a “ Black female.” Some Black rappers define African American women as “Black bitches” or “Black whores.” Without positive images of African American females, an African American girl’s fate could end in destruction… without a solution.

There is no magic solution that can change the destructive environment that many Black females are raised in. Redefining and changing the negative learned behavior will require openness and determination. African American female role models can redefine the image of Black females by leading by example. Determined Black role models can use their personal success to replace the negative images and promote positive self-esteem. The Black female role models must uniquely create activities that restore “femininity” and self- esteem that has been taken from African American females born from dysfunctional households. My curriculum, Spirit of dancers will address and solve the problems that exist for at-risk Black and minority youth.

The art and history of classical ballet will be introduced to Black and minority females. Essential components of classical ballet are a detailed focus of grace, poise and elegance. The poise and feminine grace taught in classical ballet can assist in replacing the destructive images and behaviors accepted by many Black females. Classical ballet requires a tremendous amount of focus, practice and determination. At-risk females can use these learned behaviors as tools for higher education and ensure for a successful future.

Sonia Sanchez activist and educator, states that more research and attention should be given to leadership among Black women, building strong family units, and self-awareness.The other organizers agreed with Sanchez and stated that by focusing on and researching Black strength, we will make the next generation college bound and successful.

In my desire to create a curriculum that introduces Black females to the introductory principles of ballet, I realized that they must first see other African Americans performing in the art. I have viewed several dance performances where the dance artist were Caucasian and secretly wished I could see African Americans perform in modern and ballet so that it could keep the dream alive for me and other potential dancers.  Well my dream came true when I recently attended Alvin Ailey’s 50th anniversary of performing arts in Chicago. My heart leaped for joy as I witnessed the Black artist dance to classical music and perform with the expertise worthy of the Alvin Ailey name. They moved with passion and spirit that made me feel as though I was witnessing a work of art put to music. The audience laughed and applauded as the dancers added comical movements to their dance performance to keep the atmosphere light and intense.

The most dramatic work of art was the traditional spiritual dances that the Ailey troupe is traditionally known for. The dancers were dressed in dance ware that resembled church clothes and elegantly danced in heels with fans in their hands. The music and movements were so powerful and spiritual that the audience applauded continously with the troupe continuing the spiritual piece “Wade in the Water” until the audience appeared to be satisfied.The most satisfaction for me came from seeing African American dancers performing in the style that I had always dreamed of. These dancers were professionals and were not limited by the stereotypes that have been placed on Black dancers.

I realized that I must take a group of young girls to a performance such as the Ailey production so they could see themselves on the stage in the future. It is one thing to talk about dance and even perform the steps but to witness other Black dancers, is a dream come true. Now I know that I am a part of the bigger picture. When I come back home in a community that has little to no professional Black dancers, I can encourage myself and other dancers that professional Black ballet dancers do exist. If Black females want to achieve a career in dance there are no excuses because their are professional dancers that started out as a child with a dream. The only different between the professional dancer and the young Black female that dreams of dancing is that the professional dancers mades it happen! I personally plan to help keep the dream alive in the heart of young female minorities that hope to dance by sponsoring trips to see professional dancers from all walks of life.

As long as Misty Copeland can remember, all she wanted to do was dance. Misty had a natural gift for ballet and at 16 years of age  soon landed the role in the prestigous ABT ballet academy. Misty said that she often felt the pains and isolation from being one of the few Black dancers at ABT ballet academy. Fortunately for Misty fate had a mentor  Susan Hill who kept her on track. Susan Hill reminded her of her goal and reminded her of what becoming a lead soloist would mean for other African American dancers. Susan Hill reminded Misty that despite the negative situations she endured, she was known by many as a dancer kissed by God. Misty recalls that in her darkest hours Susan believed in her and made her believe in herself and her dreams.

