6 Black Choreographers & Dancers Who Have Shaped The Dance Industry
Rebekah Dixon
September 6, 2025
56min read
6 Black Choreographers & Dancers Who Have Shaped The Dance Industry
Rebekah Dixon
September 6, 2025
56min read
6 Black Choreographers & Dancers Who Have Shaped The Dance Industry
Rebekah Dixon
September 6, 2025
56min read
6 Black Choreographers & Dancers Who Have Shaped The Dance Industry
Rebekah Dixon
September 6, 2025
56min read
6 Black Choreographers & Dancers Who Have Shaped The Dance Industry
Rebekah Dixon
September 6, 2025
56min read
With Black History Month, just around the corner, October, it's only right that we reflect on the ways that Black dancers and choreographers have contributed to the industry. Without them, dance wouldn’t be what it is today.
In this article, we focus on six individuals who broke down racial stereotypes, fought, danced, made a name for themselves, and shaped modern dance today.
With Black History Month, just around the corner, October, it's only right that we reflect on the ways that Black dancers and choreographers have contributed to the industry. Without them, dance wouldn’t be what it is today.
In this article, we focus on six individuals who broke down racial stereotypes, fought, danced, made a name for themselves, and shaped modern dance today.
With Black History Month, just around the corner, October, it's only right that we reflect on the ways that Black dancers and choreographers have contributed to the industry. Without them, dance wouldn’t be what it is today.
In this article, we focus on six individuals who broke down racial stereotypes, fought, danced, made a name for themselves, and shaped modern dance today.
With Black History Month, just around the corner, October, it's only right that we reflect on the ways that Black dancers and choreographers have contributed to the industry. Without them, dance wouldn’t be what it is today.
In this article, we focus on six individuals who broke down racial stereotypes, fought, danced, made a name for themselves, and shaped modern dance today.
With Black History Month, just around the corner, October, it's only right that we reflect on the ways that Black dancers and choreographers have contributed to the industry. Without them, dance wouldn’t be what it is today.
In this article, we focus on six individuals who broke down racial stereotypes, fought, danced, made a name for themselves, and shaped modern dance today.
1. Dance Trailblazer: Master Juba
We can’t talk about the evolution of dance and choreography without tipping our hats to the incredible Master Juba, born William Henry Lane, widely celebrated as the father of tap dance.
Born in 1852, Master Juba broke barriers left and right during his career, which flourished in the US and Europe until 1852.
At a time when opportunities for black performers were scarce, Juba became one of the first African American dancers to perform onstage with white performers for white audiences. Taking part in the popular, although incredibly racially harmful, minstrel shows, during a time when black performers were rarely, if ever, given such an opportunity.
Juba’s talent was unmatched and he consistently out-danced the best white performers of the day, including John Diamond, a celebrated figure of the era. His lightning-fast feet and unmatched rhythm made him a sensation and a publicly acclaimed performer in his own right.
But Juba didn’t stop there. In 1848, he took his extraordinary talent across the Atlantic to England, wowing audiences with a style of dance they had never seen before. He blended his quick, intricate footwork with the rich rhythms of African traditions, paving the way for what would become modern tap.
Master Juba’s story is one of resilience, brilliance, and a refusal to let the limitations of his time define him.
1. Dance Trailblazer: Master Juba
We can’t talk about the evolution of dance and choreography without tipping our hats to the incredible Master Juba, born William Henry Lane, widely celebrated as the father of tap dance.
Born in 1852, Master Juba broke barriers left and right during his career, which flourished in the US and Europe until 1852.
At a time when opportunities for black performers were scarce, Juba became one of the first African American dancers to perform onstage with white performers for white audiences. Taking part in the popular, although incredibly racially harmful, minstrel shows, during a time when black performers were rarely, if ever, given such an opportunity.
Juba’s talent was unmatched and he consistently out-danced the best white performers of the day, including John Diamond, a celebrated figure of the era. His lightning-fast feet and unmatched rhythm made him a sensation and a publicly acclaimed performer in his own right.
But Juba didn’t stop there. In 1848, he took his extraordinary talent across the Atlantic to England, wowing audiences with a style of dance they had never seen before. He blended his quick, intricate footwork with the rich rhythms of African traditions, paving the way for what would become modern tap.
Master Juba’s story is one of resilience, brilliance, and a refusal to let the limitations of his time define him.
1. Dance Trailblazer: Master Juba
We can’t talk about the evolution of dance and choreography without tipping our hats to the incredible Master Juba, born William Henry Lane, widely celebrated as the father of tap dance.
Born in 1852, Master Juba broke barriers left and right during his career, which flourished in the US and Europe until 1852.
At a time when opportunities for black performers were scarce, Juba became one of the first African American dancers to perform onstage with white performers for white audiences. Taking part in the popular, although incredibly racially harmful, minstrel shows, during a time when black performers were rarely, if ever, given such an opportunity.
Juba’s talent was unmatched and he consistently out-danced the best white performers of the day, including John Diamond, a celebrated figure of the era. His lightning-fast feet and unmatched rhythm made him a sensation and a publicly acclaimed performer in his own right.
But Juba didn’t stop there. In 1848, he took his extraordinary talent across the Atlantic to England, wowing audiences with a style of dance they had never seen before. He blended his quick, intricate footwork with the rich rhythms of African traditions, paving the way for what would become modern tap.
Master Juba’s story is one of resilience, brilliance, and a refusal to let the limitations of his time define him.
1. Dance Trailblazer: Master Juba
We can’t talk about the evolution of dance and choreography without tipping our hats to the incredible Master Juba, born William Henry Lane, widely celebrated as the father of tap dance.
