FORDHAM magazine caught up with the Ailey/Fordham BFA graduate fresh off three Black Iris performances for schoolchildren at the Town Hall in Manhattan in early February. He’s currently at work rehearsing Garden of Dreams, an original piece featuring young dancers from the American Ballet Theatre’s Jacqueline Kennedy Onassis School that will premiere on Ballet Across America’s opening night.

Tell me about the new piece you performed at the Town Hall. How did the young audience react?
Every year, the Town Hall does a Black History Month program that enables public school children from all five boroughs of New York City to experience the arts for free. I created a ballet that outlines the story of five influential artists from the Harlem Renaissance: Langston Hughes, Nina Simone, Augusta Savage, Dizzy Gillespie, and Arthur Mitchell. Most had some connection to Town Hall. I collaborated with a poet named Savon Bartley, who created amazing narration about how these artists were able to express themselves and find solace and comfort. And how they inspired others.

We also took some time to introduce the students to ballet. We taught them some pliés and some physical exercises as well as the language of ballet. I taught them a little about theater etiquette. I told them if they liked something, they could clap, and I said if you see something that you really like, you can shout “bravo.” I was not expecting it, but anytime a big lift happened, those kids were shouting “bravo!”

What was the inspiration behind the Black Iris Project?
Shortly after my mom was diagnosed with breast cancer, I visited the Metropolitan Museum of Art with a friend. I fell in love with this painting by Georgia O’Keeffe called Black Iris III. Around the same time I had this application for the Choreographer of Color award due at the Joffrey Ballet. I decided to take the combination of everything that was very strong in my life and incorporate it into a proposal for a piece I called Black Iris. When I won, I got to produce it (in 2013) with the Joffrey trainees in Chicago. It ended up being in tribute to my mother, my godmother, and my aunt—three really strong women.

In 2015, I unexpectedly lost my job as a dancer at the Metropolitan Opera. That was what really propelled me to light the fire. I set a goal to produce a new ballet that is rooted in black history—which became, specifically, a ballet about Nelson Mandela.

I also wanted to see how this could become an education tool. We’ve been doing free performances, we did one at Summer Stage in Central Park, and we did a panel discussion at the Schomburg Center where people were able to come and see a preview and hear more about the history of Nelson Mandela. I developed a MADIBA curriculum that I teach in schools. I combine ballet with gumboot dance, which was started in the mines in South Africa—teaching students the idea of expression and communication through movement, and giving them some context as to where these movements come from.

In addition to shining a spotlight on black history, you wanted the Black Iris Project to offer roles for people of color. Why was that important to you?
When I was young I went to a magnet school that was very diverse. But when I went to my after-school ballet class, I was one of very few black kids. I felt very alone sometimes. When I attended summer ballet intensives, I felt the same thing. I found myself really connecting with the one or two black students that were in the program with me. And I would hear things about black [ballet]students in other schools. I dreamed of this social network that would bring all of us together in one room. I wondered how we could make that dialogue even greater, and talk about how we work through challenges and how we can change the narrative.

And it’s been awesome. We’ve worked with 25 dancers from different companies. And not only black dancers. We keep our narrative true to the story. Like in the Nelson Mandela story, in order to see that racial segregation, you have to see the white voice present as well.

One of the reasons I didn’t want to create my own company (the Black Iris Project is a collaborative) was that I didn’t want to take [black dancers]away from their companies and create my own bubble. It’s important for them to stay where they are and create that diversity. If I take them, all we do is segregate ourselves.

The Black Iris Project is appearing in the Kennedy Center’s Ballet Across America, a program celebrating diversity that is curated in part by Misty Copeland, the first African-American principal ballerina with American Ballet Theatre. How has she played a role in in your success?
All of this [the creation of the Black Iris Project] was happening at the same time as Misty Copeland got promoted to principal dancer. Everyone wanted to talk about ballet and diversity, and why it had taken so long for Misty to be promoted. It was a hot topic. I felt like that momentum just kept pushing me forward.

I’ve known of Misty since I was a child. I trained at ABT for a summer so I always kind of knew who she was. As I started to develop the Black Iris Project I reached out to her. She and her team were immediately supportive. She’s been so gracious about using her platforms to elevate others and bringing awareness to those who may face challenges similar to hers. For the Kennedy Center program, she got to pick three ballet companies to be featured, and she selected our collaborative as one of those. It’s very surreal.