Misty Copeland went on to be one of the first African American dancers to ever become principle with ABT. ”Principle dancer” meant that she would dance in the leading roles; even roles designed for her. Despite ABT”s desire to recruit African American dancers,  according to Misty the prestigous school is about recruiting talented dancers, not affirmative action. The ABT dance academy presently has two African American dancers.

When Misty is asked what she will do in the future, she speaks of opening a ballet school with the hope of recruiting more African Americans that can learn to overcome the obstacles of being stereotyped and can simply dance to their potential.
After reading Misty’s story I was encouraged to hear that there were other Black ballerinas that realized that it would take time and effort to break thru the glass
ceiling for African American dancers in the world of classical ballet.
But it will take dreamers and visionaries  like Misty and I that know if Black dancers are given the chance and fight thru the stereotypes, they can become a principle ballerina as well. Minority dancers need to keep the bar high because that is where they belong.

http://traditionofexcellence.wordpress.com/2008/03/28/misty-copeland-makes-dance-history-as-first-black-female-soloist-with-american-ballet-theatre/

The media and the African- American community have Twittered, and dialogued, gossiped and preached. It’s my turn to address the problem.

Women must learn to love themselves. Black women must resolve that their worth is much more than belonging to someone. They cannot continue to receive their validation only from others. Further, self -esteem does not began at womanhood, but must start at a young age during which she learns to validate herself through her own accomplishments. To succeed, she must surround herself with role models who reinforce her worth.

Women must learn to respect themselves. They cannot allow society or television to dictate what they should be. And if African-Americans want the negative cycle of abuse to end in their community, they must develope programs that will promote self-love.

As one concerned Black woman I have designed a curicullum, Spirit of Dancers to restore, promote and bolster the sence of femininity and self-worth in each participant. I propose that young girls enroll in my twelve-week program wherein they will learn the beginning techniques of classical ballet. Each will learn to see herself as an elegant and graceful individual who deserves to be treated with respect. When girls learn to love themselves and reject abuse, then and only will they be able to reach their full potential as a women with or without a male relationship.

Exercise 3: The Spirit of Dancers
By spiritofdancers

In America our headlines are full of negative reports of African-Americans involved in negative behavior such as gang violence, teen pregnancy and high school drop-out rates. According to Child Trends DataBank there are alarming rates of minorities that drop out of school. “Black and Hispanic youth are more likely than non-Hispanic whites to drop out of high school. In 2005, 6 percent of non- Hispanic white ages 16 to 24 were not enrolled in school and had not completed high school, compared to 11 percent of Blacks and 23 percent of Hispanics.”

According to the U.S. Department of Justice survey findings, “ At midyear 2008, there were 4,777 black male inmates per 100,000 black males held in state and federal prisons and local jails, compared to 1,760 Hispanic male inmates per 100,000 Hispanic males and 727 white males inmates per 100,000 white males.”

Black Hollywood role models are also reflecting the violence that can occur from living in a home with domestic violence. If the rap stars and video queens are subject to the lack of guidance that makes positive choices for their future, then what will be the fate of regular teenagers that grow up in an environment full of negative stimuli? When poor and even rich Black women continue in a conflict cycle of violence, the question is often asked by society, why would a woman go back to a relationship or situation that may result in more negative behaviors… even death? Young women will continue to accept negative attention to receive their identity unless the behavior and role models are replaced.

Black female role models must first identify the problem and create projects to provide the tools needed for healthy choices that lead to success. In many cases when young girls do not receive love from their fathers, they look for love in the wrong places. The young girl than begins to associate with negative peers that lead to her failure. The negative peers become her role models and she begins a cycle of a self-destruction.

The goal of the role model is to lead by example. I was very fortunate to have parents that promoted higher education. As far as my parents were concerned “not going to college” was not as option. They also supported my desire for the arts and encouraged me to flourish in dance. Through my personal experience I received the self-esteem and self worth principles that are absent in many females today. Positive role models make all the difference in a child’s life. If they have no parents to guide them, a role model can take their place. If the program is a success, the teen girl will learn to channel the challenges of life into their futures, using the learned tools of classical ballet. The at-risk teenager will begin to restore her identity thru positive self-building projects that create character and self-respect.