Born in 1852, Master Juba broke barriers left and right during his career, which flourished in the US and Europe until 1852.
At a time when opportunities for black performers were scarce, Juba became one of the first African American dancers to perform onstage with white performers for white audiences. Taking part in the popular, although incredibly racially harmful, minstrel shows, during a time when black performers were rarely, if ever, given such an opportunity.
Juba’s talent was unmatched and he consistently out-danced the best white performers of the day, including John Diamond, a celebrated figure of the era. His lightning-fast feet and unmatched rhythm made him a sensation and a publicly acclaimed performer in his own right.
But Juba didn’t stop there. In 1848, he took his extraordinary talent across the Atlantic to England, wowing audiences with a style of dance they had never seen before. He blended his quick, intricate footwork with the rich rhythms of African traditions, paving the way for what would become modern tap.
Master Juba’s story is one of resilience, brilliance, and a refusal to let the limitations of his time define him.
1. Dance Trailblazer: Master Juba
We can’t talk about the evolution of dance and choreography without tipping our hats to the incredible Master Juba, born William Henry Lane, widely celebrated as the father of tap dance.
Born in 1852, Master Juba broke barriers left and right during his career, which flourished in the US and Europe until 1852.
At a time when opportunities for black performers were scarce, Juba became one of the first African American dancers to perform onstage with white performers for white audiences. Taking part in the popular, although incredibly racially harmful, minstrel shows, during a time when black performers were rarely, if ever, given such an opportunity.
Juba’s talent was unmatched and he consistently out-danced the best white performers of the day, including John Diamond, a celebrated figure of the era. His lightning-fast feet and unmatched rhythm made him a sensation and a publicly acclaimed performer in his own right.
But Juba didn’t stop there. In 1848, he took his extraordinary talent across the Atlantic to England, wowing audiences with a style of dance they had never seen before. He blended his quick, intricate footwork with the rich rhythms of African traditions, paving the way for what would become modern tap.
Master Juba’s story is one of resilience, brilliance, and a refusal to let the limitations of his time define him.
Purveyor Of African Dance: Pearl Primus
Pearl Primus brought powerful energy and emotional intensity to the dance world. After facing racial discrimination in her quest to become a physician, she got a scholarship to the New Dance Group. A newly formed dance organization with the motto “Dance is a weapon”, where they believed that dancers were artists who had a responsibility to be not just performers but had an obligation to increase awareness of the political, social, and racial injustices of the time.
Whilst with the New Dance Group, Primus established her distinct and energetic dancing style, paying homage to her home, Trinidad. She also learned about artistic activism, which followed her throughout the rest of her career.
In 1943, Pearl had her breakthrough year:
Performed at the iconic Ninety-Second Street Y in New York.
Danced at Madison Square Garden for a 20,000-strong crowd at the Negro Freedom Rally.
Performed for Eleanor Roosevelt and other notable figures.
Soon after this, she formed the Primus Company and explored the intersection of culture and dance. Pearl even posed as a migrant worker in the South to authentically represent Black lives in her choreography. Her work celebrated African and Caribbean traditions, drawing from her Trinidadian roots. She engrossed herself in different cultures and traveled to African villages, where she disguised herself as a man to learn male-only dances.
Other notable achievements:
Choreographed Broadway’s Calypso and appeared in Show Boat.
Founded a program at Jacob’s Pillow, a renowned dance hub.
Staged works for the Alvin Ailey American Dance Theater.
Pearl’s artistry and activism left an indelible mark on dance, blending movement with social commentary. Throughout her career, she taught and inspired countless students.
Pearl Primus brought powerful energy and emotional intensity to the dance world. After facing racial discrimination in her quest to become a physician, she got a scholarship to the New Dance Group. A newly formed dance organization with the motto “Dance is a weapon”, where they believed that dancers were artists who had a responsibility to be not just performers but had an obligation to increase awareness of the political, social, and racial injustices of the time.
Whilst with the New Dance Group, Primus established her distinct and energetic dancing style, paying homage to her home, Trinidad. She also learned about artistic activism, which followed her throughout the rest of her career.
In 1943, Pearl had her breakthrough year:
Performed at the iconic Ninety-Second Street Y in New York.
Danced at Madison Square Garden for a 20,000-strong crowd at the Negro Freedom Rally.
Performed for Eleanor Roosevelt and other notable figures.
Soon after this, she formed the Primus Company and explored the intersection of culture and dance. Pearl even posed as a migrant worker in the South to authentically represent Black lives in her choreography. Her work celebrated African and Caribbean traditions, drawing from her Trinidadian roots. She engrossed herself in different cultures and traveled to African villages, where she disguised herself as a man to learn male-only dances.
Other notable achievements:
Choreographed Broadway’s Calypso and appeared in Show Boat.
Founded a program at Jacob’s Pillow, a renowned dance hub.
Staged works for the Alvin Ailey American Dance Theater.
Pearl’s artistry and activism left an indelible mark on dance, blending movement with social commentary. Throughout her career, she taught and inspired countless students.
Pearl Primus brought powerful energy and emotional intensity to the dance world. After facing racial discrimination in her quest to become a physician, she got a scholarship to the New Dance Group. A newly formed dance organization with the motto “Dance is a weapon”, where they believed that dancers were artists who had a responsibility to be not just performers but had an obligation to increase awareness of the political, social, and racial injustices of the time.
Whilst with the New Dance Group, Primus established her distinct and energetic dancing style, paying homage to her home, Trinidad. She also learned about artistic activism, which followed her throughout the rest of her career.
