I discovered them when I was at Howard University. I was a fresher, and my mother feared that I might get lost in academia and fraternity and the cultural richness of it all. So she got a dance festival in New London, Connecticut. Martha Graham was. Twilla was therp. Donald McCulley was there. Catherine Dunham’s protagonist was Tally Beatty. Alvin was Ellie. In one summer. Can you imagine what that was like? Judith Jamison and Dudley [Williams] Wanted me to join Alvin Ellie because I was the killing This “revelation”
Alvin said, “She’s too young,” and I’m like, “No, I’m not, I’m not.” [Laughs] I was 17 years old, and I was ready to drop out of college and, oh God Did I want to go but that was the beginning. By the time I graduated from Howard and stepped on the street, he called Broadway, I was in class Richard thomas – He and his wife run the New York School of Ballet. You will see and be in Margot Fontaine class. Nuryev will be in class. New York, my God, it was a training camp.
I remember auditioning for a show and not being selected. And at the end of the audition, the director came to me and told me how talented I was, but he didn’t need another Brunette in the show.
And we know what the code is.
Fine? So all I am doing and giving to my children is that they know that they are everywhere.
Because that belief is not passing on what helps to make a dancer?
Yes it is. You can run the world. You can train as a dancer and go to Washington, honey, and pull that thing together. I always say that I wish I could be able to put all of them in dance class right now and make this mess straight.
What will the dance class do?
It reminds them that they are somewhat more powerful. And it’s not just you. When you are dancing in costume, you must be a part, and if you are the leader of that group, then you must be fully aware of where you are going. Everyone is following you. You cannot take the wrong step and end up in the pit.