By Jannette J. WitmyerSpecial to the AFRO
credit score: Photograph courtesy of Anthony Tudor
Early on in her childhood, Anne Benna Sims, the primary African-American ballerina to signal a contract with the American Ballet Theatre (ABT), needed to take classes in dance, however she needed to wait just a few years earlier than she was allowed to start out.
“My mom mentioned that I couldn’t,” mentioned Sims. “I used to be 5. She mentioned that I couldn’t begin till I used to be 9 as a result of my bones wanted to be completed.”
In response to Sims, as soon as she was enrolled in courses on the Lengthy Island Institute of Music in Queens, N.Y., she progressed rapidly.
“My very firstclass was mainly simply operating, leaping, hopping and listening to the music,” mentioned Sims.
“Then I superior into my starting courses and moved proper into first place, second place and all of that,” she shared, referencing newbie ballet approach.
These courses served because the launchpad to her ongoing schooling in dance. Sims additionally had an curiosity in spiritual work and after a passing fascination with the habits and rosaries worn by the nuns at her Catholic faculty sparked a short curiosity in turning into a nun, by age 13. Nevertheless finally her instinct led her to decide on a profession as a ballerina. Sarcastically, by the point she was 14, she had begun taking courses with the American Ballet Theatre Faculty.
Rising up in New York allowed for entry to a bounty of performances by what was thought of “dance royalty.” She recollects being taken to see the Nutcracker with Suzanne Farrell, earlier than she was 10; seeing “Firebird” with Maria Tallchief, “Prodigal Son” with Patricia Wilde, New York Metropolis Ballet, and Arthur Mitchell; and attending a Saturday youth program at Queens Faculty, the place she noticed “Carmen de Lavallade,” “Martha Graham,” “Alwin Nikolais,” and plenty of others.
“My mother, God bless her soul, was very centered. And she or he knew I cherished dance and needed to be a ballet dancer,” mentioned Sims. “So, by the point I used to be 16, I had seen all of those unimaginable dancers and corporations. I noticed and was uncovered to every part, however I needed to do ballet. That was it.”
Sims’ mom might have been accountable for most of her publicity, however when she was 13, her sister bought tickets for them to see a Royal Ballet efficiency, during which her idols, Rudolf Nureyev and Margot Fonteyn, danced in “Giselle.” For her, the expertise was a defining second, which she describes, nonetheless considerably in awe.
“Initially of the second act, he was dressed all in black. The doublet had slashes of white, and he wore white tights and white sneakers, with this big black cape and a bouquet of white lilies. And all he did was simply stroll diagonally throughout the stage,” she shared. “After which he walked straight throughout and simply went off. It was the primary time that I understood artistry. In that one little bit, he simply radiated this sorrow, and this grief and remorse… And all he did was stroll. It was so lovely.”
Sims says that she was excited to enter an apprenticeship with Harkness Ballet as soon as she graduated highschool. However after finding out with the corporate for a 12 months, following her audition, she was instructed that hers was a fruitless pursuit.
“David Howard, who was the director on the time, referred to as me into his workplace and mentioned, ‘Nicely, you understand, Anne… You’ll by no means get a job on this firm. You’ll both should go to Dance Theatre of Harlem, or Europe.’”
Sims says she went to the dressing room after that assembly and realized for the primary time, whereas wanting within the mirror, that she was the one Black dancer within the room.
She refused to be deterred, and when the chance arose, she auditioned for Les Grands Ballets Canadiens in Montréal and was accepted. She stayed with the corporate for a 12 months and, at 19, traveled to Switzerland and joined the Geneva Opera Ballet on the invitation of the corporate director, Alfonso Catá. He grew to become her mentor and invited her to hitch the Frankfurt Opera Ballet as a soloist, when he grew to become its director. In 1977, she returned to the U.S.
“A gaggle of us left in 1977. Once we had come again, I labored with Eglevsky and the Puerto Rican Dance Theatre,” she talked about. “Alfonso did ballet on Broadway, and the factor that was so wonderful was that I turned down Alvin Ailey and had no concept the place I used to be going.”
Then, as destiny would have it, she joined a good friend taking courses at ABT who had hopes of getting in, however, as an alternative, she was the one provided a contract.
“It was my good friend, Diane, who needed to get into American Ballet Theatre. I began taking courses along with her as a result of I knew I used to be by no means going to get into Ballet Theatre, and it wasn’t actually excessive on my checklist. In truth, it wasn’t on my checklist, in any respect,” she says, laughing. “And she or he was extra excited than me. I used to be simply going ‘I’m so sorry. I’m so sorry. I’m sorry.’”
Notably, Sims’ first principal position with ABT was in Anthony Tudor’s Undertow with Peter Fonseca, and she or he was a member of its first solid for the New York premiere of Paul Taylor’s Airs.
The completed, former danseuse, who now lives in France, says that she’s not danced in over 40 years and has by no means been phased by the notion of being “the primary Black.”
“One factor has all the time caught in my thoughts; ‘Black ballerina’ shouldn’t be a occupation. It’s a description. Due to this fact, I used to be a ballerina. I used to be a Black girl dancing ballet,” she defined.
“For me, a very powerful factor is my predecessors, as Black ladies in dance. So, it’s not a query of ballet. It’s a query of the spectrum. My historical past goes again to Katherine Dunham, who launched Afro Cuban dance to America. It goes again to Josephine Baker, who was a star on the Moulin Rouge.”