In 1943, Pearl had her breakthrough year:
Performed at the iconic Ninety-Second Street Y in New York.
Danced at Madison Square Garden for a 20,000-strong crowd at the Negro Freedom Rally.
Performed for Eleanor Roosevelt and other notable figures.
Soon after this, she formed the Primus Company and explored the intersection of culture and dance. Pearl even posed as a migrant worker in the South to authentically represent Black lives in her choreography. Her work celebrated African and Caribbean traditions, drawing from her Trinidadian roots. She engrossed herself in different cultures and traveled to African villages, where she disguised herself as a man to learn male-only dances.
Other notable achievements:
Choreographed Broadway’s Calypso and appeared in Show Boat.
Founded a program at Jacob’s Pillow, a renowned dance hub.
Staged works for the Alvin Ailey American Dance Theater.
Pearl’s artistry and activism left an indelible mark on dance, blending movement with social commentary. Throughout her career, she taught and inspired countless students.
Pearl Primus brought powerful energy and emotional intensity to the dance world. After facing racial discrimination in her quest to become a physician, she got a scholarship to the New Dance Group. A newly formed dance organization with the motto “Dance is a weapon”, where they believed that dancers were artists who had a responsibility to be not just performers but had an obligation to increase awareness of the political, social, and racial injustices of the time.
Whilst with the New Dance Group, Primus established her distinct and energetic dancing style, paying homage to her home, Trinidad. She also learned about artistic activism, which followed her throughout the rest of her career.
In 1943, Pearl had her breakthrough year:
Performed at the iconic Ninety-Second Street Y in New York.
Danced at Madison Square Garden for a 20,000-strong crowd at the Negro Freedom Rally.
Performed for Eleanor Roosevelt and other notable figures.
Soon after this, she formed the Primus Company and explored the intersection of culture and dance. Pearl even posed as a migrant worker in the South to authentically represent Black lives in her choreography. Her work celebrated African and Caribbean traditions, drawing from her Trinidadian roots. She engrossed herself in different cultures and traveled to African villages, where she disguised herself as a man to learn male-only dances.
Other notable achievements:
Choreographed Broadway’s Calypso and appeared in Show Boat.
Founded a program at Jacob’s Pillow, a renowned dance hub.
Staged works for the Alvin Ailey American Dance Theater.
Pearl’s artistry and activism left an indelible mark on dance, blending movement with social commentary. Throughout her career, she taught and inspired countless students.
Pearl Primus brought powerful energy and emotional intensity to the dance world. After facing racial discrimination in her quest to become a physician, she got a scholarship to the New Dance Group. A newly formed dance organization with the motto “Dance is a weapon”, where they believed that dancers were artists who had a responsibility to be not just performers but had an obligation to increase awareness of the political, social, and racial injustices of the time.
Whilst with the New Dance Group, Primus established her distinct and energetic dancing style, paying homage to her home, Trinidad. She also learned about artistic activism, which followed her throughout the rest of her career.
In 1943, Pearl had her breakthrough year:
Performed at the iconic Ninety-Second Street Y in New York.
Danced at Madison Square Garden for a 20,000-strong crowd at the Negro Freedom Rally.
Performed for Eleanor Roosevelt and other notable figures.
Soon after this, she formed the Primus Company and explored the intersection of culture and dance. Pearl even posed as a migrant worker in the South to authentically represent Black lives in her choreography. Her work celebrated African and Caribbean traditions, drawing from her Trinidadian roots. She engrossed herself in different cultures and traveled to African villages, where she disguised herself as a man to learn male-only dances.
Other notable achievements:
Choreographed Broadway’s Calypso and appeared in Show Boat.
Founded a program at Jacob’s Pillow, a renowned dance hub.
Staged works for the Alvin Ailey American Dance Theater.
Pearl’s artistry and activism left an indelible mark on dance, blending movement with social commentary. Throughout her career, she taught and inspired countless students.
3. The Father Of Jazz Tap: John W. Bubbles
John Bubbles didn’t just perform tap; he revolutionized it. At just seven years old, he attended his first theatre show and, unimpressed, marched backstage to declare he could do better. That bold move landed him a job at the same theatre, a stepping stone to a groundbreaking career. Without that theatre trip, tap dance and the invention of jazz tap may not be how it is today.
By ten, Bubbles teamed up with Ford Lee Washington (nicknamed Buck) to form the duo “Buck and Bubbles.” They dazzled audiences across Louisville, Detroit, and New York, winning amateur shows and building a reputation. His duo with Buck soared in 1922 when they performed at New York’s Palace Theatre and later appeared in multiple Broadway productions.
When his voice changed, Bubbles shifted his focus to dance, creating the innovative rhythm tap style. He dropped his heels on offbeat intervals for a syned and jazzier sound. After perfecting his craft, he stunned the Hoofer’s Club (where he had previously been laughed at) with daring moves like double over-the-tops and triple backslides.
Known for constantly changing the steps he used to avoid copycats, Bubbles’ creativity set him apart and led the way for innovative jazz tap that is still used today.
John Bubbles didn’t just perform tap; he revolutionized it. At just seven years old, he attended his first theatre show and, unimpressed, marched backstage to declare he could do better. That bold move landed him a job at the same theatre, a stepping stone to a groundbreaking career. Without that theatre trip, tap dance and the invention of jazz tap may not be how it is today.
By ten, Bubbles teamed up with Ford Lee Washington (nicknamed Buck) to form the duo “Buck and Bubbles.” They dazzled audiences across Louisville, Detroit, and New York, winning amateur shows and building a reputation. His duo with Buck soared in 1922 when they performed at New York’s Palace Theatre and later appeared in multiple Broadway productions.