Teen girls need to be stimulated and enjoy the project presented to them. Dance has customarily been a part of the Black and minority cultures and can be used to keep the interest of a restless teenager. In order for young females to succeed in the challenges of higher education, discipline and perseverance must be utilized. At-risk females can use the challenging practices of classical ballet to prepare for a career in dance or use the disciplines for the career of their choice.

I have designed a curriculum, The Spirit of Dancers, that provides the history, nutrition, beginning techniques, and self-esteem to succeed in the art of classical ballet. The curicullum will be implemented into a twelve week time period.

The first two weeks of the course will begin with the history and development of classical ballet. To the younger generation, ballet can be seen as a young art, but the students will learn its ancient geographic origin compared to the modern ballet known today. Ballet students should also know the historical origin of the art to fully appreciate the dedication and sacrifice required in the study of ballet. Learning the benefits of tracing history can also teach the students to learn from their racial history and gain strength from the positive aspects instead of the negative behaviors.

The third and fourth week will focus on the importance of nutrition and exercise. I believe nutrition and exercise are mandatory for success in classical ballet. A student of ballet must learn to sacrifice and begin to think of food in terms of nutrition. A nutritious diet can be satisfying, but must be low fat with plenty of vegetables and fruit. According to the National Women’s Health Resource Center, “only an average of 20 percent of teenagers eat the proper servings at meal-time.” Learning to eat differently can be challenging for adolescents, but necessary for a successful career in ballet. The discipline learned while making proper choices in nutrition can be used to make difficult decisions in adulthood. Making proper choices in adolescence no matter how tempting, can also build character for and strength. To succeed in ballet, the body must be fit and engaged in regular exercise. The physical demands of ballet are extremely challenging and require individuals that are physically able to meet the athletic demands to prevent injuries. When the student have transformed their bodies thru regular exercise, they can also learn the benefits of hard work and the concept of “no pain no gain.”

The fifth week will focus on an in-depth study of self- esteem. The intense study of self-esteem will be essential for the ballet students because they must overcome “fear” to succeed in classical ballet. When the ballet student overcomes fear and masters the techniques, the performance is confident and poised. In the absence of self-esteem, poor execution of technique will be displayed and a weak performance is delivered to the audience. As the students learn to overcome fears and challenges in ballet, they can also use their self-esteem to overcome the fear of new challenges in their future endeavors.

The remaining weeks will be devoted to the beginning techniques of classical ballet. The technique exercises will begin with correct posture and placement. In order to gain the correct stance, the muscles must be controlled and trained to respond in a specialized way. The execution of correct placement is established through the repetition of basic ballet exercises. These ballet principles and good habits will enable the student to successfully integrate the advanced challenges of ballet. The student will learn to view their worth through their failures as well as their success, due to the dedication and discipline achieved through mastering the principles of classical ballet.

With the achievement of proper posture, the dance student will begin training at the barre. The barre training will prepare the body for the demands of classic ballet using a series of exercises performed slowly. The series of exercises will begin with the five positions of ballet repeated slowly for at least thirty to forty minutes each class. Along with the five positions of the legs, the corresponding arms movements will be developed. Developing technique and correct form in ballet requires intense dedication. A dedicated beginner ballet student must practice, practice, practice…until the technique is perfect.

