by This Dance Theatre of Harlem ballerina is on a mission to move us forward and transform our ideas about art, dancers, and the color of tights.
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Ingrid Silva

on straddling strength and vulnerability as a dancer, being open even in moments of self-doubt, and expressing the fullness of one’s identity.

For about a decade, Brazilian-born ballet dancer Ingrid Silva wore pink-colored ballet shoes. That is, until she joined Dance Theatre of Harlem. Fifty-plus years earlier, the company’s artistic leadership had made the unprecedented choice for dancers to wear tights and shoes that match their skin tones.  

In 1969, in response to the murder of Dr. Martin Luther King Jr., Arthur Mitchell, a dancer, choreographer, and the first Black dancer with the New York City Ballet, founded Dance Theatre of Harlem. He believed that by creating these experiences in his neighborhood, ballet could be a tool of transformation as well as a platform for social justice. The company is now a singular presence in the ballet world, touring nationally and internationally, expanding what’s possible through art, and presenting a powerful vision for ballet in the 21st century. 

I discovered the company through friends, but I fell madly in love with it through Ingrid’s Instagram feed, where she documents the life of a dancer from practice and performance to the delight of taking her toddler, Laura, with her on tour. 

Even for those of us who know nothing about dance, Ingrid opens the blinds on new windows for us to see what’s possible as she moves through the world, piquéing and pirouetting through Harlem and across America in pointe shoes carefully dyed to match her skin tone and to more fully represent her identity.  

Portrait of Ingrid dancing in the subway
Dance Theatre of Harlem dancer Ingrid Silva in a NYC subway station; photography by Aaron Pegg.

Vulnerability is . . .

Essential for art. I am often very vulnerable. And being open to vulnerability has been helping me grow a lot. I always tell myself that I don’t know it all, but I want to learn. As a dancer, I am very expressive, and being vulnerable helps me show my true feelings.

What role does vulnerability play in your work?

It’s hard in the dance world to be vulnerable because strength is such a component of dance. You have to show that you are strong most of the time, even when you are not. So it takes courage and determination to show vulnerability at my workplace. It’s a shift to know that vulnerability is strength. 

Ingrid and DTH artists in Balamouk; Ingrid's ballet shoes painted with Black Opal’s True Color Pore Perfecting Liquid Foundation in ebony brown to match her dark brown skin.
Left: DTH company in Balamouk; photography by Paula Lobo. Right: Ingrid spent 11 years painting her own shoes with Black Opal’s True Color Pore Perfecting Liquid Foundation in ebony brown to make them match her dark brown skin; photography courtesy of Ingrid Silva.

What’s something that gets in the way of your creativity, and how do you move through it?

Self-doubt is a huge problem, especially if I am learning something new and I am not sure how to approach it. The doubt can block my creativity. I move through it by being open, even when I am uncomfortable.

It’s often difficult to share ourselves and our work with the world, given the reflexive criticism and mean-spiritedness that we see in our culture — especially online. What strategies do you use to show up, let yourself be seen, share your work with the world, and deal with criticism?

Dealing with criticism is part of being a dancer, so I deal with criticism very well usually. I know people will always be judging me no matter what. So it’s their opinion, not yours. It’s great to know who you are no matter what.

DTH company artists (from left) Amanda Smith, Ingrid, and Alexandra Hutchinson in Le Corsaire
DTH company artists (from left) Amanda Smith, Ingrid, and Alexandra Hutchinson in Le Corsaire; photography by Theik Smith.

Describe a snapshot of a joyful moment in your life.

When I returned to the dance studio and the stage after having my daughter. I thought I would never dance again, and it was so rewarding to tour with my daughter and share this experience with her. 

Do you have a mantra, manifesto, or favorite quote for living and loving with your whole heart?

When you know who you are, you are free. 

That’s the quote I’ve been living by, especially now in this moment of my life, it’s important for me to believe in what I was put on this earth to do, I have purpose and I will fulfill it. 

What is your favorite word?

Love.

What is your least-favorite word?

Hate.

What sound or noise do you love?

Waves.

What sound or noise do you hate?

Car honk.

What is your favorite curse word?

Shit.

Portraits of Ingrid in a white tutu by Alex Logaiski
“It’s part of the dancer’s creative process to become vulnerable,” Ingrid says. “That’s how you are true to your art. It plays a huge role in my dance journey”; photography by Alex Logaiski.

Favorite show?

Workin Moms.

Favorite movie?

Black Panther: Wakanda Forever.

What are you grateful for today?

To be alive!

If you could have anything put on a T-shirt, what would it be?

“I was here, I lived, I loved, I was here
I did, I’ve done, everything that I wanted
And it was more than I thought it would be
I will leave my mark so everyone will know I was here.”

Collage of throwback photos from Ingrid's early days dancing

Scenes from Ingrid’s life as a dancer; photography courtesy of Ingrid Silva.

Favorite meal?

Feijoada and stroganoff.

A talent you wish you had?

I wish I could fly.

Favorite song/band?

“I Was Here,” by Beyoncé.

What’s on your nightstand?

My glass of water.

What’s something about you that would surprise us?

I love to do voice-over narration of stories.

Your six-word memoir . . .

A sapatilha que mudou meu mundo. The shoe that changed my world.

It’s part of the dancer’s creative process to become vulnerable. That’s how you are true to your art.

Portrait of Ingrid in a pink dress
Ingrid and DTH aspire to connect with and make ballet relevant to people across social, cultural, and economic boundaries; photography by Alex Logaiski.

By Laura Mayes

Laura Mayes is a senior director of creative and content at the Brené Brown Education and Research Group. She’s also an Emmy-winning writer and a co-founder of Mom 2.0. Over the past 25 years, she’s created, developed, and produced live events and programs, including industry conferences, brand events, media events, book and product launches, award shows, the curation of two national art exhibits, and numerous nationwide programs for women in media. She and her family reside in Austin, Texas.

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