The Swans of Harlem | Part Two

Summary

The Turning - Seasons 1, 2 & 3
Episode: The Swans of Harlem | Part Two
Release Date: May 7, 2024
Host/Author: iHeartPodcasts and Rococo Punch

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Introduction

In the second installment of the special guest series for The Turning, host Karen Valby delves deeper into the inspiring journey of Sheila Rohan, a former ballerina whose resilience and passion for dance overcame significant personal and physical challenges. This episode complements the narrative presented in Karen Valby's book, The Swans of Harlem: Five Black Ballerinas, 50 Years of Sisterhood, and Their Reclamation of a Groundbreaking History.

Overcoming Polio and the Early Years

Sheila Rohan’s dance journey is nothing short of remarkable. Diagnosed with polio at the tender age of seven, Sheila faced the terrifying prospect of lifelong disability.

Sheila Rohan [01:58]: "I had decided in my little mind that [being crippled] was not going to happen."

Her determination led her to reclaim the use of her legs through rigorous exercise, primarily dance, which became a cornerstone of her recovery and artistic expression.

Support from Family

Dance classes were a significant expense, yet Sheila's older sisters, Nanette Bearden and Evelyn, worked tirelessly to afford her training. Nanette, in particular, played a pivotal role in Sheila's ascent into professional ballet.

Sheila Rohan [05:26]: "She would buy my pointe shoes, my tights, and my leotards and my little skirts..."

Nanette's unwavering support extended beyond finances; she also immersed Sheila in the world of ballet by attending performances together, fostering Sheila's aspirations.

Joining Dance Theater of Harlem

At 27, Sheila made the bold decision to join the Dance Theater of Harlem, an institution founded by Arthur Mitchell to provide opportunities for Black dancers in the classical ballet sphere. Balancing motherhood and a burgeoning dance career, Sheila navigated the demanding schedule with resilience.

Sheila Rohan [16:00]: "We started at 9. So, you know, my day started at 7, getting up to Harlem, 9 with exercise classes..."

The intensive training regimen was rigorous, demanding both physical endurance and emotional strength, especially as Sheila juggled her responsibilities as a mother of three.

Relationship with Arthur Mitchell

Sheila's relationship with Arthur Mitchell was characterized by mutual respect rather than the paternalistic dynamic reported by some of her contemporaries. Her maturity and life experience allowed her to maintain a balanced perspective, even amidst the high-pressure environment.

Sheila Rohan [19:55]: "I think he respected me and that I... was a part of something. It wasn't just I'm out there trying to audition..."

While Arthur Mitchell was known for his demanding nature, Sheila maintained her composure and focused on her craft, serving as a stabilizing presence within the company.

Balancing Life and Dance

The demands of touring and rehearsals eventually led Sheila to step back from performing with the company. However, her passion for dance remained undiminished as she transitioned into teaching, imparting her knowledge and experience to the next generation of dancers.

Sheila Rohan [24:07]: "But as you know, I didn't really leave because I stayed and I worked in the school."

Later Career and Continued Passion for Dance

In her 50s, Sheila experienced a resurgence in her dance career by participating in Gordon Parks' film Martin, where she donned pointe shoes once more. This role not only rekindled her love for performance but also showcased her enduring talent.

Sheila Rohan [25:12]: "But I think it's just now, it's still a problem. It's still a problem, but don't let it stop you..."

At 75, Sheila joined the Five Plus Ensemble, a group celebrating dancers over 50, further cementing her commitment to the art form and challenging societal perceptions of aging dancers.

Legacy and Mentorship

Beyond performing, Sheila co-founded the 152nd Street Black Ballet Legacy Council in 2020 to preserve and honor the contributions of Black ballerinas whose legacies risk being forgotten. The council serves as a testament to her dedication to fostering community and ensuring that the history of Black ballet dancers is celebrated and remembered.

Sheila Rohan [31:13]: "You have to try to know yourself, really try to grow up inside... don't let it stop you, because like we just said, a change is coming."

Advice to Young Dancers

Sheila offers profound advice to aspiring dancers, emphasizing the importance of self-awareness, resilience, and the courage to enact change within the performing arts. She encourages young artists to believe in their abilities and remain steadfast in the face of adversity.