After the twelve-week curriculum is completed, the celebration will begin! The curriculum will be explained and demonstrated for family, friends, and public. With grant funding, a trip to The Dance Theatre of Harlem will complete the program. Arthur Mitchell, the founder of the Dance School will be used as proof positive that African Americans can lead by example and excel in classical ballet.
My desire is to promote excellence and leadership skills within each student enrolled in the ballet curriculum-course. The students will use the leadership and self-esteem skills to recruit other minorities to classical ballet. If the desired goal is achieved, the African American students will possess the tools needed for an advanced study in classical ballet…regardless of race. If the Black students do not achieve the tools and foundation needed to study ballet, there will be no one or race to blame. The student’s particular ethnic difference will be a positive aspect, rather than a negativSelf worth »
Exercise 3: The Spirit of Dancers
By spiritofdancers
In America our headlines are full of negative reports of African-Americans involved in negative behavior such as gang violence, teen pregnancy and high school drop-out rates. According to Child Trends DataBank there are alarming rates of minorities that drop out of school. “Black and Hispanic youth are more likely than non-Hispanic whites to drop out of high school. In 2005, 6 percent of non- Hispanic white ages 16 to 24 were not enrolled in school and had not completed high school, compared to 11 percent of Blacks and 23 percent of Hispanics.”
According to the U.S. Department of Justice survey findings, “ At midyear 2008, there were 4,777 black male inmates per 100,000 black males held in state and federal prisons and local jails, compared to 1,760 Hispanic male inmates per 100,000 Hispanic males and 727 white males inmates per 100,000 white males.”
Black Hollywood role models are also reflecting the violence that can occur from living in a home with domestic violence. If the rap stars and video queens are subject to the lack of guidance that makes positive choices for their future, then what will be the fate of regular teenagers that grow up in an environment full of negative stimuli? When poor and even rich Black women continue in a conflict cycle of violence, the question is often asked by society, why would a woman go back to a relationship or situation that may result in more negative behaviors… even death? Young women will continue to accept negative attention to receive their identity unless the behavior and role models are replaced.
Black female role models must first identify the problem and create projects to provide the tools needed for healthy choices that lead to success. In many cases when young girls do not receive love from their fathers, they look for love in the wrong places. The young girl than begins to associate with negative peers that lead to her failure. The negative peers become her role models and she begins a cycle of a self-destruction.
The goal of the role model is to lead by example. I was very fortunate to have parents that promoted higher education. As far as my parents were concerned “not going to college” was not as option. They also supported my desire for the arts and encouraged me to flourish in dance. Through my personal experience I received the self-esteem and self worth principles that are absent in many females today. Positive role models make all the difference in a child’s life. If they have no parents to guide them, a role model can take their place. If the program is a success, the teen girl will learn to channel the challenges of life into their futures, using the learned tools of classical ballet. The at-risk teenager will begin to restore her identity thru positive self-building projects that create character and self-respect.

Teen girls need to be stimulated and enjoy the project presented to them. Dance has customarily been a part of the Black and minority cultures and can be used to keep the interest of a restless teenager. In order for young females to succeed in the challenges of higher education, discipline and perseverance must be utilized. At-risk females can use the challenging practices of classical ballet to prepare for a career in dance or use the disciplines for the career of their choice.

I have designed a curriculum, The Spirit of Dancers, that provides the history, nutrition, beginning techniques, and self-esteem to succeed in the art of classical ballet. The curicullum will be implemented into a twelve week time period.
The first two weeks of the course will begin with the history and development of classical ballet. To the younger generation, ballet can be seen as a young art, but the students will learn its ancient geographic origin compared to the modern ballet known today. Ballet students should also know the historical origin of the art to fully appreciate the dedication and sacrifice required in the study of ballet. Learning the benefits of tracing history can also teach the students to learn from their racial history and gain strength from the positive aspects instead of the negative behaviors.

The third and fourth week will focus on the importance of nutrition and exercise. I believe nutrition and exercise are mandatory for success in classical ballet. A student of ballet must learn to sacrifice and begin to think of food in terms of nutrition. A nutritious diet can be satisfying, but must be low fat with plenty of vegetables and fruit. According to the National Women’s Health Resource Center, “only an average of 20 percent of teenagers eat the proper servings at meal-time.” Learning to eat differently can be challenging for adolescents, but necessary for a successful career in ballet. The discipline learned while making proper choices in nutrition can be used to make difficult decisions in adulthood. Making proper choices in adolescence no matter how tempting, can also build character for and strength. To succeed in ballet, the body must be fit and engaged in regular exercise. The physical demands of ballet are extremely challenging and require individuals that are physically able to meet the athletic demands to prevent injuries. When the student have transformed their bodies thru regular exercise, they can also learn the benefits of hard work and the concept of “no pain no gain.”

