DANCES

A gifted Black ballerina, soaring in her career, is held back by inner demons and troubled relationships.

“Ballet has always been about the body. The white body, specifically. So they watched my Black body, waited for it to confirm their prejudices, grew ever more anxious as it failed to do so, again and again.” At 22, Celine Cordell is about to defy expectations by becoming the first Black female principal in the history of the New York City Ballet. As the pressure mounts, the media attention intensifies, and fans begin doing things like naming their labradoodles after her, she’s clearly made serious headway against institutional racism—it’s her troubled heart that’s holding her back now. Her relationship with Jasper, her White ballet partner, doesn’t come close to filling her emotional needs, but she’s grown distant from her disapproving mother and hasn't seen her beloved, drug-addicted brother in five years. With her lifelong best friend having vaporized into a consuming love affair, Cece faces the biggest challenges of her life alone. Cuffy’s debut is enriched by her deep knowledge of ballet, expressed in sentences that swoop, surge, and flow as if choreographed. “Rond de jambe, the foot sweeping graceful half circles into the floor, and fondus and développés, the legs growing long now, delicious bloom in the hips and the inner thighs.” She also vividly creates the dancer’s inner world, with its extremes of discipline and self-consciousness. “Hunger is a type of want I find unsettling. Especially when it’s this intense, this much of a threat to my self-control….I bet Irine isn’t hungry right now. I bet Gwen is having a Clif Bar for lunch. I feel like I could take down a giraffe and then mount Jasper for dessert.”

The closest thing most of us will ever experience to actually dancing the ballet and to life in a dancer’s body.