Conclusion

Sheila Rohan's story is a compelling narrative of overcoming adversity, the transformative power of dance, and the importance of community and mentorship. Her journey from a young girl battling polio to a revered ballerina and mentor serves as an inspiration to all who seek to pursue their passions against the odds.

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This episode of The Turning not only highlights Sheila Rohan's personal triumphs but also sheds light on the broader struggles and triumphs of Black ballerinas in the classical dance world. Through heartfelt conversations and insightful reflections, listeners gain a deeper appreciation for the dedication and resilience required to excel in the demanding world of ballet.

Transcript

[Karen Valby]

Hi, it's Erica. This is the second part of a special guest series for the Turning. If you missed part one, I want to jump in and tell you about a new book called the swans of five black ballerinas. 50 years of sisterhood and their reclamation of a groundbreaking history. In it, writer Karen Valby records the largely forgotten histories of five black ballerinas who changed the art form. Today, in our second of the series, Karen speaks with former ballerina Sheila Rohan. In every possible way. Sheila Rohan was an unlikely ballerina. As a child, she survived polio and the temporary loss of her legs. Dance was essential to her healing and to her life as an artist. When she first joined the Dance Theater of Harlem, Sheila was a 27 year old mother of three young children. She had long since put away her pointe shoes. It was her sister, Nanette Bearden, who saw the notice in the New York Times that Arthur Mitchell was looking for black classically trained dancers. And she convinced her baby sister to make the trek from Staten island up to Harlem. Under the tutelage of Mitchell, Sheila would travel the world performing on the grandest of stages. Now in her 80s, she continues to challenge expectations of what a dancer looks like. Welcome, Sheila.

[Sheila Rohan]

Hey Karen.

[Karen Valby]

Sheila, your journey to becoming a professional ballerina began in such dramatic fashion. You were diagnosed with polio at 7 years old. Can you just tell me a little bit about being in a house of seven sisters and losing control of your legs?

[Sheila Rohan]

Well, yes, you can imagine how traumatic it was for my mother and my sisters. I'm even thinking now that I was younger than 7. The polio epidemic was already in the environment at that time. I remember it started, I had a terrible headache. I had been ill, like say, flu or a cold or something. So I was at home. I remember I called out to my sister to tell her that I had a pain in my head. Then I really started feeling ill. And of course they called a doctor. I don't remember going to the hospital, but he diagnosed me. And I keep the memory of when I overheard a conversation between my mother and the doctor. And he said, you never know how these things go. He said she could be crippled. And when I heard that, I just was determined. No, I had decided in my little mind that that was not going to happen. And I recommend that to everyone. And I said, no, I am not going to be crippled. I think my body just took it from there.

[Karen Valby]

And you do regain use of your legs. The braces come off.

[Sheila Rohan]

Yes. Uh huh.

[Karen Valby]

And the doctor says to your mother, what?

[Sheila Rohan]

I need exercise. He Recommended exercise classes to build muscles in my legs. And then the only exercise we knew were the dance studios. I guess maybe nowadays I would take gymnastics or go to the gym, but then it was dance. So we found a studio, but it was a neighborhood school. Ballet, tap and contemporary.

[Karen Valby]

Your mother was keeping food on the table for seven girls. Was dance classes a luxury? Did she have the money to pay for those classes?

[Sheila Rohan]

My sister Nanette and also Evelyn, they were the two older sisters, and they were working. They were able to scrape together the money. But then, you know, what was it? $5? You know, back then, we took 40s. We're talking about the 1940s and 50s. But even so, you know, if you only have $20, $5 is a lot, so. But they managed. Yes, and I went there for quite a while.

[Karen Valby]

Sheila, you quickly outgrow your neighborhood Staten island studio. And the teacher says you deserve better training. Your sister Nanette, who's married at this point to the famous artist Romare Bearden, says she'll pay for you to take classes in Manhattan. Can you talk about the support she showed you as a young artist?

[Sheila Rohan]

From the very beginning, when we started making the trips into Manhattan, she was excited as I was. She was very pleased because she loved dance herself. I think she wanted to be a dancer. You know, she would buy my pointe shoes, my tights, and my, you know, my leotards and my little skirts and, you know. Yeah.

[Karen Valby]

And it's not just that she was sort of funding your dance education. She was taking you to see the ballet.

[Sheila Rohan]

Oh, yeah.

