Alvin Ailey® American Dance Theater

18 Pages·2017·3.12 MB·English

2018
Alvin Ailey® American Dance Theater
Friday, March 2, 2018
11:00 AM – 12:00 PM
Chrysler Hall, Norfolk
What’s Inside
Alvin Ailey® American Dance Theater 2
Who Was Alvin Ailey? 3-4
What Is Modern Dance? 5
More Movers in Modern Dance 6-7
Cakewalk to Moonwalk 8-9
Ailey’s Masterpiece: Revelations 10-11
The Music of Revelations: Spirituals 12-13
Modern Dance Movement Glossary 14
Got Rhythm? 15
Resources 16

Education Sponsors
Generous support has been received from 2019 Commemoration, American EvolutionTM; Bank of America; Batten Educational Achievement Fund of the Hampton
Roads Community Foundation; D. Baker Ames Charitable Foundation; Capital Group Companies; Clark Nexsen; Dominion Energy; Enterprise Holdings Foundation;
Friedrich Ludwig Diehn Fund of the Hampton Roads Community Foundation; Nordstrom; PRA Group; Ruth Brown Memorial Foundation; Sandler Center Foundation;
SunTrust; Tidewater Children’s Foundation; USAA; Virginia Commission for the Arts; Virginia Lottery; Wells Fargo; and the following cities and counties and/or their
Arts and Humanities Commissions: Chesapeake, James City County, Newport News, Norfolk, Portsmouth, Virginia Beach, and Williamsburg.
Alvin Ailey® American Dance Theater
Alvin Ailey® American Dance Theater. Photo by Andrew Eccles.
Alvin Ailey® American Dance Theater grew from a Today, Alvin Ailey® American Dance Theater has
now legendary performance in March 1958 at the performed for an estimated 25 million people in
92nd Street Young Men's Hebrew Association in 48 states and in 71 countries on 6 continents,
New York. Led by Alvin Ailey and a group of young plus millions more online and through television
African American modern dancers, that performance broadcasts. The company has earned a reputation
forever changed the perception of American dance. as one of the most acclaimed international
Ailey's choreography was a dynamic and vibrant ambassadors of American culture, promoting
mix that grew from his previous training in ballet, the uniqueness of the African American cultural
modern dance, jazz, and African dance techniques. experience and the preservation and enrichment of
Ailey insisted upon a complete theatrical experience, the American modern dance heritage.
including costumes, lighting, and makeup. A work of
intense emotional appeal expressing the pain and
anger of African Americans, Blues Suite, was an
instant success and defined Ailey's style.
Source: Adapted from www.alvinailey.org
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Who Was Alvin Ailey?
When Horton died in 1953, Alvin took over
the company and began choreographing.
Choreography is the art of creating dances by
arranging dancers’ movements, steps, and patterns.
Broadway producers in New York City heard of the
talented young dancer and choreographer. They
invited Alvin to appear in their musicals, like House
of Flowers, written by author Truman Capote and
starring popular African American singer Pearl Bailey
(who grew up in Newport News). While dancing
in New York, Alvin also trained with other modern
dance giants, like Martha Graham and Doris
Humphrey.
It was a time of great creativity in the dance world,
but black dancers were still being discriminated
against. They weren’t allowed to join established
dance companies. Alvin decided to put together
his own group of dancers—what would eventually
become the Alvin Ailey® American Dance Theater.
I believe that dance came from the people They made their debut in 1958. The company’s
and that it should always be delivered back fame grew with every remarkable performance.
to the people. Before long, Alvin’s dancers were touring nonstop,
—Alvin Ailey bringing their eclectic performances to stages around
the world. Alvin was proud that his company was
multiracial. While he wanted to give opportunities
Alvin Ailey was born in Rogers, Texas, on January to black dancers, he also wanted to rise above
5, 1931. Times were hard in segregated Texas. issues of racial identity. His company has always
Alvin’s mother made ends meet by picking cotton employed artists based solely on artistic talent
and doing housework in white people’s homes. Alvin and integrity, regardless of their race. When Alvin
found inspiration at their Texas church; he loved the created dances, he drew upon his "blood memories"
exciting gospel music and theatrical worship. He of Texas for inspiration, which included music like
also enjoyed the music of local dance halls where the blues, spirituals, and gospel. That inspiration
adults socialized. Alvin’s mother wanted a better resulted in his most popular and critically acclaimed
life for her son and herself. So in 1941, the two work, Revelations, which premiered in 1960. The
moved to Los Angeles, California. There, Alvin was piece became a cultural treasure through its powerful
introduced to dance. He saw the Caribbean- and storytelling and soul-stirring music, evoking timeless
African-influenced performances of the Katherine themes of determination and hope.