When his voice changed, Bubbles shifted his focus to dance, creating the innovative rhythm tap style. He dropped his heels on offbeat intervals for a syned and jazzier sound. After perfecting his craft, he stunned the Hoofer’s Club (where he had previously been laughed at) with daring moves like double over-the-tops and triple backslides.
Known for constantly changing the steps he used to avoid copycats, Bubbles’ creativity set him apart and led the way for innovative jazz tap that is still used today.
John Bubbles didn’t just perform tap; he revolutionized it. At just seven years old, he attended his first theatre show and, unimpressed, marched backstage to declare he could do better. That bold move landed him a job at the same theatre, a stepping stone to a groundbreaking career. Without that theatre trip, tap dance and the invention of jazz tap may not be how it is today.
By ten, Bubbles teamed up with Ford Lee Washington (nicknamed Buck) to form the duo “Buck and Bubbles.” They dazzled audiences across Louisville, Detroit, and New York, winning amateur shows and building a reputation. His duo with Buck soared in 1922 when they performed at New York’s Palace Theatre and later appeared in multiple Broadway productions.
When his voice changed, Bubbles shifted his focus to dance, creating the innovative rhythm tap style. He dropped his heels on offbeat intervals for a syned and jazzier sound. After perfecting his craft, he stunned the Hoofer’s Club (where he had previously been laughed at) with daring moves like double over-the-tops and triple backslides.
Known for constantly changing the steps he used to avoid copycats, Bubbles’ creativity set him apart and led the way for innovative jazz tap that is still used today.
John Bubbles didn’t just perform tap; he revolutionized it. At just seven years old, he attended his first theatre show and, unimpressed, marched backstage to declare he could do better. That bold move landed him a job at the same theatre, a stepping stone to a groundbreaking career. Without that theatre trip, tap dance and the invention of jazz tap may not be how it is today.
By ten, Bubbles teamed up with Ford Lee Washington (nicknamed Buck) to form the duo “Buck and Bubbles.” They dazzled audiences across Louisville, Detroit, and New York, winning amateur shows and building a reputation. His duo with Buck soared in 1922 when they performed at New York’s Palace Theatre and later appeared in multiple Broadway productions.
When his voice changed, Bubbles shifted his focus to dance, creating the innovative rhythm tap style. He dropped his heels on offbeat intervals for a syned and jazzier sound. After perfecting his craft, he stunned the Hoofer’s Club (where he had previously been laughed at) with daring moves like double over-the-tops and triple backslides.
Known for constantly changing the steps he used to avoid copycats, Bubbles’ creativity set him apart and led the way for innovative jazz tap that is still used today.
John Bubbles didn’t just perform tap; he revolutionized it. At just seven years old, he attended his first theatre show and, unimpressed, marched backstage to declare he could do better. That bold move landed him a job at the same theatre, a stepping stone to a groundbreaking career. Without that theatre trip, tap dance and the invention of jazz tap may not be how it is today.
By ten, Bubbles teamed up with Ford Lee Washington (nicknamed Buck) to form the duo “Buck and Bubbles.” They dazzled audiences across Louisville, Detroit, and New York, winning amateur shows and building a reputation. His duo with Buck soared in 1922 when they performed at New York’s Palace Theatre and later appeared in multiple Broadway productions.
When his voice changed, Bubbles shifted his focus to dance, creating the innovative rhythm tap style. He dropped his heels on offbeat intervals for a syned and jazzier sound. After perfecting his craft, he stunned the Hoofer’s Club (where he had previously been laughed at) with daring moves like double over-the-tops and triple backslides.
Known for constantly changing the steps he used to avoid copycats, Bubbles’ creativity set him apart and led the way for innovative jazz tap that is still used today.
4. Ballet’s Barrier Breaker: Janet Collins
Janet Collins, often thought of as a true dance hero, was one of the first black female ballet stars. She specialized in classical ballet during the 1950s. Her tenacity and dedication to the art inspired young ballet dancers and gave them hope for more equal opportunities in the dance society.
Having danced for most of her life, at the age of 15 she was offered a space to study at the acclaimed Ballet Russe de Monte Carlo, but refused the position when she learned that she had to whiten her skin to disguise her skin color.
Despite this setback, she set her mind to breaking down the barriers in the dance community and went on to perform in several Los Angeles productions before joining Katherine Dunham’s company.
After several years honing her style and, with the help of financial backing from the Rosenwald Fund, she moved her focus to her solo career. This allowed her to explore and display different artistic skills and creativity with her performance, choreography, commissioned music, and costumes.
After she moved to New York, she performed at the 92nd Street Y in 1949, as an emerging artist. This opened her up to other opportunities including:
Present a solo concert at the 92nd Street Y.
Named 1949’s “Debutante of the Year” by Dance Magazine.
Joined The School of American Ballet’s (SAB) guest faculty and was the only staff member of color, and taught a class of 50 males her style of melding modern dance and ballet together.
Won the Billboard Donaldson award for the best dancing on Broadway in 1950.
Collins made her debut as the leading dancer in the Metropolitan Opera in 1951, where she became the first African American Prima Ballerina to be the lead dancer in their production of “Aïda”.
As her success grew, so did the backlash she had to face, and during her time performing for the Met, she went on tour with the company and had to have her understudy stand in for her due to race laws in the Southern States. After she finished touring, she continued teaching until 1969.
Her legacy lives on through the Janet Collins Fellowship, a non-profit organization, honoring her artistry and courage.