[Karen Valby]

Wasn't she?

[Sheila Rohan]

Yeah. My first New York City Ballet Nutcracker, we went to see. Yes, it was wonderful. Yeah.

[Karen Valby]

What was that like, sitting in the audience and seeing professional ballet?

[Sheila Rohan]

Oh, yeah. It was like, how could I even think about doing the ballet, being on stage and looking like that? What do I have to do to get there to attain this? Yeah.

[Karen Valby]

Do you have a sense at this point in your training that there is a place for a young black ballerina on a stage like that?

[Sheila Rohan]

Not ballet. I mean, I've seen other dances, like on Broadway and in other dance companies. Modern dance company like Martha Graham always had black dancers, but not really for myself, I think I didn't believe that I could attain the level of excellence that has to be done. And then, what for? Who's going to hire me? So I was doing it because the love of it. At that time, I wasn't thinking career. I know my sister Nanette was. I see that later on, I see that she was trying to build Me up to get me to be a dancer, period, not just a ballerina.

[Karen Valby]

What did you love about it? What about the art form spoke to you?

[Sheila Rohan]

The way that classical ballet creates and interprets movement. I love the lines, the graceful arms, just the technique itself. Trying to learn those pirouettes and holding the arabesque. And every day you were working towards something. Every day you want to get your leg higher, you want to get your muscles stronger. And later on, you have to learn to listen to the music. As you get older and the training advances, you learn. Well, they did port a bra because of this. You put some meaning to it, but it was just the challenge of learning and wanting to express yourself. With this technique on my toes. And then they didn't encourage you to soften up the shoe. They just put your foot in there, laced them up, and expected the shoe to break in as you work. Yeah, yeah.

[Karen Valby]

Your education, your dance education is interrupted when you're 18 and you and your childhood sweetheart get pregnant and you realize you're going to have your first child. How sad were you to lose those Saturdays in a studio.

[Sheila Rohan]

Yes, it was sad, but I was trying to accept it. You know, that happened. And now I'm doing this after your son.

[Karen Valby]

You have two daughters. You've largely hung your pointe shoes up because of the demands of motherhood, but you're still very much dancing, and you're deep into an art scene in Staten Island. Can you tell me a little bit about that?

[Sheila Rohan]

A group of us, always involved in the theater, dance, singers, musicians, we came together and we bartered. Okay. We poor people, artists. You would barter. My child will take dance class, and you would do the pottery. And we had that going on. And so I met artists from all over, all races, black, white, Asian, Spanish. And I guess it was the late 50s or so 60s. We created the Brothers and Sisters United, which was our acknowledgement of the civil rights movement. You know, it was a whole revolution to know us Blackness. Back to Africa. Who are we and why are we here? So brothers and sisters united. That's what that company was about. And we were all young. You know, we had a director and we had a choreographer, but we all really didn't know what we were doing. But we were doing it. Yeah. And we did one performance at Lincoln Center. They used to put up this platform around the fountain, and we managed to get a booking there. So it was a big deal for us. And we did our program, which was about slavery. It was that kind of a story. Song and dance and music. Yeah, it Was a community endeavor. We didn't make any money. We didn't have any money. You know, you went out of pocket most of the time to do things. But that's how we started. We also had, which was a more spiritual endeavor, was the Universal Temple of the Arts. And they were painters and musicians, writers. So we also would just gather together to try to find out who am I? It was that 60s, you know, who am I, where are we, where are we going, you know, that type of thing.

[Karen Valby]

Those are the great questions posed by art.

[Sheila Rohan]

And it was a wonderful time. It was a wonderful time. It was some awakenings at that time.

[Karen Valby]

You're deeply part of this local art scene. You're a 27 year old mother of three, a very full life. And Nanette calls like she always does, and she tells you about a man named Arthur Mitchell auditioning dancers. Can you just tell me about that call?

[Sheila Rohan]

My sister Nanette, she was a woman about town. She had a lot of connections and contacts, so she said. Someone told me about Arthur Mitchell starting a program. That's what I thought it was a program up in Harlem. And I, you know, I was like, well, now do I want to go traveling way up there? But anyway, I went, I went to the audition.

[Karen Valby]

Did you know it was an audition for classical dancers?

