Mercedes Ellington, a name synonymous with dance, choreography, and a rich family legacy, initially hesitated to embrace the path that would solidify her place in history. This reluctance, as she shared in a Journal interview, stemmed from a youthful perspective: “I didn’t want to go because I thought, ‘dance is an age-wise thing, and I will be getting older’—so I didn’t want to come to college.” However, destiny, guided by her grandfather, the iconic Duke Ellington, and her father, Mercer Ellington, both Juilliard alumni, had different plans for Mercedes Ellington. Their strong encouragement propelled her towards Juilliard, an institution deeply intertwined with the Ellington family narrative.
The Ellington Family’s Juilliard Connection
Decades before Mercedes Ellington graced its halls, Juilliard held a special significance for the Ellington family. Duke Ellington, recognizing the transformative power of education, established scholarships at Juilliard for deserving graduates of New York City public high schools, further cementing his commitment to nurturing talent. Later, he honored his musical partner, Billy Strayhorn, with another Juilliard scholarship in 1968. This dedication extended to sending numerous arrangers and family members to Juilliard. Mercedes Ellington recounts, “My grandfather sent a lot of his arrangers to Juilliard. He sent Luther Henderson (BS ’42, public school music), he sent my father, and then he sent me.” This legacy underscored the value of Juilliard in the Ellington family, making Mercedes’ attendance a natural progression.
Juilliard and Formative Friendships
Enrolling in Juilliard’s Dance Division in the late 1950s marked a significant chapter in Mercedes Ellington’s life. Seeking to minimize her commute from St. Albans, Queens, she moved into the International House, a decision that led to an impactful friendship with fellow dance student Pina Bausch. Their shared experiences extended beyond the dance studio; they worked together in the cafeteria, fostering a bond over bussing tables and shared meals. Mercedes Ellington fondly remembers, “We worked in the cafeteria and bussed tables together. She gave me her recipe for dessert, which was strawberry ice cream with sugar and lemon juice on top. We were good friends, and she started teaching me German.” This anecdote not only reveals a personal connection but also highlights the rich, collaborative environment at Juilliard.
Embracing the Graham Technique and Finding Her Path
Mercedes Ellington’s dance education at Juilliard was rigorous, encompassing both modern and ballet disciplines. Initially studying Limón technique, her artistic trajectory shifted when she discovered Martha Graham’s profound influence. “I took Limón for two years and then I switched to Graham because I fell in love with the movement and all the stories—her repertoire.” She was captivated by the narrative depth and expressive potential of the Graham technique. The faculty, comprised of Graham company members, provided unparalleled mentorship. For Mercedes Ellington, her renowned last name was inconsequential in the demanding environment of Graham’s classes. “The people in the Graham company didn’t want to know [about my legacy]. They wanted to know about my contraction [referring to one of the fundamental movements of Graham’s technique]. And they wanted to know my ability to carry through the storylines and be dramatic, and that’s the thing I loved about it.” This focus on skill and artistry, rather than lineage, shaped her Juilliard experience.
A Defining Moment with Martha Graham
The demanding curriculum at Juilliard included annual examinations where students choreographed their own dances. Mercedes Ellington recalls a particularly nerve-wracking experience during one of these exams, with dance luminaries Martha Graham and Antony Tudor on the panel. Forgetting a section of her choreography, she faltered. In a pivotal moment, Martha Graham approached her with words of encouragement that resonated deeply. “Martha came up and took me by the hand over into a corner, and she said, ‘Look, you choreographed this; we don’t know what this is. If you can’t remember, just make it up. Just keep dancing and do your best. You were fine up until you stopped. Just keep dancing. Don’t stop.’ What she said—that was the word.” This advice, “Just keep dancing,” became a guiding principle for Mercedes Ellington, emphasizing resilience and improvisation in the face of challenges. She recognized Graham’s deep commitment to her students’ development, noting, “Martha cared that much—she invested that much toward people’s formation. Because there are so many people around to tell you what you can’t do, and especially with the racial issue, what you’re not allowed to do—and that just didn’t occur to her at all.” Graham’s colorblind approach to talent and dedication was particularly impactful for a young Black dancer navigating a racially charged era.
Breaking Barriers and Broadway Dreams
Upon graduating from Juilliard in 1960, Mercedes Ellington’s career took off. Her first major role was touring Australia with West Side Story, performing as a Shark ensemble member and understudying Rosalía. Despite encouragement from her father and grandfather to remain in Australia due to perceived racial limitations in the U.S. dance scene, Mercedes Ellington returned to New York City, determined to forge her path. She faced racial prejudice head-on, exemplified by the Urban League sending her to audition for the Radio City Music Hall ballet corps to challenge their lack of diversity. While these auditions were often disheartening, they fostered a sense of community among minority dancers. “In that day and age, all the minorities—we would become friends. We would go to auditions for Broadway shows because it was [in a sense] a free jazz class. When you took the audition, you’d learn the combination, and that was your jazz class. We’d go together, and we knew we weren’t going to get the job, but we’d meet, and we’d go for coffee afterward. It was like a little club. It was [also] kind of frustrating—you had some hope that maybe someday, [getting cast] would happen.”
Persistence Pays Off: The June Taylor Dancers and Beyond
Mercedes Ellington’s resilience culminated in a breakthrough in 1963 when she became the first African American member of the prestigious June Taylor Dancers on The Jackie Gleason Show. This marked a significant milestone, breaking racial barriers on national television. “I wanted to phone my mom, to tell her I got this job. But she knew—it was already on the news!” This achievement propelled her into a successful career spanning Broadway, television, and renowned venues like City Center and the New York City Opera. She toured globally, including a 1971 U.S. State Department tour of the Soviet Union with the Duke Ellington Orchestra, further cementing her international presence.
Continuing the Legacy and Inspiring Future Artists
Decades after Juilliard, Mercedes Ellington remains a vibrant force in the dance world. She embraced ballroom dance competition a decade ago and remains actively involved with Juilliard, attending events and performances. Her commitment to her family’s legacy is unwavering, particularly as the 125th anniversary of Duke Ellington’s birth approaches. She is deeply involved in commemorative events, recognizing the importance of preserving and sharing her family’s history. Antony Tudor’s words to her, “‘You’re going to be very important to your family’s history,’” underscore her role as a steward of this legacy. Mercedes Ellington offers invaluable advice to aspiring artists: “Don’t listen to anybody who tells you ‘no.’ Try to be one of the people who turn that ‘no’ around and create something that never was before. You don’t know how long you’re going to be here, but you’ve got to go where you’ve got to go. Something might seem crazy, but if it occurs to you, there’s a reason for it. You’ve just got to go after it.” Her journey, marked by talent, perseverance, and a profound connection to her family’s artistic heritage, serves as an inspiration to generations of dancers and artists.