Janet Collins, often thought of as a true dance hero, was one of the first black female ballet stars. She specialized in classical ballet during the 1950s. Her tenacity and dedication to the art inspired young ballet dancers and gave them hope for more equal opportunities in the dance society.
Having danced for most of her life, at the age of 15 she was offered a space to study at the acclaimed Ballet Russe de Monte Carlo, but refused the position when she learned that she had to whiten her skin to disguise her skin color.
Despite this setback, she set her mind to breaking down the barriers in the dance community and went on to perform in several Los Angeles productions before joining Katherine Dunham’s company.
After several years honing her style and, with the help of financial backing from the Rosenwald Fund, she moved her focus to her solo career. This allowed her to explore and display different artistic skills and creativity with her performance, choreography, commissioned music, and costumes.
After she moved to New York, she performed at the 92nd Street Y in 1949, as an emerging artist. This opened her up to other opportunities including:
Present a solo concert at the 92nd Street Y.
Named 1949’s “Debutante of the Year” by Dance Magazine.
Joined The School of American Ballet’s (SAB) guest faculty and was the only staff member of color, and taught a class of 50 males her style of melding modern dance and ballet together.
Won the Billboard Donaldson award for the best dancing on Broadway in 1950.
Collins made her debut as the leading dancer in the Metropolitan Opera in 1951, where she became the first African American Prima Ballerina to be the lead dancer in their production of “Aïda”.
As her success grew, so did the backlash she had to face, and during her time performing for the Met, she went on tour with the company and had to have her understudy stand in for her due to race laws in the Southern States. After she finished touring, she continued teaching until 1969.
Her legacy lives on through the Janet Collins Fellowship, a non-profit organization, honoring her artistry and courage.
Janet Collins, often thought of as a true dance hero, was one of the first black female ballet stars. She specialized in classical ballet during the 1950s. Her tenacity and dedication to the art inspired young ballet dancers and gave them hope for more equal opportunities in the dance society.
Having danced for most of her life, at the age of 15 she was offered a space to study at the acclaimed Ballet Russe de Monte Carlo, but refused the position when she learned that she had to whiten her skin to disguise her skin color.
Despite this setback, she set her mind to breaking down the barriers in the dance community and went on to perform in several Los Angeles productions before joining Katherine Dunham’s company.
After several years honing her style and, with the help of financial backing from the Rosenwald Fund, she moved her focus to her solo career. This allowed her to explore and display different artistic skills and creativity with her performance, choreography, commissioned music, and costumes.
After she moved to New York, she performed at the 92nd Street Y in 1949, as an emerging artist. This opened her up to other opportunities including:
Present a solo concert at the 92nd Street Y.
Named 1949’s “Debutante of the Year” by Dance Magazine.
Joined The School of American Ballet’s (SAB) guest faculty and was the only staff member of color, and taught a class of 50 males her style of melding modern dance and ballet together.
Won the Billboard Donaldson award for the best dancing on Broadway in 1950.
Collins made her debut as the leading dancer in the Metropolitan Opera in 1951, where she became the first African American Prima Ballerina to be the lead dancer in their production of “Aïda”.
As her success grew, so did the backlash she had to face, and during her time performing for the Met, she went on tour with the company and had to have her understudy stand in for her due to race laws in the Southern States. After she finished touring, she continued teaching until 1969.
Her legacy lives on through the Janet Collins Fellowship, a non-profit organization, honoring her artistry and courage.
Janet Collins, often thought of as a true dance hero, was one of the first black female ballet stars. She specialized in classical ballet during the 1950s. Her tenacity and dedication to the art inspired young ballet dancers and gave them hope for more equal opportunities in the dance society.
Having danced for most of her life, at the age of 15 she was offered a space to study at the acclaimed Ballet Russe de Monte Carlo, but refused the position when she learned that she had to whiten her skin to disguise her skin color.
Despite this setback, she set her mind to breaking down the barriers in the dance community and went on to perform in several Los Angeles productions before joining Katherine Dunham’s company.
After several years honing her style and, with the help of financial backing from the Rosenwald Fund, she moved her focus to her solo career. This allowed her to explore and display different artistic skills and creativity with her performance, choreography, commissioned music, and costumes.
After she moved to New York, she performed at the 92nd Street Y in 1949, as an emerging artist. This opened her up to other opportunities including:
Present a solo concert at the 92nd Street Y.
Named 1949’s “Debutante of the Year” by Dance Magazine.
Joined The School of American Ballet’s (SAB) guest faculty and was the only staff member of color, and taught a class of 50 males her style of melding modern dance and ballet together.
Won the Billboard Donaldson award for the best dancing on Broadway in 1950.
Collins made her debut as the leading dancer in the Metropolitan Opera in 1951, where she became the first African American Prima Ballerina to be the lead dancer in their production of “Aïda”.
As her success grew, so did the backlash she had to face, and during her time performing for the Met, she went on tour with the company and had to have her understudy stand in for her due to race laws in the Southern States. After she finished touring, she continued teaching until 1969.
Her legacy lives on through the Janet Collins Fellowship, a non-profit organization, honoring her artistry and courage.
Janet Collins, often thought of as a true dance hero, was one of the first black female ballet stars. She specialized in classical ballet during the 1950s. Her tenacity and dedication to the art inspired young ballet dancers and gave them hope for more equal opportunities in the dance society.
Having danced for most of her life, at the age of 15 she was offered a space to study at the acclaimed Ballet Russe de Monte Carlo, but refused the position when she learned that she had to whiten her skin to disguise her skin color.
Despite this setback, she set her mind to breaking down the barriers in the dance community and went on to perform in several Los Angeles productions before joining Katherine Dunham’s company.