[Sheila Rohan]

Yes, I knew he was looking for ballet and I didn't know who Arthur Mitchell was. We didn't have Google then. But Nanette knew of him. She knew of him and his story. And so I went and I passed the audition, you know, he told me to come back.

[Karen Valby]

You didn't tell Arthur that you were a 27 year old mother of three? What did you tell him?

[Sheila Rohan]

I don't remember ever. You know, it wasn't like you sat down to an interview. It was very informal. He said, you, you, you, you come back, you know, and I didn't speak on it. It wasn't an issue right then. I just lied. You know.

[Karen Valby]

What was obvious in the ballet world that told you you don't announce yourself as a mother of three children to a director?

[Sheila Rohan]

Why? Oh, well, no. Well, then he would have just said goodbye almost like automatically. I mean, what are you doing here? You know, if I had already made a name for myself and was a well known dancer, maybe you'd get an audition. But no, that was unheard of.

[Karen Valby]

To the point that when your kids would come to the school on Saturdays, they were told to refer to you as their aunt.

[Sheila Rohan]

Yes, we made a game of it.

[Karen Valby]

You're the daughter of a deeply practical immigrant Mother who wasn't convinced that giving up your part time job that paid a reliable salary for some ballet company was a good idea. Your husband thought there was beauty in your decision. It is very notable that in the late 60s, you have a husband that says, go pursue your dream. I'll figure it out with the kids. We'll figure it out with the kids. Can you talk a little bit about his support of your life as a dancer?

[Sheila Rohan]

Endeavors on Staten Island. The brothers and sisters united. And whatever he was a part of, he was a part of this community. And he knew me in a sense that this is what I did. This was just what I did. Anything to do with the theater and getting people together and dance and all that. So, no, he didn't object at all. You know, it was hard on us because the little bit of stipend that I got, it was like car fare and lunch money. It wasn't really, you know, anything you could depend on. But we made it through. We manage.

[Karen Valby]

Tell me about that first year at Dance Theater of Harlem. Arthur Mitchell is muscling together this company. He's training you all to be unified and performance ready. What was the pace like? How hard were the days?

[Sheila Rohan]

Whoa. Yes. Because we started at 9. So, you know, my day started at 7, getting up to Harlem, 9 with exercise classes. We would have body conditioning and Pilates, then company class and then hours of rehearsal and then you break and then you would have to come back in the evening to dance. So it was very vigorous.

[Karen Valby]

Tell me about racing for the Staten island ferry at the end of a long night.

[Sheila Rohan]

Yes, yes. And if you miss that boat, you know, you wait another half hour. And after like 11 or so, you waited an hour.

[Karen Valby]

You know, in talking with the other swans during the reporting of this book, they talk about going to clubs afterwards or getting together for drinks. You had a very different life. You were rushing home to see if there was food for school, lunches the.

[Sheila Rohan]

Next day, homework and. And all of that. Yeah.

[Karen Valby]

This is a lot of juggling and a lot of sacrifice you're making what made it all worth it. Why did you want to be a part of the dance theater of Harlem? What was it giving you?

[Sheila Rohan]

Well, I found out. We found out that Arthur Mitchell really had a vision. He talked to us about the civil rights movement and how we are a part of that change in the country. He would speak to us about how blacks weren't accepted in the theater, how jobs are very scarce. And he was very fortunate that Balanchine picked him out. But that's One out of a thousand, you see. So after a while, it became, I'm a part of something. It's not just I'm out there trying to audition and trying to be in somebody's company. We were a part of something.

[Karen Valby]

Tell me about why. A year into the company's life, you decide. I've got to tell Arthur Mitchell I have kids at home.

[Sheila Rohan]

I guess it became like an issue. We were progressing move up to a certain level, and he was preparing, you know, for touring. Well, I didn't know how it was going to go, and I was trying to prepare myself to accept whatever happened, but he just said, you should have told me. I could have given you a little bit more money than you were making, so long as it doesn't interfere with the work we're doing. Then he was fine with it.

[Karen Valby]

And sure enough, you saw a little bump in your paycheck, right?

[Sheila Rohan]

A little bump, yeah. But he didn't change toward me. I was still a part of the group. I still got corrections, and he still noticed me. It's not like, oh, well, I just write her off. No.

