FORWARD

In 1976, Larry Phillips brought a group of committed dancers and choreographers together to found an organization that, as he saw it, would serve the Brooklyn community as a smithy in which creative talent could be forged and tempered. He named the fledgling company after Ms. Thelma Hill, as tribute to the brilliant educator and dancer.

Over the years, Thelma Hill Performing Arts Center (THPAC) has thrived, attracting both emerging and established artists of color who seek out its experimental yet historically aware environment. We have developed a perpetual evolutionary cycle, in which our 153 alumni, who have gone on to successful careers as dancers and choreographers both here and abroad, return to the space where they first flourished, not only to impart what they have learned to artists starting out, but to learn once again. Our legacy of providing dancers with a forum where they can explore their art and share it with a diverse community is one we cherish, and one of which our audiences, are a part.

OUR GUIDING SPIRIT: THELMA HILL

Thelma Hill Performing Arts Center (THPAC) is named after Thelma Hill who was known as Mother to those she worked with. She is remembered as a positive force by those in the dance world of New York City and beyond. A native of New York, Ms. Hill began studying tap dance with Mary Bruce and later studied and danced with several renowned choreographers, including Talley Beatty, Alvin Ailey, Lester Horton, Jean Leon Destine and Geoffrey Holder. She also danced with the historically significant but short-lived New York Negro Ballet Company. When Ms. Hill toured with this company, critics praised her slow-burning intensity on stage. In her later years, Ms. Hill devoted her energies to teaching dance; and it was as a teacher that she earned her greatest fame, most notably at the Clarke Center in New York City. She assisted Mr. Ailey in the production of "La Strada" and Leonard Bernsteins "Mass." She served as ballet mistress for The Alvin Ailey Dance Theater and was a member of the dance faculty  t the American Dance Festival. Thelma Hill was the first African-American panelist of the National Endowment for the Arts. The Umbrella Ladyâ in the Revelations section of Aileys most famous work, "Wadin In the Water," was created with her in mind. Thelma Hill died of smoke inhalation when her apartment caught fire in November 1977, but her passion in nurturing talent lives on in the organization that proudly bears her name.

OUR FOUNDER: LARRY PHILLIPS

Larry Phillips always knew where he was going, although his journey was like an old meandering river, forever arriving.  always knew where I was headed,  he told an interviewer. My road had many twists and turns, and detours, but I never allowed it to deflect me from my course for long, and we've gotten where I want to be with a head full of ideas that I don't leave lying around in my head. A native of Chicago, Larry Phillips relocated to New York and began working as a dance therapist at Our Children's Center in Brooklyn. The center sponsored a children's education and support program for single parents attending New York Technical College and was the forerunner of THPAC. Larry Phillips, together with his inspiration and mentor Thelma Hill, coordinated the center's dance benefit concerts for three years. In 1977, he renamed the organization after his recently deceased teacher, Ms. Hill. With Larry at the helm, THPAC burst onto the scene and grew influential in New York's performing arts world. He began the renowned dance festivals know as "The Big Black and Bold Dance Festival," "Men In Dance," and "Women In Dance Series." In 1986, Larry was honored with the Public Service for the Arts Award by Brooklyn Borough President Howard Golden. Larry served as executive and artistic director of THPAC until his untimely death in 1987.

OUR KEEPER OF THE FLAME: MELVIN DAVIS

During Melvin's tenure, (THPAC) arrived at its present format. His hallmark persistence in constantly pushing the boundaries of dance presenting is still with us. His implementation of the curator program brought together diverse artists and audiences. Melvin's directorship was marked by the presentation of experimental works by artists of color and included the groundbreaking series "Toenails of Steel and Asphalt Poetry." and Toenails of Steel & Ruby Red Text. This series pairs choreographers with writers and poets of color to explore significant themes in minority communities. Mr. Davis was posthumously honored with the prestigious Bessie Award for dance presentation after his sudden death in May 1995.

MARSHALL SWINEY- ARTISTIC DIRECTOR

After Melvin Davis's death, the director's torch passed on to Marshall Swiney, a native of Newport News, Virginia. He came to THPAC as a choreographer whose work had been presented at a number of venues in New York City since the mid-1980s. In 1992, Marlies Yearby invited him to contribute to the Toenails of Steel & Asphalt Poetry series. His first contribution to a tripartite offering was entitled Denial: Wooden Nickels And Bad Luck, Baby! and caught the attention of Melvin Davis, who asked Mr. Swiney to collaborate on the performance and community outreach programs of THPAC for the 1993-94 and 1994-95 seasons. After Mr. Davis' death, Mr. Swiney succeeded him in the position of artistic director of THPAC. Mr. Swiney feels with great conviction the importance and vitality of Thelma Hill's mission. It is important that the path laid out by Larry and Melvin continue into the 21st century and beyond. THPAC has now reached a significant milestone: It serves as a forum where artistic talent can map out new territories in dance and performance art. In that role, it can help foster community cohesion, across divisions of age, class, gender and ethnicity.