After several years honing her style and, with the help of financial backing from the Rosenwald Fund, she moved her focus to her solo career. This allowed her to explore and display different artistic skills and creativity with her performance, choreography, commissioned music, and costumes.
After she moved to New York, she performed at the 92nd Street Y in 1949, as an emerging artist. This opened her up to other opportunities including:
Present a solo concert at the 92nd Street Y.
Named 1949’s “Debutante of the Year” by Dance Magazine.
Joined The School of American Ballet’s (SAB) guest faculty and was the only staff member of color, and taught a class of 50 males her style of melding modern dance and ballet together.
Won the Billboard Donaldson award for the best dancing on Broadway in 1950.
Collins made her debut as the leading dancer in the Metropolitan Opera in 1951, where she became the first African American Prima Ballerina to be the lead dancer in their production of “Aïda”.
As her success grew, so did the backlash she had to face, and during her time performing for the Met, she went on tour with the company and had to have her understudy stand in for her due to race laws in the Southern States. After she finished touring, she continued teaching until 1969.
Her legacy lives on through the Janet Collins Fellowship, a non-profit organization, honoring her artistry and courage.
Dance Pioneer: Katherine Dunham
Katherine Dunham was known as one of the first modern dance pioneers, where she combined cultural and grounded dance movements with elements of ballet. Thanks to her dedication and her successful dance career, she has been called the “matriarch and queen mother of black dance”.
After graduating with a bachelor's degree in anthropology, she then traveled to the Caribbean to study the African diaspora, ethnography, and local dance as part of her master's studies. During her studies, she also started her first dance company, ‘Ballet Negre’ otherwise known as the Negro Dance Company.
However, upon returning to the US, she didn’t finish her master's degree after realizing her calling was in dance and shifted her focus completely. Upon coming back from her fieldwork, she started her now infamous dance company, the Kathrine Dunham Dance Company.
From 1938 to 1965, her company toured six continents, becoming one of the first American companies to make a global impact on the dance stage.
Dunham wasn’t just a dancer, she was an activist, using her fame to fight racial discrimination, filing lawsuits, and advocating for equality. Along the way, she choreographed over 100 works, spanning Broadway, opera, and concerts.
In 1946, she opened The Katherine Dunham School of Arts and Research in NYC, later expanding it to focus on cultural arts.
Developed the iconic Katherine Dunham Technique, blending Caribbean folk movements with ballet and modernist influences.
Katherine Dunham’s legacy lives on as a powerful force in dance and culture, inspiring generations of performers worldwide.
Katherine Dunham was known as one of the first modern dance pioneers, where she combined cultural and grounded dance movements with elements of ballet. Thanks to her dedication and her successful dance career, she has been called the “matriarch and queen mother of black dance”.
After graduating with a bachelor's degree in anthropology, she then traveled to the Caribbean to study the African diaspora, ethnography, and local dance as part of her master's studies. During her studies, she also started her first dance company, ‘Ballet Negre’ otherwise known as the Negro Dance Company.
However, upon returning to the US, she didn’t finish her master's degree after realizing her calling was in dance and shifted her focus completely. Upon coming back from her fieldwork, she started her now infamous dance company, the Kathrine Dunham Dance Company.
From 1938 to 1965, her company toured six continents, becoming one of the first American companies to make a global impact on the dance stage.
Dunham wasn’t just a dancer, she was an activist, using her fame to fight racial discrimination, filing lawsuits, and advocating for equality. Along the way, she choreographed over 100 works, spanning Broadway, opera, and concerts.
In 1946, she opened The Katherine Dunham School of Arts and Research in NYC, later expanding it to focus on cultural arts.
Developed the iconic Katherine Dunham Technique, blending Caribbean folk movements with ballet and modernist influences.
Katherine Dunham’s legacy lives on as a powerful force in dance and culture, inspiring generations of performers worldwide.
Katherine Dunham was known as one of the first modern dance pioneers, where she combined cultural and grounded dance movements with elements of ballet. Thanks to her dedication and her successful dance career, she has been called the “matriarch and queen mother of black dance”.
After graduating with a bachelor's degree in anthropology, she then traveled to the Caribbean to study the African diaspora, ethnography, and local dance as part of her master's studies. During her studies, she also started her first dance company, ‘Ballet Negre’ otherwise known as the Negro Dance Company.
However, upon returning to the US, she didn’t finish her master's degree after realizing her calling was in dance and shifted her focus completely. Upon coming back from her fieldwork, she started her now infamous dance company, the Kathrine Dunham Dance Company.
From 1938 to 1965, her company toured six continents, becoming one of the first American companies to make a global impact on the dance stage.
Dunham wasn’t just a dancer, she was an activist, using her fame to fight racial discrimination, filing lawsuits, and advocating for equality. Along the way, she choreographed over 100 works, spanning Broadway, opera, and concerts.
In 1946, she opened The Katherine Dunham School of Arts and Research in NYC, later expanding it to focus on cultural arts.
Developed the iconic Katherine Dunham Technique, blending Caribbean folk movements with ballet and modernist influences.
Katherine Dunham’s legacy lives on as a powerful force in dance and culture, inspiring generations of performers worldwide.
Katherine Dunham was known as one of the first modern dance pioneers, where she combined cultural and grounded dance movements with elements of ballet. Thanks to her dedication and her successful dance career, she has been called the “matriarch and queen mother of black dance”.
After graduating with a bachelor's degree in anthropology, she then traveled to the Caribbean to study the African diaspora, ethnography, and local dance as part of her master's studies. During her studies, she also started her first dance company, ‘Ballet Negre’ otherwise known as the Negro Dance Company.
