Rise in Harlem’s Jazz Scene

​

Benskina began dancing in the nightclubs of Harlem, including famed venues like the Cotton Club and the Apollo Theater, where she honed a style that was as captivating as it was unique. Influenced by both African-American and Afro-Caribbean movements, her dance seamlessly blended jazz with Afro-Cuban rhythms, captivating audiences with her interpretations of rumba, mambo, and other Latin forms. By the early 1930s, Benskina was dancing with icons like Lena Horne and performing with luminaries like Louis Armstrong. Her style was characterized by the “Cuban shake,” a dance that incorporated African, Afro-Caribbean, and Latin American influences into a rhythmic celebration of diaspora culture (Lapidus, 2020, pp. 162-164). These early performances established her reputation as a leading figure in Harlem’s vibrant entertainment scene and highlighted the adaptability of her identity, which she would continue to shift to reflect her Afro-Cuban, Panamanian, and Caribbean heritage.

In 1934, Benskina danced in *Dance with Your Gods*, a groundbreaking Broadway production that celebrated African-inspired dance. Her contributions to this production reflected the broader cultural movement in Harlem that celebrated African roots and sought to challenge racial and ethnic stereotypes (National Museum of African American History and Culture, 2022).

 

​

​

​

World’s Fair and Cultural Identity

Benskina’s performance at the 1939 New York World’s Fair further propelled her fame, and her association with Cuban dancer Pedro, known as “Cuban Pete,” became legendary. Together, they performed "jungle dances" and Afro-Cuban routines that celebrated Afro-Latin culture while also exoticizing it for mainstream audiences, reflective of the time's complicated racial and cultural perceptions. Reviews often noted her “svelte shape, artistry, [and] smooth brown skin,” qualities that were both a source of her allure and a testament to the exoticization faced by Afro-Caribbean performers (Lapidus, 2020, p. 162). Through this performance, she introduced audiences to the richness of Afro-Caribbean dance and music, bridging American jazz with Latin American rhythms and demonstrating the diverse roots of these musical traditions.

Benskina’s Afro-Cuban identity was as fluid as her movements. She shifted between identities to suit the audience and cultural context, sometimes presenting herself as Afro-Caribbean, other times as Cuban or Panamanian. This adaptability enabled her to build a wide appeal within Harlem's diasporic performance circuits, positioning her as a cultural ambassador who connected African-American, Afro-Latin, and Caribbean traditions (Lapidus, 2020, pp. 163-164). Through her performances, Benskina also exposed audiences to African diasporic dance forms, challenging perceptions and showcasing the diversity of Black heritage.

 

Collaboration with Asadata Dafora and African Academy of Arts

In the 1940s, Benskina joined forces with African dancer and choreographer Asadata Dafora, whose African Academy of Arts and Research in Harlem promoted African dance as a form of education and empowerment. Benskina’s collaboration with Dafora marked a pivotal period in her career, as she performed in his productions alongside influential artists like Paul Robeson and Katherine Dunham. Through her work with Dafora, Benskina became a champion for African arts, dancing in productions that emphasized the unity of African, Afro-Caribbean, and African-American communities (Lapidus, 2020, pp. 163-164).

This period of her life reinforced Benskina’s commitment to preserving and celebrating African cultural traditions within the American cultural landscape. Her performances were not just entertainment; they were educational acts that introduced American audiences to African cultural heritage, helping to break down racial and cultural barriers.

 

Transition to Managerial Role and Jazz Collaboration with Les Jazz Modes

In the 1950s, Benskina transitioned from dancing to a managerial role, forming a jazz group with musicians Charlie Rouse and Julius Watkins. The group, known as Les Jazz Modes, incorporated Benskina’s Afro-Latin influence into their music, creating a distinctive sound that fused jazz and Latin rhythms. Benskina’s managerial skills were instrumental in shaping the band’s identity, even suggesting the name “Les Jazz Modes” to convey a sense of sophistication and mood that set the group apart in the jazz scene (Smith, 2005, pp. 45-47).

Benskina also co-wrote pieces for the group, including “Un Dia” on Rouse’s *Bossa Nova Bacchanal*, a track that showcased the convergence of Afro-Latin rhythms and modern jazz. Her contributions to Les Jazz Modes represented her vision of jazz as a universal language capable of bridging cultural divides. Her work with the band highlighted her evolution from performer to behind-the-scenes innovator, advancing Latin jazz and helping to define the genre for a new generation of artists and audiences.

 

Personal Spirituality and Community Work

Benskina’s work extended beyond the stage. A deeply spiritual woman, she became a practitioner of West African divination in the 1950s and was ordained into the Spiritual Healers Fellowship. She opened a *botánica* in Harlem, where she offered spiritual guidance and sold religious items, becoming a trusted figure within Harlem’s Afro-Latin and African-American spiritual communities (Kelley, 2014, p. 251). Her *botánica* not only served as a place of healing but also as a gathering point for community members seeking connection and cultural preservation.

Benskina’s spirituality was reflected in her role as a counselor to artists in Harlem, including jazz saxophonist Charlie Rouse, whom she helped through his struggles with addiction. Her spiritual guidance extended beyond individual support; she aimed to uplift her community by blending cultural traditions with healing practices. Benskina’s dedication to her community underscored her belief in the power of spirituality and cultural heritage to foster resilience and transformation.

 

Later Life and Literary Pursuits

In her later years, Benskina turned to writing, publishing several volumes of poetry that explored themes of identity, resilience, and the African diasporic experience. Her poetry collections, *I Have Loved You Already*, *I Thank You Father*, and *No Longer Defeated and Other Poems*, reflect her life’s journey and the complex intersections of race, culture, and womanhood. Her writing provided an outlet for reflection, allowing her to capture her experiences as an Afro-Caribbean woman navigating a racially divided America (Kelley, 2014, p. 251).

In 1983, at the age of 72, Benskina graduated with a degree in African Studies from Queens College, where she studied alongside her daughter, Pearl Quintyne, who majored in sociology (National Museum of African American History and Culture, 2022). This academic achievement was a testament to her lifelong commitment to cultural education and preservation, embodying her desire to pass down her knowledge to future generations. Her degree symbolized her dedication to learning and her ongoing quest to honor and celebrate African heritage.

 

Legacy and Honors

In recognition of her contributions to American culture, Benskina received the American Heritage Award from the JFK Library for Minorities in 1972. This award honored her role in shaping Afro-Cuban dance, jazz, and African diasporic cultural heritage in the United States. Her legacy is reflected not only in her performances but also in her advocacy for cultural unity and her dedication to social change through the arts.

Princess Orelia Benskina’s impact on Latin jazz, Afro-Cuban dance, and Harlem’s spiritual community remains profound. Her legacy lives on through the artists she influenced, the audiences she educated, and the communities she supported. Benskina stands as a pioneer who bridged cultural divides, connecting Afro-Latin and African-American traditions with American jazz, and inspiring generations of artists with her vision of music as a force for connection and healing.