How did you come to create a ballet about Nelson Mandela? What aspects of his life do you convey in the piece?
I stumbled upon a piece of music called Madiba, about Nelson Mandela, written by a black composer for a full symphony orchestra. I reached out to the composer to see if we could collaborate, and the next thing to do was see how I could make it a ballet. The composer had various landmarks within the score, what he believed were inspirational moments in Nelson Mandela’s life, but I created more of a narrative. That took a lot of work; to simplify the legacy of Nelson Mandela into 22 minutes is extremely hard!

We focused on his whole life, from his birth to his death, including aspects in the middle that show the division of the classes and the division of the races. We show that fight, that struggle for freedom, for equality. We show how at one point, he did become violent. We show those 27 years he spent in prison, in isolation, and how he continued to write. And we showed him as still hopeful, how he still dreamed of the day that a black man could become president of South Africa.

How did your time at Fordham inspire your work?
Fordham inspired me in the sense that it provided me the educational platform that I stand on. It’s one thing to just be a dancer, but to be a dancer who is knowledgeable about the world—that really empowered me to create work that has an impact on all sorts of people. Dancers tend to live in our own little bubble because dance requires so much discipline and focus. Fordham really helped make me a little more well rounded in terms of seeing the bigger picture, globally, and that is something that has really stayed with me in creating this collaborative.

In today’s world, where race played such a big part in the presidential campaign, and minorities and immigrants continue to face new challenges, how do the arts play a part in making statements about these issues?
With the Black Iris Project, we are standing on the shoulders of people who have done this before—so many artists and civil rights activists, so I feel like we are continuing to build on a legacy. I feel like it’s a huge undertaking, but it’s completely necessary. Art is a medium that makes such an impact. I also think it’s extremely empowering for artists to express themselves during this time. For me, I’m not the type of person to go to a rally—I use my art to express my frustration or my protest.

One of the great things about the Town Hall program is that all the students who came could enter a poster contest about what they saw and write a short essay about it. Right now, especially, people are really finding inspiration from artists, with Instagram and other social media to share art forms. That can impact so many people very quickly.

Interview conducted, edited, and condensed by Nicole LaRosa

Dr. Skorton will be awarded an honorary doctorate during the commencement ceremonies, as will eight other people who have distinguished themselves in business, law, the arts, or public service. See here for full details on Fordham’s commencement ceremonies.

Honorary doctorates of humane letters will be awarded to Dr. Skorton and to Judith Altmann, vice president of the Holocaust Child Survivors of Connecticut; Gregory Boyle, SJ, head of the gang-intervention group Homeboy Industries; Maurice “Mo” Cunniffe, FCRH ’54, a successful businessman and key supporter of Fordham; Patricia David, GABELLI ’81, global head of diversity for JPMorgan Chase; and Sr. Carol Keehan, DC, president and CEO of the Catholic Health Association of the United States.

An honorary doctorate of laws will be awarded to Loretta A. Preska, LAW ’73, chief judge of the U.S. District Court for the Southern District of New York.

Honorary doctorates of fine arts will be awarded to Robert Battle, artistic director for the Alvin Ailey American Dance Theater, and to Henry Cobb, founding partner at the architecture firm Pei, Cobb, Freed & Partners and co-designer of Fordham Law School’s new building.

Cobb and Preska will receive their honorary doctorates at the law school’s diploma ceremony, to be held Monday, May 23, at the Beacon Theatre in Manhattan. All other honorary doctorates will be awarded at the main University commencement on May 21.

Preska will speak at Fordham Law School’s diploma ceremony. David will speak at the Gabelli School of Business’ diploma ceremony for master’s degree candidates, to be held May 23 at the Beacon Theatre. Father Boyle will speak at the diploma ceremony for the Graduate School of Social Service, to be held May 23 at Lincoln Center’s David Geffen Hall.

David Skorton became the first physician to lead the Smithsonian Institution when he began his tenure in July 2015. He oversees 19 museums and galleries, the National Zoo, and various research centers devoted to astrophysics, tropical research, the natural environment, and other areas.

During his tenure, Dr. Skorton has made arts programming a priority at the Smithsonian, and he continues to advocate for a greater national commitment to arts and humanities education. In an address at the National Press Club in December, he called for reversing what he called our nation’s “disinterest and disinvestment in the arts and humanities” while also preserving the nation’s commitment to science.

As he put it, “This commitment must be based on an understanding that the arts and humanities complement science and that together they us make better thinkers, better decision makers, and better citizens.”

Dr. Skorton earned both his bachelor’s degree in psychology and his medical degree from Northwestern University before completing his residency and fellowship in cardiology at the University of California, Los Angeles, in 1979. He then joined the faculty of the University of Iowa, where he held professorships in internal medicine, biomedical engineering, and other fields before serving as the university’s president from 2003 to 2006.