However, upon returning to the US, she didn’t finish her master's degree after realizing her calling was in dance and shifted her focus completely. Upon coming back from her fieldwork, she started her now infamous dance company, the Kathrine Dunham Dance Company.
From 1938 to 1965, her company toured six continents, becoming one of the first American companies to make a global impact on the dance stage.
Dunham wasn’t just a dancer, she was an activist, using her fame to fight racial discrimination, filing lawsuits, and advocating for equality. Along the way, she choreographed over 100 works, spanning Broadway, opera, and concerts.
In 1946, she opened The Katherine Dunham School of Arts and Research in NYC, later expanding it to focus on cultural arts.
Developed the iconic Katherine Dunham Technique, blending Caribbean folk movements with ballet and modernist influences.
Katherine Dunham’s legacy lives on as a powerful force in dance and culture, inspiring generations of performers worldwide.
Katherine Dunham was known as one of the first modern dance pioneers, where she combined cultural and grounded dance movements with elements of ballet. Thanks to her dedication and her successful dance career, she has been called the “matriarch and queen mother of black dance”.
After graduating with a bachelor's degree in anthropology, she then traveled to the Caribbean to study the African diaspora, ethnography, and local dance as part of her master's studies. During her studies, she also started her first dance company, ‘Ballet Negre’ otherwise known as the Negro Dance Company.
However, upon returning to the US, she didn’t finish her master's degree after realizing her calling was in dance and shifted her focus completely. Upon coming back from her fieldwork, she started her now infamous dance company, the Kathrine Dunham Dance Company.
From 1938 to 1965, her company toured six continents, becoming one of the first American companies to make a global impact on the dance stage.
Dunham wasn’t just a dancer, she was an activist, using her fame to fight racial discrimination, filing lawsuits, and advocating for equality. Along the way, she choreographed over 100 works, spanning Broadway, opera, and concerts.
In 1946, she opened The Katherine Dunham School of Arts and Research in NYC, later expanding it to focus on cultural arts.
Developed the iconic Katherine Dunham Technique, blending Caribbean folk movements with ballet and modernist influences.
Katherine Dunham’s legacy lives on as a powerful force in dance and culture, inspiring generations of performers worldwide.
6. Dance Visionary: Alvin Ailey
We cannot celebrate the greatest names in Black dance and choreography without honoring Alvin Ailey, an incomparable dancer and visionary often hailed as one of the 20th century's greatest choreographers.
Ailey’s journey began with inspiration from the Katherine Dunham Dance Company and formal training at the Lester Horton Dance Theatre, where he later served as director. His career spanned Broadway performances and groundbreaking choreography, deeply rooted in his “blood memories” of growing up in Texas.
Ailey’s remarkable contributions to the dance world include:
Founding the Alvin Ailey American Dance Theater, which redefined American dance with performances by a group of young Black dancers.
Creating the 1960 masterpiece Revelations, a timeless work still performed globally.
Establishing the Alvin Ailey American Dance Center (now The Ailey School).
Forming the Alvin Ailey Repertory Ensemble (now Ailey II) in 1974.
Receiving prestigious honors, including the Kennedy Center Honors in 1988.
Throughout his career, Ailey collaborated with luminaries such as Romare Bearden, Duke Ellington, Langston Hughes, and Mary Lou Williams. Though he passed away in 1989 at just 58, his legacy endures, and Revelations continues to captivate audiences worldwide
6. Dance Visionary: Alvin Ailey
We cannot celebrate the greatest names in Black dance and choreography without honoring Alvin Ailey, an incomparable dancer and visionary often hailed as one of the 20th century's greatest choreographers.
Ailey’s journey began with inspiration from the Katherine Dunham Dance Company and formal training at the Lester Horton Dance Theatre, where he later served as director. His career spanned Broadway performances and groundbreaking choreography, deeply rooted in his “blood memories” of growing up in Texas.
Ailey’s remarkable contributions to the dance world include:
Founding the Alvin Ailey American Dance Theater, which redefined American dance with performances by a group of young Black dancers.
Creating the 1960 masterpiece Revelations, a timeless work still performed globally.
Establishing the Alvin Ailey American Dance Center (now The Ailey School).
Forming the Alvin Ailey Repertory Ensemble (now Ailey II) in 1974.
Receiving prestigious honors, including the Kennedy Center Honors in 1988.
Throughout his career, Ailey collaborated with luminaries such as Romare Bearden, Duke Ellington, Langston Hughes, and Mary Lou Williams. Though he passed away in 1989 at just 58, his legacy endures, and Revelations continues to captivate audiences worldwide
6. Dance Visionary: Alvin Ailey
We cannot celebrate the greatest names in Black dance and choreography without honoring Alvin Ailey, an incomparable dancer and visionary often hailed as one of the 20th century's greatest choreographers.
Ailey’s journey began with inspiration from the Katherine Dunham Dance Company and formal training at the Lester Horton Dance Theatre, where he later served as director. His career spanned Broadway performances and groundbreaking choreography, deeply rooted in his “blood memories” of growing up in Texas.
Ailey’s remarkable contributions to the dance world include:
Founding the Alvin Ailey American Dance Theater, which redefined American dance with performances by a group of young Black dancers.
Creating the 1960 masterpiece Revelations, a timeless work still performed globally.
Establishing the Alvin Ailey American Dance Center (now The Ailey School).
Forming the Alvin Ailey Repertory Ensemble (now Ailey II) in 1974.
Receiving prestigious honors, including the Kennedy Center Honors in 1988.
