Dance

Indian Transgender Rights Activist

b. December 13, 1978

“It is only through faith that the original status of the transgender people in India can be reclaimed.”

Laxmi Narayan Tripathi is an Indian transgender rights activist, dancer and television star. She is among the most influential figures in India’s LGBTQ community.

Tripathi was born male in Thane, Maharashtra, near Mumbai, to an orthodox Brahmin family. Brahmin is the highest caste in Hinduism. Growing up, Tripathi was sexually abused by a close relative and bullied by her classmates.

Tripathi graduated with an arts degree from Mumbai’s Mithibai College and a postgraduate degree in Bharatanatyam, a form of Indian classical dance that often expresses religious and spiritual themes.

After starring in several dance videos directed by Ken Ghosh, an Indian director and producer, Tripathi took up choreography and became a well-known dancer in Maharashtra. When the state shuttered its dance bars, Tripathi organized protests against the decision.

Tripathi identifies as a female in the Indian sense of hijra. Considered nonbinary, hijras can be intersex, transgender or eunuchs. Historically, Hinduism viewed hijras as divine. In the late 1800s, when India was a British colony, transgenderism was criminalized. For centuries, transgender Indians have lived as outcasts. Tripathi is working to reclaim the hijras’ holy status.

During India’s HIV/AIDS crisis in the 1990s, Tripathi was one of the first activists to demand that the national anti-AIDS program include hijras as a separate category. She attended the 2006 World AIDS Conference in Toronto, Canada, and participated in HIV/AIDS activism at other international forums. In 2008 she became the first transgender person to represent Asia Pacific in the United Nations, where she spoke of the plight of sexual minorities around the world, particularly in India.

In 2014, thanks to Tripathi’s successful petition, the Indian Supreme Court ruled to officially recognize a third gender. The landmark decision paved the way for transgender people to receive government benefits and for India’s decriminalization of same-sex relationships in 2018. In the wake of her Supreme Court victory, Tripathi formed the nonprofit Astitva Trust, Asia's first transgender organization, and established a Hindu hijra religious order, the Kinnar Akhara.

Tripathi was featured in the 2005 documentary “Between the Lines: India’s Third Gender.” In 2011 she starred in the celebrity edition of the Indian reality television series “Big Boss” and in “Queens! Destiny of Dance,” an acclaimed Bollywood film about hijras. In 2012 Tripathi published her autobiography, “Me Hijra, Me Laxmi.”

In 2017 at the KASHISH Mumbai International Queer Film Festival, Tripathi received the Rainbow Warrior Award. She received the Sree Narayana Guru Award for social service the same year.

Tripathi lives with her fiancé, Aryan Pasha, a transgender man. The couple has two adopted children.

Pioneering Ballet Dancer

b. March 27, 1934
d. September 19, 2018

“The myth was that because you were black that you could not do classical dance. I proved that to be wrong.”

Arthur Mitchell was the first African-American to become a principal dancer with a major ballet company, opening the door to classical dance for people of all races. After achieving international stardom, he founded the Dance Theater of Harlem, the first black classical ballet company in the United States.
 
Mitchell was born in Harlem, New York. After his father’s incarceration, he became the primary provider for his family at age 12. When Mitchell was in junior high, a guidance counselor spotted him dancing the jitterbug and encouraged him to audition for the High School of Performing Arts. The school accepted Mitchell on a full scholarship. There, he explored modern dance and choreography and first encountered the racism inherent in the dance world. Though he was often passed over for projects in favor of less qualified white students, his exceptional talent and determination prevailed.

At 18, Mitchell was offered a scholarship from the preeminent School of American Ballet in New York. Despite the prevalent racism in classical dance and the urgings of his instructors to pursue other genres, Mitchell accepted.

He was determined “to do in dance what Jackie Robinson did in baseball.” He would later describe himself as a “political activist through dance.”

In 1955 Mitchell became the first African-American permanent dancer for the renowned New York City Ballet (NYCB). One year later, he rose to the top-ranked position of principal dancer. His career-defining roles included the lead in “Agon” and Puck in “A Midsummer Night’s Dream.” Both were choreographed specifically for him by George Balanchine, the NYCB’s celebrated director. In “Agon,” the pairing of Mitchell with Diana Adams—a white Southern ballerina—was considered scandalous, but Balanchine persisted. Mitchell performed the role with white female partners worldwide.

The assassination of Martin Luther King Jr. marked a turning point in Mitchell’s career. Determined to provide his community with the same opportunities he had received, Mitchell and Karel Shook—Mitchell’s famous former ballet teacher—founded the Dance Theatre of Harlem in 1969. It became the first permanent black ballet company in America. Today, it is a multicultural dance institution with more than 300 students.
 