Dunham Dance Company and the classical ballet
of the Ballet Russe de Monte Carlo. Intrigued by this Blues music was important to Alvin, and he
self-expression through movement, he began visiting frequently incorporated it into his choreography.
the studio of noted dance teacher Lester Horton. Blues is a style of music that originated in African
Soon he was dancing with Lester Horton’s modern American communities, primarily in the Deep South,
dance company, the first multiracial dance troupe in at the end of the nineteenth century. Blues influences
America. include spirituals; work songs; field hollers, shouts,
and chants; and rhymed storytelling ballads.

3
Who Was Alvin Ailey?
Alvin Ailey was unique in that he did not train What Do You Think?
his dancers in a specific technique before they (Grades 2-12)
performed his choreography. He approached his
dancers more in the manner of a jazz musician, Alvin Ailey didn’t create a specific dance technique.
requiring them to infuse his choreography with a Rather, he blended elements of modern dance,
personal style that best suited their individual talents. ballet, jazz, hip-hop, and other styles. His dancers
Ailey's dancers came to his company with training in reflect this dance diversity in their varied training and
a variety of other styles, from ballet to modern, jazz, talents. What do you think might be the strengths of
and, later, hip-hop. this approach? The weaknesses? How do you think
the dancers’ different backgrounds might affect the
Although Alvin created 79 pieces before his death performance? Write down your thoughts or discuss
in 1989, he maintained that his company was not them in class.
exclusively a storehouse for his own work. Today,
the company continues Alvin’s mission by presenting
important works of the past and commissioning new
ones. In all, more than 235 works by more than
90 choreographers are part of the Alvin Ailey®
American Dance Theater repertoire. Source: Adapted from www.alvinailey.org
Revelations. Photo by Gert Krautbauer.
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What Is Modern Dance?
Modern dance is a style of theatrical dance that
developed in the United States and Europe in the
late nineteenth and early twentieth centuries. It grew
as a few pioneering dancers began to use dance
as a form of personal expression. Their works often
emphasized emotion and took on contemporary,
or modern, subjects. This type of dancing was very
different from classical ballet, which came from
the courts of European royalty and often told fairy-
tale stories of princesses, princes, and enchanted
creatures.
Though modern dance frequently uses movements
found in ballet, each of the modern dance
trailblazers created his or her own movement
vocabulary. Some drew from folk or ethnic dancing
of other cultures, or religious dance traditions. Others
explored how dancers can work with and against
gravity, or how body movements can represent
musical rhythms.
In contrast to the formal steps, costumes, and shoes
of ballet, modern dance pioneers preferred a freer
style of dancing. Modern dancers often create their
Alvin Ailey® American Dance Theater's Akua Noni Parker and
own steps and choreography by interpreting their Jamar Roberts. Photo by Andrew Eccles.
moods and feelings into movement. Modern dancers
regularly perform in bare feet and costumes that What Do You Think?
don’t constrict or mask the body. (Grades 5-12)
For centuries, ballet was the dominant form of
As each new generation of modern dance has
theatrical dance. Classical ballet typically told
inspired another, the genre has been redefined.
fanciful, fairy-tale stories using traditional dance
Though it clearly isn’t ballet, it often uses balletic
technique, footwear, and costumes. Why would
movements. And though it may include elements
modern times require a new, modern approach
of other dance forms, it can also examine just one
to theatrical dance? Write down your thoughts or
simple aspect of movement, such as the body’s fall
discuss them in class.
through space or the contraction of the torso.
Today, modern dance continues to grow and What Can You Do?
(Grades 2-12)
develop as new choreographers add their unique
contributions to the field. In modern dance, movement is used to express
emotion, mood, or feeling. What movements might
you make when you’re feeling happy? Sad? Angry?
Surprised? Can you choreograph—or create—a
short sequence using that mood’s movements? See
if your classmates can guess what emotion you’re
expressing.
Source: Adapted from Encyclopaedia Britannica.
