People usually think of the Radio City Rockettes and imagine a perfect, uniform line of legs kicking in unison. It’s a precision dance team that feels like it’s been around forever—since 1925, actually. But for decades, that "perfection" was strictly white. It wasn’t until 1987 that the color barrier finally broke.
Her name was Jennifer Jones.
She wasn't just a dancer who happened to be Black; she was a pioneer who stepped into a spotlight that hadn't been built for her. Honestly, it’s wild to think that it took over sixty years for the "precision" to include a woman of color. You've probably heard of the Rockettes, but the grit it took for Jones to get there is a whole different story.
The Long Road to the First African American Rockette
Before 1987, the Rockettes operated under a pretty narrow definition of uniformity. The idea was that every dancer had to look identical so the audience wouldn't focus on any one individual. Russell Markert, the group's founder, famously wanted a "mirror image" effect. Unfortunately, in the mid-20th century, that was often used as a convenient excuse for segregation. They argued that a Black dancer would "distract" the eye from the line.
It was a tough pill to swallow for the dance community.
Then came the 80s. The world was changing, even if the institutions inside Radio City Music Hall were dragging their feet.
Jennifer Jones was a 20-year-old from New Jersey when she went to the audition. She wasn't some political activist trying to make a statement—she just wanted to dance. She grew up in a house where performance was life. She’d been training since she was a kid. When she showed up for the open call, she was one of about 500 women vying for just a handful of spots.
She didn't get in the first time.
Actually, she auditioned multiple times. Most people would have quit after the second or third "no," but Jones had this specific kind of resilience. She eventually landed a spot in the ensemble of the Radio City Music Hall Christmas Spectacular, but she wasn't a Rockette yet. There’s a distinction. The Rockettes are the elite unit; the ensemble is the supporting cast.
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In late 1987, one of the Rockettes went on leave. Because Jones was already in the building and already knew the routines, she was the natural choice. On December 30, 1987, she officially became the first African American Rockette.
It changed everything.
Beyond Just the Kick Line
Becoming the first African American Rockette wasn't just about high kicks and sequins. It was about handling the pressure of being "the one." Jones has talked in interviews about how she felt she couldn't afford to mess up. Not even a little. If she was out of sync, it wouldn't just be a dancer making a mistake—it would be used as "proof" that the line shouldn't have been integrated in the first place.
That’s a heavy burden for a twenty-something.
The costumes were another thing. The Rockettes are famous for their "flesh-toned" tights and shoes. For decades, "flesh-toned" meant one specific shade of peach or beige. When Jones joined, the wardrobe department had to figure it out. They had to dye her shoes and tights to actually match her skin. It seems like a small detail, but it’s a massive symbol of how the industry wasn't prepared for her.
She was literally rewriting the rulebook on the fly.
Why the Delay Happened (The Uncomfortable Truth)
You might wonder why it took until 1987. Why not the 60s or 70s?
The management at the time often cited "aesthetic consistency." It sounds like a technical term, but it was basically a gatekeeping mechanism. They claimed that because the Rockettes were a "unit," any variation in skin tone would ruin the illusion. It’s a logic that feels incredibly dated now, but it was the standard defense for decades.
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Public pressure eventually mounted. By the mid-80s, New York City officials and civil rights groups were looking at Radio City's hiring practices. They were basically told: "Diversify or lose your status as a cultural landmark."
Jones was the right person at the right time. She had the height (you have to be between 5'6" and 5'10" and a half), the technique (tap, jazz, and ballet are non-negotiable), and the mental toughness.
The Legacy After Jennifer Jones
Once the door was open, it didn't just swing wide immediately. It took time.
After Jones, others followed. Darlene Wilson and several others began to fill the ranks. Today, the Rockettes are significantly more diverse, featuring women of various ethnic backgrounds. They’ve even moved away from the "exact clone" look to embrace a more modern version of uniformity that allows for different skin tones and hair textures.
But Jones remains the blueprint.
She eventually moved on from the Rockettes, performing in Broadway shows like 42nd Street. She even won a Tony Award as part of the cast of Guys and Dolls. Her career is a testament to the fact that she was a world-class athlete and artist, not just a "diversity hire."
Common Misconceptions About the Rockettes and Race
A lot of people think Misty Copeland was the first Black Rockette because she’s such a huge name in dance. Nope. Misty is a legend in ballet (the first Black female principal dancer at American Ballet Theatre), but Jones owns the Rockette title.
Another mistake? Thinking it was easy once she got in.
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Jones has been vocal about the fact that while her fellow dancers were mostly supportive, the external world was a mixed bag. She received fan mail, sure, but she also faced the silent "policing" of her performance. Every move had to be sharper. Every smile had to be brighter.
What This Means for Dancers Today
If you're a dancer looking to follow in those footsteps, the landscape is different but the standards are just as high. The Rockettes are arguably the most disciplined dance troupe in the world. They do up to four shows a day during the holiday season. It is a grueling, athletic marathon.
The barrier Jennifer Jones broke wasn't just about race; it was about the definition of what a "classic" American icon looks like.
Moving Forward: Actionable Insights for Aspiring Performers
If you’re looking to break into high-level precision dance or just want to honor this history, here’s what the journey of the first African American Rockette teaches us:
Master multiple disciplines. Jones wasn't just a "kicker." She was a trained tapper and jazz dancer. You can't survive the Radio City auditions without a diverse technical background.
Resilience is a skill. Auditioning multiple times is the norm, not the exception. Jones’s success came from showing up when others would have felt defeated.
Precision requires more than talent. It requires an ego-less approach to dance. You have to be able to blend in while still maintaining your individual strength.
Understand the history. Knowing that the shoes you wear were once only made in one color helps you appreciate the progress made. It gives your performance depth.
Jennifer Jones proved that the "perfect line" doesn't have to be a monotone one. She showed that the power of the Rockettes isn't in everyone looking the same, but in everyone moving with the same heart and soul. She didn't just join a tradition; she fixed it.
To truly honor this legacy, support organizations that provide dance scholarships to underrepresented communities. Look into the Rockettes' own "conservatory" programs which now actively seek to diversify the next generation of dancers. The line is still kicking, and it’s finally starting to look like the rest of the world.