Mitchell received the Kennedy Center Honor in 1993 and the MacArthur Fellowship in 1994. In 1995 he received a Lifetime Achievement Award from the School of American Ballet and the National Medal of Arts from President Clinton.

Native American Youth Leader

b. June 11, 2000

“… The most controversial act I ever committed was being myself.”

Sherenté Mishitashin Harris is an indigenous Two-Spirit youth leader, activist and champion powwow dancer. An advocate for Indian visibility and positive cultural change through the arts, s/he overcame discrimination to break down gender barriers in traditional dance.
 
Harris is a member of the Narragansett Indian Tribe and comes from a large family of champion powwow dancers. As a teenager, s/he came to understand his identity as an indigenous Two Spirit, a term used to describe nonbinary gender and sexuality in indigenous communities. “People told me that if I was transgender, I would have known ever since I was young,” Harris noted. “But what does it mean to be a man or a woman? I identify both as a man and as a woman—but really, at the end of the day, I’m just being myself.”

Although Two Spirits were once considered sacred by the Narragansett Tribe, many Two Spirits today face numerous challenges, including exclusion from powwow circles. After coming out as Two Spirit, Harris, who had previously danced at powwows in the tradition of his father, began to embrace his identity by dancing in the tradition of his mother—a style performed by women.

To prepare for competition, Harris practiced daily for a year, despite what s/he describes as loneliness and a lack of assurance that s/he would be able to compete as his true self. When the time came to compete, s/he faced resistance from powwow officials who told the judges not to score his performance. Many judges were supportive and scored Harris anyway. Harris continued to persevere, placing fourth, then third, then second and, finally, first. S/he went on to perform as head-person dancer at the Dartmouth Powwow in 2017 and 2018.
 
As an artist and activist, Harris aims to “intertwine the stories of his cultural path with his Two-Spirit identity to evoke an emotion that sparks dialogue regarding ideologies that are too often silenced.” Harris’s work on indigenous language preservation was submitted as a part of a contest for the White House Tribal Youth Gathering, where s/he was invited and honored for his work in 2015.

Harris also attended the United National Indian Tribal Youth (UNITY) conference, where
s/he represented his tribe and sat at the first ever Two-Spirit workshop run by UNITY.

Harris studies at Brown University and the Rhode Island School of Design.

Singer and Actor

b. June 3, 1906
d. April 12, 1975

“People … can learn to live together in peace if they are not brought up in prejudice.”

Josephine Baker was an American-born entertainer who found fame as a dancer, singer and actress in Paris. Sometimes called the “Jazz Cleopatra,” Baker was born Freda Josephine McDonald in a poor neighborhood in St. Louis, Missouri. After facing abuse and racial discrimination in America, she moved to France in the 1920s where she became a celebrated performer and the first black woman to star in a major motion picture. Her exotic beauty inspired Ernest Hemingway to describe her as “the most sensational woman anyone ever saw.” 

Baker’s landmark cabaret show, “La Revue Nègre,” became the toast of Paris thanks to her on-stage antics. She exuded sexuality, wearing next to nothing and performing tribal-inspired dances with comic touches and cultural commentary. 

When she returned to the United States as a major star a decade later, the reception was quite different. American audiences rejected her, and The New York Times called her a “negro wench.” She went back to Europe brokenhearted.

During World War II, Baker earned recognition performing for troops and smuggling secret messages on music sheets for the French Resistance. She also served as a sub-lieutenant in the Women’s Auxiliary Army. She was honored with the Croix de Guerre and named Chevalier of the Legion of Honor by the French government. 

In the 1950s and ’60s, Baker again faced racial discrimination in America, where the most popular clubs prohibited her from performing. She publicly criticized the Jim Crow laws that enforced segregation and refused to perform in segregated clubs. In 1951 Baker was honored for her activism by the National Association for the Advancement of Colored People (NAACP), which declared May 20th Josephine Baker Day. 

Baker talked publicly about racial equality in France and segregation at home. She spoke at the March on Washington in 1963 alongside Dr. Martin Luther King. 

Baker married and divorced four times and adopted 12 children of varying ethnic backgrounds, which she called “The Rainbow Tribe.” One son later described his mother as a bisexual, noting a relationship she had with the Mexican artist Frida Kahlo. 

Baker also has been linked romantically to the novelist Colette, fellow expatriate performer Bricktop and other women.  

Baker became a citizen of France, where she remains an icon. In 1991 HBO released “The Josephine Baker Story,” which earned five Emmys and a Golden Globe. 

Choreographer

b. October 11, 1918
d. July 29, 1998

Jerome Robbins was a renowned choreographer and director. He won four Tonys, two Oscars and an Emmy.

Born Jerome Rabinowitz, Robbins grew up in Weehawken, New Jersey. In 1937, he enrolled at New York University, but dropped out of college and began studying dance professionally.