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More Movers in Modern Dance
Martha Graham - photo
by Nickolas Muray Merce Cunningham - courtesy
Cunningham Dance Foundation
Isadora Duncan
Ruth St. Denis
Paul Taylor - photo by
Twyla Tharp Katherine Dunham -
Carl Van Vechten
Martin Beck Theatre
1850
Isadora Duncan Ruth St. Denis Martha Graham
(1877-1927) (1879-1968) (1894-1991)
Duncan rejected ballet’s structure for Inspired by Asian dance styles, Graham’s emphasis on muscular
more natural, expressive movement. St. Denis believed dance should contraction and release and
Duncan found inspiration in Greek be spiritual, not just entertaining jagged, angular body positions
mythology; she danced barefoot or technically skillful. With her became central to modern dance
and in a Greek tunic. husband, Ted Shawn, she founded technique. Graham was the first
the Denishawn company, which modern dance choreographer to
trained other important modern collaborate with modern artists in
dance pioneers like Martha other genres, such as sculpture, to
Graham and Doris Humphrey. create works that express human
emotion.
1900
Doris Humphrey Lester Horton Erick Hawkins
(1895-1958) (1906-1953) (1909-1994)
Humphrey made dramatic use of Horton learned dances and chants Hawkins was the first man to dance
gravity, creating a technique based from Native American performers. with Martha Graham’s company,
on a dancer’s motions of fall and These he incorporated into his after an esteemed ballet career. He
recovery. She was interested in the teaching and choreographic style, founded the Erick Hawkins Dance
idea that movement creates its own which emphasized improvisation Company to explore his theory of
meaning. and unusual, exaggerated body movement that focused on
movements. Horton formed the first simple, natural, unforced motions.
racially integrated American dance
company, which included Alvin
Ailey.
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More Movers in Modern Dance
Katherine Dunham Merce Cunningham Paul Taylor
(1909-2006) (1919-2009) (1930-)
One of the first African American Cunningham danced with Martha Taylor went to college on a
women to attend the University Graham’s company before swimming scholarship, but soon
of Chicago, Dunham earned a forming his own, in which he often discovered dance, which became
doctoral degree in anthropology collaborated with avant-garde his passion. He founded his
before launching her dance career. composer John Cage. Cunningham own company to explore his
Her influential technique blended created “chance” choreography, choreographic ideas that blend
African and Caribbean dance where dancers study movement basic, everyday movements with
forms. combinations without music, then more traditional technique.
learn how the combinations should
be put together just before the
performance.
Trisha Brown Garth Fagan Twyla Tharp
(1936-) (1940-) (1941-)
Brown uses a geometric yet fluid Jamaican-born Fagan studied with A student of Merce Cunningham
style for her experimental pieces. Martha Graham and Alvin Ailey. and former member of Paul Taylor’s
Her early works used equipment like His inventive choreography blends company, Tharp is known for her
harnesses to support the dancers; Afro-Caribbean, ballet, and social creative, witty, technically precise
were site-specific, with dancers dance. style. She blends different movement
performing on rooftops; or included forms—such as ballet, boxing, and
media like film and photography. more—to expand the boundaries of
modern dance.
1950
Mark Morris What Do You Think?
(1956-) (Grades 5-12)
Once known as the “bad boy of
Modern dance continues to evolve as young choreographers learn from
modern dance” for his outrageous
their mentors, then expand on what they’ve learned to create their own
humor and more creative pieces,
signature style. View videos of works by both a modern dance teacher
Morris is now considered one
and student, like Ruth St. Denis and Martha Graham, Lester Horton and
of the world’s leading modern
Alvin Ailey, and Martha Graham and Merce Cunningham. How are
dance choreographers. His works
the dances similar? How are they different? What did the student learn
showcase his strong musicality and
from the teacher? How did the student expand on what was learned
technical ingenuity.
from the teacher? Write down your ideas in an essay, capture them in a
chart, or present them orally in class.
7
Cakewalk to Moonwalk
A History of African American Dance connected to their homeland and gave them hope
From the era of slavery to 1920s Harlem to the for the future.
Bronx streets of the ’80s, African Americans have
developed and defined dance styles through the Many plantation owners in North America, however,
ages, forms that have been embraced the world didn’t allow slaves to dance. The slaves worked
over. Popular social dances like the Charleston, Lindy around that. Since lifting the feet was considered
Hop, Jitterbug, and Twist all have roots in African dancing to slave owners, slaves developed different
American dance traditions. movements, like shuffling the feet—an early form of
tap dancing—and movement of the hip and torso.
Before enslavement, Africans used dance as a Plantation dances included the Ring Shout, where
celebration and affirmation of life. They danced dancers move in a circle to handclaps or the beat
for special occasions, like a wedding or birth, and of a stick on a wooden surface. A stick was used
as part of their everyday activities. Starting in the because slaves were forbidden to have drums.