In 2006 he was named president of Cornell University, where under his leadership the university joined with Technion-Israel Institute of Technology to win a competition to develop a new campus, Cornell Tech, on New York City’s Roosevelt Island. He also won praise as a highly effective fundraising at both Cornell and the University of Iowa.

Dr. Skorton has also served as a professor in Cornell’s Department of Biomedical Engineering and in the departments of medicine and pediatrics at Weill Cornell Medical College. He is a pioneer in applying computer analysis and processing to improve cardiac imaging, and has published two major texts and numerous other writings on cardiac imaging and image processing.

He is also an amateur flute and saxophone player who once co-hosted a weekly Latin jazz program on the University of Iowa’s public radio station.

Other Honorary Degree Recipients:

Judith Altmann is a Holocaust survivor who shares her story widely in Connecticut and Westchester County schools as a way of encouraging young people to make a better world. Born in 1924 in Jasina, Czechoslovakia, she was confined in Nazi camps at Auschwitz, Essen, Gelsenkirchen, and Bergen Belsen in 1944 and 1945. She is a vice president of the Holocaust Child Survivors of Connecticut and recipient of the Anti-Defamation League’s Daniel R. Ginsberg Humanitarian Award for 2013.

Robert Battle is artistic director for the Alvin Ailey American Dance Theater, which offers a BFA in dance in conjunction with Fordham. Renowned for his challenging, athletic, and lyrical choreography, Battle was named one of the Masters of African American Choreography by the John F. Kennedy Center for the Performing Arts in 2005, among his other honors. He established the Ailey company’s New Directions Choreography Lab to nurture emerging talents, and continues to expand the company’s community outreach and education programs.

Gregory Boyle, SJ, is executive director of Homeboy Industries, one of the nation’s largest gang-intervention organizations. Hundreds of former gang members have changed their lives by taking advantage of the organization’s work program and its services including education, legal help, and substance abuse counseling. Father Boyle is an internationally recognized expert on gang intervention approaches and author of The New York Times bestseller Tattoos on the Heart: The Power of Boundless Compassion (Free Press, 2011).

Henry N. Cobb is a founding partner at the award-winning architecture firm Pei, Cobb, Freed & Partners. Along with his colleague Yvonne Szeto, he designed the new 22-story Fordham Law School and McKeon Residence Hall building at Fordham’s Lincoln Center campus. His many other distinctive projects include the iconic John Hancock Tower over Boston’s historic Copley Square, which earned the prestigious Twenty-Five-Year Award from the American Institute of Architects.

Maurice “Mo” Cunniffe, FCRH ’54, chairman and CEO of Vista Capital, is a successful engineer, businessman, entrepreneur, and Fordham trustee emeritus who is one of the University community’s most vital and longstanding supporters. He played a pivotal role in the expansion of Fordham Prep as one of its trustees from 1983 to 1995, and his extraordinary financial support for Fordham was recognized in 2013 with the renaming of the Administration Building at the Rose Hill campus in his honor. He served on the Fordham University Board of Trustees from 1995 to 2003.

Patricia David, GABELLI ’81, managing director and global head of diversity for JP Morgan Chase, has been widely recognized for integrating diversity efforts throughout the company over the past 15 years. With her help, the company was named to Black Enterprise’s 2015 list of the most diverse companies, and she herself has received honors including the YMCA’s Black Achievers in Industry award. She serves on the advisory board for the Gabelli School of Business and was named the school’s Alumna of the Year for 2015.

Sr. Carol Keehan, DC, is a passionate advocate for expanding health care access. Sister Carol was recognized by President Obama for helping to secure passage of the Affordable Care Act, and Pope Benedict XVI bestowed on her the Cross for the Church and Pontiff to honor her humanitarian efforts. Since 2005 she has been president and chief executive officer of the Catholic Health Association of the United States, a membership organization comprising more than 600 Catholic hospitals and 1,400 other health ministries.

Loretta A. Preska, LAW ’73, is chief judge of the U.S. District Court for the Southern District of New York. In more than two decades as a judge she has ruled on many high-profile cases, such as those involving computer hacking, sentencing of a Somali pirate involved in hijacking a U.S.-flagged cargo ship, and the parody of an Annie Leibovitz photograph. She is a steadfast and generous supporter of Fordham who received Fordham Law School’s Louis J. Lefkowitz Public Service Award and the Fordham Law Alumni Association’s Medal of Achievement. A member of the Fordham University Board of Trustees from 2007 to 2013, she is now a trustee fellow.