The fifth week will focus on an in-depth study of self- esteem. The intense study of self-esteem will be essential for the ballet students because they must overcome “fear” to succeed in classical ballet. When the ballet student overcomes fear and masters the techniques, the performance is confident and poised. In the absence of self-esteem, poor execution of technique will be displayed and a weak performance is delivered to the audience. As the students learn to overcome fears and challenges in ballet, they can also use their self-esteem to overcome the fear of new challenges in their future endeavors.

The remaining weeks will be devoted to the beginning techniques of classical ballet. The technique exercises will begin with correct posture and placement. In order to gain the correct stance, the muscles must be controlled and trained to respond in a specialized way. The execution of correct placement is established through the repetition of basic ballet exercises. These ballet principles and good habits will enable the student to successfully integrate the advanced challenges of ballet. The student will learn to view their worth through their failures as well as their success, due to the dedication and discipline achieved through mastering the principles of classical ballet.

With the achievement of proper posture, the dance student will begin training at the barre. The barre training will prepare the body for the demands of classic ballet using a series of exercises performed slowly. The series of exercises will begin with the five positions of ballet repeated slowly for at least thirty to forty minutes each class. Along with the five positions of the legs, the corresponding arms movements will be developed. Developing technique and correct form in ballet requires intense dedication. A dedicated beginner ballet student must practice, practice, practice…until the technique is perfect.

After the twelve-week curriculum is completed, the celebration will begin! The curriculum will be explained and demonstrated for family, friends, and public. With grant funding, a trip to The Dance Theatre of Harlem will complete the program. Arthur Mitchell, the founder of the Dance School will be used as proof positive that African Americans can do anything they dream of.

Solomon and I share a kindred spirit that he expressed in these words so personally during an interview, “My concern is with the movement and its relation to itself and what the dancers feel as they do it. It will project something to the audience. Let the audience bring their own experiences and needs to it and it will satisfy them in their own way….I want them to fantasize for themselves”(Long 1995).

Watching a performance of dance is such a personal experience. With Solomon’s artistic poises, the body is presented to express a personal experience of the person watching. This style of dance can only happen when a dancer is given the freedom to dance from her or his spirit as Solomon describes so eloquently. He knows that dancing as well as watching a performance, is an individual spiritual experience …and a very beautiful one.

Long , Richard. The Black Tradition in American Dance: New York. Imago Publishing, 1995.

Arthur Mitchell made the dream a reality for many Black dancers male and female with his school. The article quickly pointed out that in 1950′s and 1960′s, Arthur was not concerned with getting credit as being an extra-ordinary dancer, but was a Black man given an opportunity to learn dance from great instructors such as George Balanchine. At that time Mitchell broke through the glass ceiling of primarily White dancers in the New York City Ballet.

Mitchell’s former students reminisced about the opportunities given to them in the opening of The Harlem School of Dance. They expressed the gratitude of the board of directors that came together to make the traditional dance attire and lighting as complimentory as possible for African Americans. Because they were given an opportunity, many former dancers felt encouraged to help other aspiring Black dancers break thru the glass ceiling. One former dancer Hormer Bryant, duplicated Mitchell’s concept in Chicago and started a ballet school, The Multi-Cultural Dance Center in 1994. Homer said there were many Black dancers that were discouraged to enroll in Ballet schools because there were few if any Black dancers present. His reply was that Black dancers must persist and Black leaders must make a way for young dancers as Arthur mitchell so graciously did for them!