From that point onwards Guy developed a lifelong relationship with modern dance world, especially in the African- American context.
Guy’s parents lived a meager existence but still encouraged their only child’s interest in dance, funding her training to the best of their ability.
[1] With few options available in concert dance for people of her race, Guy auditioned as a chorus girl but was never cast in any roles because she was too dark.
[1] Guy wrote of her earlier experience at Denishawn in a letter to St.Denis: “The future holds much brightness for me—I smile, I learn, I dance and wait—and I’m happy”.
She struggled with depression which disrupted her desire to start her own company, but by March 1931 she was performing with the New Negro Art Theatre as a featured artist alongside Winfield.
[1] Soon after, in April 1931 she co-directed the “First Negro Dance Recital In America” with Winfield during which she performed the piece A Figure From Angkor Wat.
[1] In May of the same year she put on a concert at Harlem’s 138th Street Young Women’s Christian Association (YWCA) in which her choreography was followed by St. Denis’ lecture entitled Dance as An Art.
[1] Guy also received mention in the August 1931 issue of Dance Magazine, announcing that she was to feature in an upcoming staging of Oscar Wilde’s Salome with the Sierra Leonean-born Asadata Dafora.
[1] On May 7, 1932 Guy staged a concert at Roerich hall in a program organized by the Washington Conservatory of Music and School of Expressionism.
[6] In the third part of the program, dubbed United States, the piece Shout was performed by Guy and Burroughs with Clarence Yates, Archie Savage, Leonard Barros.
[1] In that same year Guy organized “Dance International” which took place at Rockefeller Center and featured performances of about forty groups.