Tyrus and Novosel both have intimate knowledge of theDance Theatre of Harlem.
We were thrilled to speak with Tyrus and Novosel about their work, both as authors and artists.
How did you get started writing this book?
We re-created ourselves as archivists.
Within a matter of five years, we had organized the archive.
Arthur Mitchell teaching a ballet class, 1970.
Authors Judy Tyrus (Photo: Steven Brantstetter) and Paul Novosel (Photo: Patrick Loy)
The past is always present.
They hold the true story of us.
What was your biggest challenge in writingDance Theatre of Harlem: A History, A Celebration, A Movement?
Arthur Mitchell teaching a ballet class, 1970. (Photo: Marbeth, Courtesy of the Dance Theatre of Harlem Archive)
Keeping track of the sources and ordering the historical chronology was arduous.
Along with the school, the scope of the project was massive and daunting.
Getting photographic rights was no party either.
The Dance Theatre of Harlem Ensemble shown here in a revival of Billy Wilson’s Concerto in F (Photo: Rachel Neville)
Im an artist, so I am an observer.
I observed orderat the ballet barre.
Judy Tyrus:I lived the life.
The Company in Arthur Mitchell’s Rhythmetron (Photo: Marbeth, Courtesy of the Dance Theatre of Harlem Archive)
Though I retired as a dancer and raised a family, I never left DTH.
DTH DNA endures for a lifetime.
All these, in authoring, became my sustenance.
The Dance Theatre of Harlem Ensemble, 2009 (Photo: Joseph Rodman, Courtesy of the Dance Theatre of Harlem Archive)
Every bit of experience I had as a dancer is in this book.
The highs as well as lows.
Paul:The stories ofDoin Itin Chapter 6, andSt.
Louis Women, in Chapter 8 get my heart racing.
Founder Arthur Mitchell wanted these two shows to cross over to Broadway.
In our book, we refer to a part of his personality as that of a gambler.
Mounting a production forThe Fabulous Invalidmost often is a gamble.
And a big Broadway gamble is always big newsits heaven or hellread all-about-it!
Many were never before published.
I felt humbled to be an exclusive viewer.
There is a balance between historical facts, personal reflections, critical reception, and humor.
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