Throughout his career, Ailey collaborated with luminaries such as Romare Bearden, Duke Ellington, Langston Hughes, and Mary Lou Williams. Though he passed away in 1989 at just 58, his legacy endures, and Revelations continues to captivate audiences worldwide
6. Dance Visionary: Alvin Ailey
We cannot celebrate the greatest names in Black dance and choreography without honoring Alvin Ailey, an incomparable dancer and visionary often hailed as one of the 20th century's greatest choreographers.
Ailey’s journey began with inspiration from the Katherine Dunham Dance Company and formal training at the Lester Horton Dance Theatre, where he later served as director. His career spanned Broadway performances and groundbreaking choreography, deeply rooted in his “blood memories” of growing up in Texas.
Ailey’s remarkable contributions to the dance world include:
Founding the Alvin Ailey American Dance Theater, which redefined American dance with performances by a group of young Black dancers.
Creating the 1960 masterpiece Revelations, a timeless work still performed globally.
Establishing the Alvin Ailey American Dance Center (now The Ailey School).
Forming the Alvin Ailey Repertory Ensemble (now Ailey II) in 1974.
Receiving prestigious honors, including the Kennedy Center Honors in 1988.
Throughout his career, Ailey collaborated with luminaries such as Romare Bearden, Duke Ellington, Langston Hughes, and Mary Lou Williams. Though he passed away in 1989 at just 58, his legacy endures, and Revelations continues to captivate audiences worldwide
6. Dance Visionary: Alvin Ailey
We cannot celebrate the greatest names in Black dance and choreography without honoring Alvin Ailey, an incomparable dancer and visionary often hailed as one of the 20th century's greatest choreographers.
Ailey’s journey began with inspiration from the Katherine Dunham Dance Company and formal training at the Lester Horton Dance Theatre, where he later served as director. His career spanned Broadway performances and groundbreaking choreography, deeply rooted in his “blood memories” of growing up in Texas.
Ailey’s remarkable contributions to the dance world include:
Founding the Alvin Ailey American Dance Theater, which redefined American dance with performances by a group of young Black dancers.
Creating the 1960 masterpiece Revelations, a timeless work still performed globally.
Establishing the Alvin Ailey American Dance Center (now The Ailey School).
Forming the Alvin Ailey Repertory Ensemble (now Ailey II) in 1974.
Receiving prestigious honors, including the Kennedy Center Honors in 1988.
Throughout his career, Ailey collaborated with luminaries such as Romare Bearden, Duke Ellington, Langston Hughes, and Mary Lou Williams. Though he passed away in 1989 at just 58, his legacy endures, and Revelations continues to captivate audiences worldwide
Dance Continues To Evolve & Change
Whilst there are 100s of other dancers and choreographers who deserve to have a light shined on them and their achievements, this Black History Month, we wanted to remember and honor the fantastic achievements of these individuals, the hardships they had to overcome, and the legacy they leave behind.
Whilst there are 100s of other dancers and choreographers who deserve to have a light shined on them and their achievements, this Black History Month, we wanted to remember and honor the fantastic achievements of these individuals, the hardships they had to overcome, and the legacy they leave behind.
Whilst there are 100s of other dancers and choreographers who deserve to have a light shined on them and their achievements, this Black History Month, we wanted to remember and honor the fantastic achievements of these individuals, the hardships they had to overcome, and the legacy they leave behind.
Whilst there are 100s of other dancers and choreographers who deserve to have a light shined on them and their achievements, this Black History Month, we wanted to remember and honor the fantastic achievements of these individuals, the hardships they had to overcome, and the legacy they leave behind.
Whilst there are 100s of other dancers and choreographers who deserve to have a light shined on them and their achievements, this Black History Month, we wanted to remember and honor the fantastic achievements of these individuals, the hardships they had to overcome, and the legacy they leave behind.
Looking for Class Manager Classic?
Class Manager is a trusted class
management software used by
dance studios and business
owners across the
UK, United States, Australia,
and beyond.
Planning an event or recital?
Visit our sister company, Stage Stubs
for all your ticketing needs.
Free for studios.
Features
Email Us
Contact Sales
Contact Support
© Class Manager 2025, All Rights Reserved
Looking for Class Manager Classic?
Class Manager is a trusted class
management software used by
dance studios and business
owners across the
UK, United States, Australia,
and beyond.
Planning an event or recital?
Visit our sister company, Stage Stubs
for all your ticketing needs.
Free for studios.
Features
Email Us
Contact Sales
Contact Support
© Class Manager 2025, All Rights Reserved
Looking for Class Manager Classic?
Class Manager is a trusted class
management software used by
dance studios and business
owners across the
UK, United States, Australia,
and beyond.
Planning an event or recital?
Visit our sister company, Stage Stubs
for all your ticketing needs.
Free for studios.
Features
Email Us
Contact Sales
Contact Support
© Class Manager 2025, All Rights Reserved
Looking for Class Manager Classic?
Class Manager is a trusted class
management software used by
dance studios and business
owners across the
UK, United States, Australia,
and beyond.
Planning an event or recital?
Visit our sister company, Stage Stubs
for all your ticketing needs.
Free for studios.
Features
Email Us
Contact Sales
Contact Support
© Class Manager 2025, All Rights Reserved
Looking for Class Manager Classic?
Class Manager is a trusted class
management software used by
dance studios and business
owners across the
UK, United States, Australia,
and beyond.
Planning an event or recital?
Visit our sister company, Stage Stubs
for all your ticketing needs.
Free for studios.
Features
Email Us
Contact Sales
Contact Support
© Class Manager 2025, All Rights Reserved