Oh hell yeah . . .
Papa Xian, of the Gargoyle Xians doing his thing by gliding
Handsome Hui in ballet gear:
Leading off will be the interracial romance set in the world of ballet, HUI
Now on sale (on Amazon.com):
Click the promo to be redirected to The Player on Amazon or click here to be redirected: http://amzn.com/B00VEEJ00W
The link for At Last can be found here: http://amzn.com/B00TVTOXM2
Imani and Hui are up next:
March Madness is back, and its not just on the basketball court.
Stay tuned to this spot, where I’ll announce which books will be on sale this month.
First though, let me thank all the readers who took the time to purchase and read AT LAST, the interracial love story of a paraplegic male and an older black female. In keeping with the theme of diversity, HUI, the interracial romance set in the world of ballet will be released shortly, as well as The Player.
“I could go down on you forever” – Ethan, from the erotic romance At Last
** Proceeds from my novels are used to purchase FILM Equipment. Now is the time for minority writers to become screenwriters, and to be the change we want to see. **
Imani Fairchild is a fictitious character, however in light of this being black history month I wanted to list a few of the real life minority trailblazers in the field of ballet. Most people know the name Alvin Ailey and Arthur Mitchell, but how many know the names of the ballerinas of black and Native American and also hispanic heritage that graced stages of the world during the 30s,40s,50s and 60s?
Katherine Dunham, Janet Collins, Maria Tallchief, Lauren Anderson, Raven Wilkinson . . . and many more.
Katherine Dunham – dancer, choreographer and anthropologist. Dunham started her own ballet company in the 1930s.
Katherine Dunham also appeared in several films: Carnaval of Rythms (1939), including Star Spangled Rhythm (1942), Stormy Weather (1943), Casbah (1948), Botta e Risposta 1950 Italy – Musica en la Noche 1955 Mexico – Liebes Sender (1954) Germany – Mambo, (1954), Italy – Karaibishe Rythmen (1960) Vienna. She also choreographed, without appearing: Pardon my Sarong, 1942, USA- Green Mansion, 1958, USA – The Bible, 1964 (by John Houston, shot in Rome). In 1962 Katherine Dunham and her company appeared in Bamboche, the three-act revue that first introduced to America the dancers of Morocco, who appeared with the consent of King Hassan II.
Dunham choreographed Aida in 1963 at the Met, and continued to secure her place in artistic history by becoming the first African American to choreograph for the Metropolitan Opera.
Link to photo: http://vintageblackglamour.tumblr.com/page/29
Janet Collins, the first African American dancer to join the Metropolitan Opera Company (1950):
Wilkinson, born in 1935, became the first African American woman ever hired as a permanent member of a major ballet company, the Ballet Russe de Monte Carlo of New York City. She was promoted to soloist during her second season with the troupe, and remained with the company for six years. – See more at: http://www.blackpast.org/aah/wilkinson-anne-raven-1935#sthash.PDpTI543.dpuf
Wilkinson’s acceptance came with one condition; she had to pretend she was white in order to perform in the segregated South. Two years into her career, at an Atlanta hotel, Wilkinson decided she wouldn’t outright deny her race when asked if she was colored by the hotel owner. Following that incident her dancing was limited within the company and after several years of enduring the cruelty she left the company. Wilkinson eventually went to Holland, where she danced as a soloist with the Dutch National Ballet.
For more on Maria Tallchief, click this link: http://en.wikipedia.org/wiki/Maria_Tallchief
She’s worked all her young life for this moment.
Photo credits TBA
Edited photo of Ty King-Wall and Lana Jones in Swan Lake, Black Swan Pas de Deux. Photo Jessica Bialek
“I-I didn’t get the part.” Gemma sounded as if being passed over just didn’t happen to her.
Welcome to my world, Imani wanted to say. Instead she tossed an arm over Gemma’s shoulder, squeezing her in solidarity as they walked down the hall. “Don’t hate on Ming-ju, though. She’s cool. And she’s a really good dancer.”
“Imani, Ming-ju didn’t get the part either-”
“She didn’t?” The despair on Gemma’s face made Imani wonder if she’d ever looked that down and out. “I’ll tell you what, we’ll take turns listing all the reasons they made the wrong choice-”
Her words were cut short by the pounding of heavy foot falls that were loud enough to startle them both. A thundering herd of something was coming fast and frantic. Imani glanced over her shoulder only to be quickly engulfed in a crowd of well-wishers. They were screaming at her, saying her name. Her. Name. She was in the center of a whirling carousel of faces, many from the corps and a few soloists who were shouting, some of them with tears streaming down their faces and others with smiles wider than the Grand Canyon.
“I’m so happy for you-”
“This is freakin’ historic . . .”
Even though my upcoming ebook is called HUI, it’s as much Imani’s tale as the man she loves, Le Jong Hui.
And HUI is more than a love story between two people. It’s also about their shared love of an artform called ballet.