Newspapers / Winston-Salem Chronicle (Winston-Salem, N.C.) / Sept. 16, 2004, edition 1 / Page 62
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Artistry from the man who would have been a ballplayer BY MARDELL GRIFFIN CHRONICLE STAFF WRfTER At first glance, dressed in a loosely draped blue robe, he looks like the stereotypical point guard - lean, at least 6 feet tall, movements well coordinated. And he should have been a basketball player, he says. i nai is wnai was expected or young Aincan-Amencan ooys with athletic ahility who grew up in his generation. "Society has a way of shaping what a child does," Mel Tomlinson said. "I'm black, so I should play basketball," But audiences around the world are grateful that Tomlin son did not do what he "should" have done. Instead he became a premier ballet dancer who has worked with some of the country's best known dance com -panies - such as the Dance Theatre of Harlem, the New York City Ballet and Alvin Ailey. He has performed before kings, queens and presidents. He was a member of the dance troupe that was "a gift" from the American people on the occasion of the marriage of Prince Charles and Princess Diana of England. He has danced twice at the White House, once during President Carter's administration and once during President Reagan's. And last Friday and Saturday nights he wowed local audiences with two performances in the city where he first .began training as a dancer at the N.C. School of the Arts. Tomlinson and Cydney Spohn danced in a revival of "Satto" by Salvatore Aiello, artistic director with the N.C. Dance Theatre. The event took place in the Stevens Center, which Tomlinson helped open in 1983. Tomlinson, who is from Clayton, was not in Winston Salem just to give local N.C. Dance Theatre patrons a treat. He moved to the city in July when he retired at age 33 from the New York City Ballet. "It's home," he said of why he chose to come back to North Carolina. "It's the state that made me." He bought a car and a condominium near Hanes Mall in me I win City where he and his cats settled in. But settling in is not Tomlinson's style. He s(x>n agreed to he a guest performer with the N.C. Danee Theatre and beean instructing flednlino dancers as a Photo hy James Parker Dance master Mel Tomlinson studies, corrects and demonstrates to students at the N.C. School of the Arts. receive what you get from live theater. The audience becomes a part of the dance itself." It Is a pleasure to listen to him give background information about the dancers and the dances being conducted on stage during a dress rehearsal before his Winston-Salem performances. Intensity and joy in his concentration on the figures at the front of the hall spill over to the listener as he shares his insight into the dancers' moves and lives. He takes direction easily when his turn comes on the stage. He listens closely to the director's instructions and discusses how he si to Improve the movements. Oh\iously he is willing to per fect his art. That even temperament is evident on other occasions. The joy he feels for hallet also spills over and fills his classes at the School of the Arts. The classroom atmosphere is electric as he moves about the mirrored room in robin's egg blue dance togs. He demonstrates each series of movements before students undertake the exercises. They concentrate as he executes each step with the grace and ease he is known for. Then he watches closely as his charges try to repeat his instructions. "Just a metatarsal." he says to one student as he lies prone on the floor and watches her foot from six inches away. He speaks in time with the music as he makes his way around the room, eyes always on his pupils. "Use the faces. Use the cheekbones." he says at one point. He explains that dancing is drama and dancers actors who must use their faces as well as their bodies to reach the audience. He jokes with the young dancers and makes them laugh as he also makes them work. His hands gently place young legs in dif ficult positions. Over and over they repeat steps that may one day move them across stages in front of heads of state. In turn, before the hour and a half session ends, each student is praised by name for mastered steps. At the end of the day's work, students linger to exchange warm jibs with Totnlinson. One young lady gives her teacher an impromptu hug as she leaves (he classroom. The theme of Tom linson's teaching philosophy is work with fun. and his students reflect his attitude. "I think he keeps (he class going. He's very lively. We feed off the energy he generates." says Tiffany Mussenden a third-year student at the school from Queens. N.Y "...Because he's having fun with it, we have fun with it." Rons Willis, another third-year dance student from Raeford. c?iH* "Hp's ;i lot r?f fun In thp /'luccrmnt hi> proat<?e a cihiatinn distinguished vixiting faculty member at NCSA. Next year, he may become a permanent member of the well-known school's staff. "They are grooming me for something along those lines," he says. Teaching at the School of the Arts is just an extension of Tomlinson's personal mission - to bring dance to people in the community, average folks who do not ordinarily hang out at the great dance halls of the world. . , , ? "There is a certain responsibility that comes with fame and fortune," he said. "You have to give it back." where you're very relaxed and appreciate what he's doing and appreciate what you're doing. He does n't work in a set way. He doesn't teach the class the same way all the time. He is always doing some thing new. which gives us a broader perspective of what we can do." Students are not the only ones who think Tomlinson offers something different. One member of his Saturday night audience was overhead saying, "I've definitely never seen anything like this," fol lowing Tomlinson's performance. He and Ms. Spohn entwined in erotic, sensual movements to the strains of hor years Tomlinson has been "giving it back" with visits to schools andLrecreation centers and other community gathering places to expose penpk: to-dance. He wants to fhakc ad approachable Unlike many who ,\v?>/k in im industry notorious for its temperamental stars, he works hard to overcome the intimidating aura that surrounds ballet. And he does a good job. He is patient with listeners, giving easy expla nations and spellings of words that would be rudimentary to more sophis ticated dance enthusiasts. Originally published on Thursday, Oct. 15,1987 Thi?n lhon> oriental music punctuatcd with the sounds of wind chimes. The dance addressed primal feelings with both grace and drama. The performance brought many members of the audience to their feet for a standing ovation at the close of the piece. The "retired" dancer will not have much time to enjoy the aftereffects of the fanfare. Next week he will join the New York City Ballet as guest per former before audiences at Washington's Kennedy Center. ? t\urt thnv i^lavvpc a H:iv In lv? l:iin>hl at (he ^rhrml nf thi* Arts; Anrt iri>im,l His energy and animation about danee are infectious. He draws you into his world of exotic move ments with demonstrations of the intricate steps and tales of the performing industry. "I think the audiences, through the dance, see art," he says. "...Art can transform the world in terms of peace.. . There is nothing like live theater. You can watch TV 24 hours a day and you'll never Christmastime his latest movie. "Leonardo VI." made with Bill Cosby, will he released. He is trying to enlist Cosby \ help to promote arts in North Carolina. "I'm trying my hest to get him to come down here." he says. "It's just a matter of time. The man is very busy." All in all it is not a bad life for a man who "should" be playing basketball. Renowned dancer shares AIDS plight at conference Originally published on Thursday, March 1, 2001 BYCORTNEYL. MI L THE CHRONICLE The Women of Vision of New Jerusalem Missionary Baptist Church celebrated Black History Month with famous dancer and guest speaker Mel Tomlinson, who spoke last Friday on how the AIDS virus affected his life. to begin the ceremony, Kevin Guy, Kashanna Brown and Brian Biggs, three stu dents from the N.C. School of the Arts, began the ceremony by performing three African and spiritual dance numbers. Following their per formance wat? the Otesha Creative Arts Ensem ble. which performed an African dance that included troupe members playing instruments to provide upbeat rhythmic tempos. TomJinson, born in Raleigh as one of six children, attended the N.C. School of the Arts at the age of 1 7. Since receipt of his bachelor of fine arts degree from NCSA, he has received numerous awards and made many appearances in documentaries, cinema and television, but that night. Tomlinson did not speak on his many accomplishments. Instead, he informed the audience on how AIDS changes his life. Once diagnosed with full-blown AIDS in July of 1995, he realized how precious life was. "Many tend to take for granted the simplicity of See Tomlinson on Pag< 28
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