1500s, Africans were brought to North and South
America and the Caribbean islands as slave labor, Plantation dances moved to the stage with the
and their dance traditions came with them. In the minstrel shows of the 1800s, which included skits,
Americas, dance helped enslaved Africans feel music, and dancing performed by black men
The Old Plantation (anonymous folk painting). Depicts African-American slaves dancing to banjo and percussion
8
Cakewalk to Moonwalk
The Jackson 5 performing on the television program Soul Train - Billboard magazine
and white men in “blackface.” Using burnt cork, dancers and choreographers—Katherine Dunham,
greasepaint, or shoe polish, the white performers Lester Horton, Alvin Ailey, Garth Fagan—went on
would blacken their faces. The performers would to start their own modern dance companies, while
sing, dance, or act in ways that borrowed from or others rose to prominence in other dance forms.
made fun of the culture of slaves and other people of
African descent. In 1960, African American rock and roll singer
Chubby Checker popularized the Twist with his hit
In 1891, The Creole Show, an all-black musical single of the same name. The ’70s television show
revue, toured the country and introduced the Soul Train brought black dance moves into living
Cakewalk to white America. This couples dance, rooms across America. During the 1980s, break
which came from plantation culture, featured highly dancing emerged as part of the hip-hop culture
exaggerated movements and became very popular; that began in the Bronx borough of New York City.
the best dancers would win a cake. By the 1900s, Michael Jackson popularized the Moonwalk, part of
minstrelsy was in decline due to changing attitudes the “electric boogie” dance movement vocabulary.
about race and the rise of vaudeville entertainment.
Vaudeville expanded the minstrel show by adding Today, black performers dance in or lead companies
acrobats, magicians, and other theatrical performers in a wide variety of dance forms. In 2015, ballerina
to a single stage. Tap dancing, a mainstay of the Misty Copeland made history by becoming the first
minstrel show, took the spotlight during the age of African American female principal dancer with the
vaudeville. prestigious American Ballet Theatre.
The Harlem Renaissance of the 1920s saw an What Do You Think?
explosion of African American literature, music, (Grades 5-12)
theater, and dance. In jazz venues like the Cotton
Choose an African American dance form and
Club and Savoy Ballroom, black dancers showcased
research both the dance and the time period it came
new styles of couples dancing like the Charleston,
from. Why was the dance popular? Did the dance
Lindy Hop, and Jitterbug.
have particular meaning to people of that era? How
did the dance reflect or record the history or culture
During the 1930s and ’40s, African Americans
of the time? Present your research to the class. View
moved into ballet and modern dance. White
videos of the dance and try to learn it yourself. Can
choreographers began incorporating African
you teach it to your classmates?
American themes and dance styles into their work
and hired black dancers to perform them. Black
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Ailey’s Masterpiece: Revelations
Alvin Ailey's Revelations. Photo by Andrew Eccles.
Alvin Ailey created 79 ballets over his lifetime, American musical styles, like blues and gospel, and
but his most celebrated piece is Revelations, first “tried to put all of that feeling”—faith, hope, joy,
performed in 1960. It’s estimated that more than sometimes sadness—into Revelations.
23 million people in 71 countries have seen Ailey’s
signature masterpiece—more than any other modern Ailey divided Revelations into three sections, each
dance work. including several dances representing different
aspects of African American faith and persistence.
To create Revelations, Ailey tapped into what he “Pilgrim of Sorrow,” the first section of the work,
called "blood memories" of his childhood in rural, “was about trying to get up out of the ground.” “Take
segregated Texas, recollections so powerful he Me to the Water,” the second section, depicts a
felt they were as much a part of him as the blood baptism or purification rite at a river’s edge. “Move,
running through his veins. He started with the Members, Move,” the third section, brings the church
music. As a boy, Ailey was enthralled by the music to life, depicting “the holy rollers, and all that church
played in and around the tiny churches he and his happiness.” Along with dance movement and music,
mother attended every Sunday. It was “some of the Ailey carefully thought through other elements of a
most glorious singing to be heard anywhere in the theatrical production—like costumes, lighting, and
world,” he recalled. The choirs, congregations, and props—as he created Revelations. Each section has
preachers would sing spirituals “with such fervor its own specific look and feel.
that even as a small child I could not only hear it but
almost see it.” He added other traditional African
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