By 1939, Robbins was dancing in Broadway productions, notably “Great Lady” and “Keep off the Grass.” His career as a choreographer began in the Poconos, where he earned a reputation as an innovative perfectionist.

In 1944, Robbins created his first major dance composition, “Fancy Free,” a ballet that also marked his first collaboration with composer Leonard Bernstein. Its success brought recognition to both men and inspired their first full-length Broadway musical, “On the Town.”

In 1953, Robbins was accused of being a Communist by the House Un-American Activities Committee. Fearing he would be outed as bisexual, he revealed the names of several colleagues. 

His Broadway shows include “High Button Shoes,” “West Side Story,” “The King and I,” “Gypsy” and “Fiddler on the Roof,” among others. His 60 ballets include “A Suite of Dances,” created for Mikhail Baryshnikov, and “West Side Story Suite.”

From the 1970’s on, Robbins focused primarily on ballet, returning to musical theater only occasionally. His last Broadway production, “Jerome Robbins’ Broadway,” won six Tony Awards, including best musical and best director. 

Robbins won two Academy Awards for the film version of “West Side Story.” He was also a 1981 Kennedy Center Honors recipient.

Robbins’s final work, “Brandenburg,” was created for the New York City Ballet.

Choreographer  

Alvin Ailey Jr. was an internationally acclaimed dancer and choreographer. He founded the Alvin Ailey American Dance Theater, a dance company hailed as an ambassador of American culture. Ailey formed a multiracial company and revolutionized dance, incorporating elements of ballet and jazz, along with modern and African dance, into his work.   

Ailey grew up in Rogers, Texas, the son of a young, struggling single mother. His father abandoned the family when Ailey was six months old. In 1941, the family moved to Los Angeles, where Ailey met Lester Horton, who ran the first multiracial dance school. 

Horton took Ailey under his wing, teaching him a variety of dance styles and techniques. In 1953, Ailey joined Horton’s company. Later that year, he was named artistic director.

In 1954, Ailey made his Broadway debut dancing in “House of Flowers.” He also performed in “Sing, Man, Sing” with Harry Belafonte and in “Jamaica” with Lena Horne. 

In 1957, Ailey established the Alvin Ailey American Dance Theater. The company’s premiere performance, “Blues Suite”—a riveting work reflecting the African-American emotional experience—defined Ailey’s theatrical and eclectic style. 

A prolific choreographer, Ailey created 79 original works for his company. “Revelations” (1960), recognized as his signature piece, is touted as the most-watched work of modern dance. “Cry” (1971), one of Ailey’s most successful works, was dedicated to his mother and African-American women. 

In 1979, Ailey received the Springarn Medal for outstanding achievement from the NAACP. In 1988, he was recognized with a Kennedy Center Honors Award. 

Ailey died at age 58 from complications of AIDS. In his memory, a section of West 61st Street in New York was named “Alvin Ailey Way.”

Dancer and choreographer

b. February 15, 1952

"Living and dying is not the big issue. The big issue is what you’re going to do with your time while you are here."

Bill T. Jones is a dancer and avant-garde choreographer who has created masterpieces about race, sexuality, life and loss. He is known for his extraordinary ability to translate human emotion and experience into the language of dance and theater.

The 10^th of 12 children, William Tass Jones was born in Florida, the son of migrant farm workers, and raised in Wayland, New York. As one of the only blacks at his public school, Jones believes the experience of living by white norms at school and black norms at home encouraged his self-expression. 

Jones attended the State University of New York, where he studied classical ballet and modern dance. It was there that he met his lover of 17 years, Arnie Zane. The two danced and choreographed together. As an openly gay interracial couple they pushed the envelope and challenged their audiences’ preconceived notions about gender, race and sexuality. In 1982, they cofounded the Bill T. Jones/Arnie Zane Dance Company.

In 1986, Zane was diagnosed with AIDS, which claimed his life two years later. Watching his life partner die gave Jones a new sense of passion and urgency.

In his 1994 piece "Still/Here," Jones took the experiences of people living with life-threatening illnesses and transformed them into a beautiful piece about life and confronting death. HIV-positive himself, Jones wanted to teach those living under the constant threat of death how to express themselves through movement. Jones's work also draws from existing material. His piece "Last Supper at Uncle Tom’s Cabin/The Promised Land" was inspired by Harriet Beecher Stowe’s novel.

Jones has won many awards, including a Tony Award, the Samuel H. Scripps American Dance Festival Award for Lifetime Achievement and a Harlem Renaissance Award. In 2007, he was inducted into the Hall of Fame of the National Museum of Dance. He is the recipient of five honorary doctorates.

Jones continues to dance and choreograph for the Bill T. Jones/Arnie Zane Dance Company.