[Karen Valby]

In conversations, some of the women expressed having this very complicated relationship with Mr. Mitchell that was kind of like a father figure Persona in their lives. And they were so sensitive to his approval and craved his approval and were flattened by his disapproval. It seemed like you had a slightly more mature relationship with him. What was the dynamic between you and Arthur, and what do you think accounted for your not holding him up on high?

[Sheila Rohan]

I think he respected me and that I, you know, was a mother and that I was still trying to work at my craft and I did try to hold my own. I was always trying to get better and working and taking my correct soul. And I was a part of the group.

[Karen Valby]

He didn't hold the same power over you?

[Sheila Rohan]

Well, I think it's because I was more mature. Had a husband, you know. Yeah, I was a little afraid of him. Like, if he would yell at you for something you were doing wrong or something happened on stage, of course I would feel something. But some of the girls would get devastated, you know, to the point of tears. But I just think because I was a little older, he didn't get under my skin. Yeah, it's more I felt bad for the others when it happened to the other ladies. I felt for them that they had to go through it.

[Karen Valby]

Do you remember a moment of witnessing him just tearing a ballerina up?

[Sheila Rohan]

Well, I guess tearing him up is kind of harsh, but, yeah, you know, you'd have things like, yeah, you're getting fat. You couldn't do that step because your thighs are too big, you know, ugly thing, you know, mean things. You didn't take that correction I gave you last time, so you're stupid. He could be very mean, as I did find out. He wasn't the only one that this was like, how they are. Ego, you know, this is my company, and you just do as I say. Yeah, he. The boys, too, especially the men. He really gave it to them. Yeah.

[Karen Valby]

Did you have a specific role in the company in which people thought of you as a soft place to land? Would people turn to you as for a source of comfort?

[Sheila Rohan]

I think so, yes. I think I was like, auntie. Yeah, Auntie. Walter Raines and I were the oldest in the company at that time, so we were like mom and pop. Yeah.

[Karen Valby]

Can you talk about the magic of the life, what Dance Theater of Harlem gave you in terms of taking you around the world?

[Sheila Rohan]

The first trip to Europe, when we went to Italy. Before that, we had did the Caribbean, and that was good because I had never traveled, and that was wonderful. But then to go to Europe, to go to Italy and Amsterdam and some other places, you know, like, that was really overwhelming. I couldn't believe it. You know, is this me? Am I really here?

[Karen Valby]

And audiences loved you all.

[Sheila Rohan]

Oh, they loved us. Encore after encore. Like, it was really amazing. I remember thinking, well, are they serious? We can't be that good. What's so good about us that they're raving like this? You know, I can't believe it. Yeah. But we were proud of what we were doing, and we were loving what we were doing. Even though it was hard, I was glad I was doing it. I felt fortunate that I had this opportunity to do it for however long it lasts.

[Karen Valby]

Why did you leave the company when you did?

[Sheila Rohan]

Because the work, the scheduling, the touring, it became too much for me. The children were getting older, you know.

[Karen Valby]

Were you heartbroken to leave?

[Sheila Rohan]

I won't say heartbroken. It was sad to leave the company and also my friends, because they were also my family. But as you know, I didn't really leave because I stayed and I worked in the school. He was building a school then, so I became a teacher. I started with the little ones, and then I still took company class, and I acted as an alternate. If someone was out, I would fill them in. And I was always allowed to, you know, watch rehearsals. And so I was around all the time, so to speak.

[Karen Valby]

Dancers often talk about how their careers are famously short. But one of the things I Love most about your life is that your biggest role came to you at 50 when you were cast in Gordon Park's film Martin. Can you share what it was like to put pointe shoes back on at 50 years old?

[Sheila Rohan]

Yeah. Yeah. But, you know, I've known dancers, and even now, with everyone knowing so much about the physical body and what it can do. There are dancers 50 or so in dance companies. They may be in the core, they may be demi soloists, but it happens. Maybe back then, it didn't. Yeah.

[Karen Valby]

Sheila, when you're in your 70s, you join a dance group called the Five Plus Ensemble for dancers over the age of 50 who still have the juice to perform. I wonder if you could just talk about the feeling of taking the stage for a performance at 75 as opposed to a nervous young woman at 28.

