Carmen de Lavallade: Celebrating a Dance Legacy

At 86 years young, Carmen de Lavallade, draped in pastel pink, guides the youthful Dance Theatre of Harlem performers amidst her shouts of encouragement. Known as a trailblazer in the realm of American Modern Dance, her influence is far-reaching.

In a reflective conversation, de Lavallade shared what she hoped to give her audiences through her dances over the decades. "The bond," she stated. "It's never been about dancing for just myself; it's always been for the onlookers."

Her awe-inspiring journey, beginning as the daughter of a bricklayer in California, is being honored this weekend with a prestigious Kennedy Center Award.

Recounting her early hurdles during her 2014 solo performance, de Lavallade described when dance lessons were elusive: "Back then, very few studios welcomed someone of color," she recollected. "When I did get in, white students would often leave."

Nevertheless, her skill prevailed. During high school, de Lavallade was accepted into a notable Los Angeles dance troupe, accompanied by a talented peer and future dance icon, Alvin Ailey.

De Lavallade was pivotal in introducing Ailey to the dance world, and together they formed a remarkable duo.

Their talents attracted the attention of Broadway in 1954, leading them to "House of Flowers," famed for its all-black cast. Here, de Lavallade's path crossed with Trinidadian performer Geoffrey Holder, whom she wed within a brief three months.

When asked about her attraction to Holder, she noted that he embraced her for who she was. "He never obstructed my path," she expressed.

Holder, a Tony-awarded director known for "The Wiz," frequently crafted both movements and attire for his wife. Their life together, filled with artistic keepsakes, is preserved within a vast Harlem storage space. "It has been an integral part of my life," reflected de Lavallade.

After Holder's passing in 2014, Carmen and their son Leo undertook the tender task of organizing their legacy—stories encapsulated in letters, photos, and costumes.

In 1961, at the height of her stardom, de Lavallade was set to grace "The Ed Sullivan Show." However, she faced a setback when she was prohibited from sharing the stage with a white collaborator.

"I wasn't shocked," she recounted. "Unlike today, protest wasn't as bold. One simply adapted and moved forward."

Adapt she did; becoming one of the Metropolitan Opera's pioneering Black dancers, later branching into choreography and teaching movement at Yale School of Drama.

Continuing her illustrious career, de Lavallade has not let the passage of time erase the injustices she and many Black creators faced.

This steadfastness shone through when she became among the Kennedy Center Honorees publicly opposing President Trump for his commentary equating white nationalists with counter-protesters in Charlottesville.

"Politics isn't my realm," she stated. "But this issue compelled me. I had to draw a line."

Given her extensive life's work, de Lavallade felt a sense of agency. "I've consistently conformed over the years," she shared. "At 86, for the first, I've exercised my option to refuse. It's a privilege that time has afforded me."

Yet Carmen de Lavallade will indeed be present to accept her Kennedy Center accolade, celebrating a legacy punctuated by grace and profound impact: "Reflecting on my contributions, I am heartened to know they carried weight. That's my joy."