Alvin Ailey American Dance Theater: Mini Performance

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Cuesheet

Alvin Ailey American Dance Theater Mini-Performance

“I didn’t want all the same bodies, or all the same color, in my company.” —Alvin Ailey

Linda Celeste Sims and Glenn Allen Sims in Alvin Ailey’s Revelations. Photo by Andrew Eccles

Robert Battle Artistic Director Masazumi Chaya Associate Artistic Director

Kirven Douthit-Boyd, Alicia Graf Mack, and Demetia Hopkins Greene in Alvin Ailey’s Revelations. Photo BY GERT KRAUTBAUER

In “Take Me to the Water,” the white parasol held by the dancer suggests relief from the hot sun. The dancer must concentrate to keep the parasol upright, even as she performs difficult movements.

Who was Alvin Ailey?

Ailey’s Signature Style

Alvin Ailey was born in 1931 in a small town in Texas. When he was 12, he moved to Los Angeles. He took dance classes from Lester Horton, a teacher and choreographer who established the first multi-racial dance school in the United States.

Ailey accepted dancers into his company who were trained in different styles, including ballet, modern, and jazz. He encouraged their individual strengths and differences in style, bringing them together in performance. Watch for common elements in his choreography:

Ailey’s experiences as a black man growing up during segregation greatly influenced his career. He wanted to express the African American struggle for freedom and opportunity, as well as give black dancers more chances to perform. To achieve these goals, Ailey began his dance company in 1958. His masterwork, Revelations, was choreographed in 1960 when he was only 29 years old.

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Straight lines in the lower body, with quick and sharp leg and foot movements, as in ballet

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expressive upper body with fluid arms and torso movements, as in modern dance

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dancing that emphasizes

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hands

fusion of African-influenced movements with ballet and modern dance.

A Modern Dance Seen by Millions

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Revelations (1960) Music: Traditional African American Spirituals One of the dances you will see at this performance is Revelations, Ailey’s signature work. Revelations has been seen by more people than any other modern dance work. More than 25 million audience members in 71 countries have been to a performance.

Revelations is based on Ailey’s early years worshipping at his Baptist church.

He described the memories that inspired Revelations as “blood memories” because they were so strong he felt they were part of him as much as the blood that ran through his veins.

Alvin Ailey American Dance Theater in Alvin Ailey’s Revelations. Photo by Gert Krautbauer

The three sections of the work are performed to spirituals, or songs that were developed among African Americans during slavery. The music is an expression of faith and emphasizes the importance of faith in sustaining people during difficult times.

Watch how the women’s movements suggest gossiping conversations and the excitement of a church service.

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“Pilgrim of Sorrow” speaks of people yearning for salvation but burdened by the troubles of this life. Look for arms reaching upward toward heaven, and bodies pulled back to earth with heavy, bowed heads.

“Take Me to the Water” is an enactment of Ailey’s own baptism that took place in a pond behind his church.

Watch for the devotional leader in white holding a large white umbrella.

She leads a young couple to the baptismal river of billowing blue silk.

“Move, Members, Move” begins with a trio for three men to the song “Sinner Man.” The next section shows a congregation, decked out in yellow, participating in a joyous church service. Watch how Ailey brings humor to the work by showing churchgoers who gossip and others who fan themselves in the heat.

Check out the other dance pieces you will see the company perform at KC Connections: http://artsedge.kennedy-center.org/ students/kc-connections

Dance as Theater There is good reason why Alvin Ailey called his company “a dance theater.” Ailey was interested in how elements of theater—costumes, props, lighting, and music—could be combined with dance to communicate with an audience.

Costumes: Colors Have Meanings Notice how the color scheme for the costumes is different in each section, first earth-toned, then white, and finally yellow. Why do you think he chose these colors?

Props Tell a Story In Revelations, the dancers use props to help bring Ailey’s childhood memories to life. Watch for: n

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Long sheets of blue fabric stretched across the stage to suggest water A white parasol, wide-brimmed hats, and fans to imply the heat of Texas summers

David M. Rubenstein Chairman Deborah F. Rutter President Mario R. Rossero Vice President, Education This mini-performance is made possible

by Mr. James V. Kimsey; The Morris and Gwendolyn Cafritz Foundation; and the U.S. Department of Education.

Major support for educational programs at the Kennedy Center is provided by David and Alice Rubenstein through the Rubenstein Arts Access Program.

Kennedy Center education and related artistic programming is made possible through the generosity of the National Committee for the Performing Arts and the President’s Advisory Committee on the Arts.

Stools used by the dancers to represent a seated church congregation

How Lighting Creates Mood Revelations begins with a group of dancers standing under a single spotlight on a darkened stage. Later, the dancers move across a fully illuminated stage.

Why do you think the lighting changes?

Moving to Music Listen for the lines from these African-American spirituals: “There is trouble all over this world,” “wade in the water,” and “sinner man, where you gonna run to?” Watch how the dancers’ movements relate to the music.

Wait! There’s More!

Can’t get enough Revelations? Find videos and other multimedia resources on ARTSEDGE: http://artsedge.kennedy-center.org/students/ features/master-work/ailey-revelations

www.kennedy-center.org/artsedge Cuesheets are produced by ARTSEDGE, an education program of the Kennedy Center.

Learn more about Education at the Kennedy Center at www.kennedy-center.org/education The contents of this Cuesheet have been developed under a grant from the U.S. Department of Education and do not necessarily represent the policy of the U.S. Department of Education. You should not assume endorsement by the Federal Government. © 2016 The John F. Kennedy Center for the Performing Arts