[Sheila Rohan]

When you're younger, it's like, I want to please a choreographer. I want to do the best I can in this part so that I can be a good part of this production. It's always someone other than you, outside of you. Am I doing it's right? What do I have to do next now that I'm older? It's just a pleasure to be here. This is who I am. This is my expression. I offer it to you and hope that you can get something out of it. Just look, just listen, just enjoy. Or not. Yeah.

[Karen Valby]

The filmmaker Gabri Krista saw one of those performances of the Five Plus Ensemble, and she told me it struck her, why don't we see more older people on stage? Because this is where the power is. This is performers at peace and at home with their bodies. And she made a beautiful short film about you called Sheila last year. And it's such an ode to your form just to see you sitting in a leotard and then standing up and dancing. There's so much history in your body and your movements. What is your relationship with your body at 82? And have you been at peace with the aging process?

[Sheila Rohan]

Yes, I believe I am. I still do exercise, yoga. I no longer do a bar. No. And I'm very happy and appreciative that I was able to do what I did for so long. It helped me to know myself and it filled that creative need. When we came together for the ensemble, I wasn't even nervous about performing. Whereas, you know, other times throughout my whole career, I was a nervous type of person. But, yeah, like you say, more at peace. And I'm fortunate that I managed to get here because I can imagine there are other dancers and stuff of who are very frustrated. Careers were cut short or they had an injury that they had to deal with. Oh, now I have to teach because I can't dance. You know, you go through all of that, and I'm good.

[Karen Valby]

Sheila, you and the four other swans started the 152nd Street Black Ballet Legacy Council in 2020 because you were tired of your legacies being forgotten by history. Since then, you've met every Tuesday afternoon without fail. I've been lucky to sit in on several of those meetings. And there was something so beautiful and consistent about the way you women would come together. Last year, you lost Gail McKinney Griffith, one of the founding members of the 152nd Street Black Ballet Legacy Council and. And a founding member of Dance Theatre of Harlem. I'm just wondering how comforting it is to you to have been in such close communion with her over the last few years.

[Sheila Rohan]

Gail was always a light in our lives. Everyone will say that to you. That's just who she was. So her passing is big that she's not here with us. We latched onto the word or the meaning of sisterhood. That's who we are. We're not just an alumni group coming together for memoirs. We've known each other so long, and we got to know each other again.

[Karen Valby]

Does it provide any comfort to know that she put her story down on record?

[Sheila Rohan]

Oh, yes. Yes, it does, because I want everyone to know her. She was an angel. She was human. You know, ups and downs, in and outs, but basically, essence. She was an angel. Yeah.

[Karen Valby]

Just using your wisdom and your wide lens, what would you. What would you say to young dancers who had all of the ambition and the hunger starting their careers? How would you counsel them to hold on to themselves like you really did yourself?

[Sheila Rohan]

You have to try to know yourself, really try to grow up inside. Because putting dance on the stage has obstacles. You see, it's not just the creative spirit and the creative source, See, that's in you. But then you have to deal with business. You have to deal with a production, and that's not always a creative spiritual environment. So you have to create that and have that and build that within yourself. Someone doesn't want to see you dance. That's their problem. You see, you have to try to know yourself as best you can and be able to deal with the obstacles and the criticisms and the unequality of what happens in the theatre. I mean, it's worldwide. And in some way, you may make a change. These young dancers now, they may make a big change in the theater. This could be a revolution for them. Evolution, you see, to make that change. Because we see there are more black dances that we get to see, and you see how fabulous they are. You see, Alvin Ailey has some of the, to me, the greatest dances in the world, and that includes Russia, you know, the French. But we need to be used. And it's coming because nobody wants to put up with that foolishness anymore. I think it's just now, it's still a problem. It's still a problem, but don't let it stop you, because like we just said, a change is coming. You're going to be part of that change. So have faith in your artistic abilities, you know, that you've been gifted with. It's a gift.

[Karen Valby]

Thank you, Sheila. Thank you so much for this conversation and for all our conversations. And mostly thank you so much for the example of how one can be an artist in this world.

[Sheila Rohan]

And thank you, Karen, for telling our stories. Thank you very much.

[Karen Valby]

That was Sheila Rohan talking with Karen Balby, the author of the Swans of Harlem, which is available wherever books and audiobooks are sold. And remember, keep an eye out for season three of the Turning. And thanks for listening.