By Walter Rutledge
Please excuse my self indulgent opening digression. It is the perfect example of history being rewritten and romanticized to create propaganda more palatable to the American founding fathers myth. .
The best part of the Thomas Jefferson myth is his “love affair” with Sally Hemings. According to folklore it is understandable how a fourteen-year-old nubile virgin slave would be lustfully smitten to her forty-four-year-old pale and pasty pre-Jack Lalanne owner. Fortunately for Jefferson in his sociality he would not be considered a racist nor a rapist. After all, Hemings was only three thirds a human being and besides she was his property just like his chickens. The major distinction being Tommy Boy wasn’t fucking his chickens (well… as far as we know).
Now we have unscrupulous people trying to rewrite America’s African holocaust into “happy slave” history. 19th century German historian Leopold Van Ranke said it most accurately and succinctly, “no document, no history”. This explains the need for Thelma Hill Performing Arts Center’s upcoming full-length documentary “To The Souls of Our Feet”. The film will chronicle the 47 years history of the organization’s contributions and continued commitment to underserved dance communities.
After the first two days of filming, (another session is planned for late fall) it became apparently clear the project was developing a voice of its own. The endearing stories told through the voices of the dancers, and choreographers who harkened back a bygone area in dance. Recalling dancers, choreographers, directors, producers (many who have transitioned from creative artist to beloved ancestor) who are once again being remembered for their artistic accomplishments was a priceless experience. These recollections and remembrances are now being immortalized for future generations of balletomanes and dance enthusiasts.
Our first seven interviewees (George Faison, Alfred Gallman, Dyane Harvey Salaam, Abdel Salaam, Edisa Weeks, Jill Williams and Lakai Worrell) were knowledgeable, personable and authentic. Each shared moments of Thelma, the teacher, mentor and friend; or of Larry Phillips, the producer and promotor who took pride in giving an emerging artist their first big break. The discussions ranged from the Black dance boom of the 1970’s and our present dance encapsulations via Intragram.
Throughout the process the one universal quality that became apparently clear is the generosity of spirit. The understood yet unwritten code of sharing, giving back and paying it forward. Without recognition or fanfare these special people continue a tradition as ancient as the drums.
Alex Smith Jr. is an amazing individual. A visual artist by trade Smith became Executive Chairman by proxy after the untimely death of Melvin Davis. In other words, there was no one left to save the organization and its legacy from the trash pile of broken promises and unfulfilled dreams.
He still approaches this now twenty-five year mission (longer than both of his predecessors combined) with a teachable spirit and an almost childlike wonderment. His enthusiasm and zest for knowledge is only surpassed by his truly generous spirit. It has been an honor and inspiration to have worked beside him for over decade. Smith leads by example and watching him grow from dance presenter, to published author, dramaturgist, and now film director/producer has been a truly one of my teachable moments.
We will keep you inform as our documentary “To The Souls of Our Feet” takes one more pirouette closer to coming to a theater near you. For more information about the Thelma Hill Performing Arts Center and/or to make a donation to the “To The Souls of Our Feet” documentary project visit https://www.thelmahill.org/.
