THE SWANS OF HARLEM

From the Horses Mouth and Clark Center NYC joined forces for the second time to bring journalist Karen Valby’s novel, The Swans of Harlem, to the stage. The performance was a
kinesthetic concoction of live performance, video testimony, and the sharing of stories that not only defined, but shaped generations of the Dance Theater of Harlem.

Where Arthur Mitchell had a vision, the Swans of Harlem, Lydia Abarca, Gayle McKinney-Griffith, Sheila Rohan,
Karlya Shelton, and Marcia Sells, were some of the dancers who truly gave it life.

An overture of music, interspersed with natural, atmospheric sounds like rain and birdsong, signaled a transition was happening. A beam of diagonal light guided performers from upstage right to downstage left, and as they traversed the panel of amber glow by Clifton Taylor, they moved their bodies through personal, repetitive motifs and beckoned the next traveler to join them.

This conversation between the bodies continued throughout
the chapters of the hour-long performance. They weren’t just
moving together, they were engaged. Trying on each
other’s movements, coming into contact with those around
them.

The beam of light was followed by testimonies of former DTH dancers, colleagues, collaborators and of course- the surviving swans. A few testimonials were given live from a mic and chair set centerstage during blackouts, or were told
through videos projected into the back of the space.

Marcia Sells, Sheila Rohan, Karlya Shelton-Benjamin and Lydia Abarca Mitchell turned the house into a puddle (of tears) as they spoke live. The first testimony of the evening, the very first
voice we heard, was in memory of Gayle McKinney-Griffith, and it set the heartfelt tone. As the lights dimmed, Gayle’s daughter lit up the screen, as she told her mother’s story and legacy.

During each monologue, 3 dancers would surround the story teller, and bring their words to life through improvised movement. Casual, meaningful, uncensored stories of what they experienced during the beginnings of the company was heart warming.

These incredible women, and colleagues who have been connected through mutual resilience and beauty, relayed their memories of surpassing the world’s expectations and expanding opportunities for the Black ballet community; they weren’t just listening to one another narrate, they were bringing it to life through the language that connected them in the first place, and that time stands no chance against- movement.

Something extra special about opening night, was the quiet and thoughtful presence in the front row of the 14 Street Y Theater, none other than Karen Valby — the woman who helped the ballerinas share their stories for the world to hear.

The evening concluded with the performers zigging and zagging through the space, a grand finale, inviting
audience members to join them onstage in celebration of the powerful impact of these graceful women who paved the way for future generations.

EYE ON THE ARTS, NY — Emma Edy Morris