Diana Ramos, dancer and choreographer

I knew Diana Ramos when I lived in Northampton, Massachusetts.

Daily Hampshire Gazette
September 22, 1981

Sweet Honey gives rousing show
By Barbara Stack

"Much traditional and modern black music is responsive, interactive among singers, between singers and well-wishers. Sunday's audience clapped in rhythm, joined in chorus, applauded heartily, and rose in dance or ovation, but when Yasmeen Williams sang, 'Lord Keep Me Day by Day,' it was a handful of black congregants who offered her their help, 'yes, sister.' She sang, 'Won't you keep my body strong,' and they responded, 'Tell it sister' and 'Yes, Lord.' But their voices were few and did not spread and perhaps the singer never felt their support."

BTS NOTE: Diana was among that small group of black congregants.


New York Times
APRIL 3, 1995

DANCE REVIEW; An Ailey Ensemble Pays Tribute to Its Leader
By ANNA KISSELGOFF

"Mr. Boseman's precision and theatrical presence made something sharp out of "Hex," the powerful study in disintegration that Eleo Pomare choreographed for Diana Ramos in 1966 to Harry Partch's percussion. Mr. Boseman is the first man to dance the role."


New York Times
JULY 25, 1972

Soul Festival:
By ANNA KISSELGOFF

"Dance came into its own at “Soul at the Center” last night at Alice Tully Hall with Diana Ramos and George Faison, black choreographers who have something to say and who say it very well.

Both were once members of two other troupes: Miss Ramos was the leading female dancer in the Eleo Pomare Dance Company, and Mr. Faison will be remembered for his work in the Alvin Ailey American Dance Theater.

In the best modern dance tradition, each has broken with a mentor to strike out on his and her own. Miss Ramos tends to do solo work, while Mr. Faison has put together an impressive and vibrant 11‐member company. Both choreographers shared the first half of the festival program at Tully Hall, with Bobby Womack in the second part.

Miss Ramos is not out to entertain. She deals with the black woman's status with intensity and emotion. Pain is her subject, and her forthright approach is often shattering, certainly admirable. Her solo in tribute to Kathleen Cleaver, “Kathleen II,” goes beyond politics and its original inspiration (an article by Mrs. Cleaver in Ramparts magazine, describing as “torture” a period in Eldridge Cleavers's life when he was awaiting reimprisonment).

Like “Hex,” a solo on the same program that was choreographed for Miss Ramos by Mr. Pomare, “Kathleen II” is static, anguished and tremendously concentrated. With a minimum of movement, Miss Ramos expresses a great deal. Using a cot‐table as a prop, with fingers splayed, legs flailing, arms reaching up, or body bent over, she ranged from despair to defiance, with no holds barred."