Alvin Ailey American Dance Theatre Flashcards
1
Q
Alvin Ailey dates:
A
1931-1989
2
Q
About Alvin Ailey:
A
- american choreographer who founded the AAADT in New York
- made modern dance popular and revolutionised African American participation in 20th century dance
- lived during the Great Depression
- racial segregation, lynchings and violence against African Americans
- when he was 5 his mother was raped by a group of white men, left him afraid of whites
- the church played a vital role in his upbringing, strong sense of community, services were uplifting and joyful instilling a sense of black pride and community cohesion
- he would later refer to his childhood experiences as his ‘blood memories’ which became prominent features of his work, particularly Revelations
- in High School he got involved in singing spirituals, writing poetry, attending the theatre and studying languages
3
Q
Quote about dance for the people:
A
“Dance is for everybody. I believe that dance came from the people and that it should always be delivered back to the people.”
4
Q
Alvin Ailey’s career, influences:
A
- introduced by Katherine Dunham Dance Company and Ballet Russe performances
- when he was 18 he friend took him to a Lester Horton studio and his formal training began
- Lester Horton gave him a technical base which allowed him to flourish creatively
- learnt ballet, jazz, Native American dance
- joined Horton’s company
- dance in Broadway shows
- studied modern dance with Martha Graham, Hanya Holm, Jose Limon, ballet and acting
- wasn’t satisfied with the modern dance scene, couldn’t find a technique he liked
5
Q
AAADT formation:
A
- 1958
- to begin he only employed black dancers as these were under-represented
- his aim was to strengthen the influence of ethnic culture and bring about change
- his choreography was a dynamic and vibrant mix growing out of his previous training in ballet, modern, jazz and african dance techniques
- he insisted on complete theatrical experience including costume, lighting and make-up
- his first work ‘Blues Suite’ was an intense emotional appeal expressing the pain and anger of African Americans
- ‘Revelations’ drew upon his blood memories, along with the blues, spirituals and gospel songs
- after Revelations the company were constantly on tour, nationally and internationally
- 1965 Judith Jamison joins and Alvin retires from dancing
- founded a ballet school
- created a repertory ensemble
- 1989 Judith Jamison takes over
- 2011 Robert Battle takes over
6
Q
Alvin Ailey style:
A
- he created his own style by fusing elements of different styles (ballet, modern, jazz), typically his works revealed stories about the light-hearted as well as the problematic sides of life for the black inhabitants of America
- he concentrated on a sense of their religion and optimism, their pain and vibrancy, whilst exuding a particular power and sensuality
7
Q
Influence of Lester Horton:
A
- studied with various tribes
- studied ballet
- choreographed a number of musicals
- combined dance and drama into a total theatrical experience
- fascinated with with ethic dance, human sensuality and cultural history
- created a movement style that incorporated Japanese arm gestures, isolations for upper body, African-Caribbean elements including hip circles
- his technique emphasises a whole body anatomical approach to dance to enable unrestricted, dramatic freedom of expression
8
Q
Examples of Horton in Ailey:
A
- extended arms and legs - cry
- broad strokes of the body in space - sinnerman
- hips used as accents and motivators - wade in the water
- lunges and deep second-position plies - revelations
- leaps and jumps in space
- social commentary
- I wanna be ready
- I’ve been buked
9
Q
Influence of Katherine Dunham
A
- known as “queen mother of black dance”
- attended Vaudeville shows which inspired her to become a performer
- combined dance from Caribbean and African cultures with European style ballet
- incorporated social and cultural rituals into public performances
- created the first black company
10
Q
Examples of Dunham in Ailey:
A
- flexible torso and spine -
- African drums and rhythms
- ‘wade in the water’ is the most obvious example of Dunham’s technique, isolations, a low centre, body ripples, using the skirt to accentuate the movement
11
Q
Influence of Hanya Holm:
A
- started a modern dance school based on the principles of German expressionist dance
- brought modern dance roots to Broadway
- her technique stressed the importance of pulse, planes, floor patterns and spatial design
- the movement emphasised the freedom and flowing quality of the torso and back
- conveying an idea in her choreography was more important than the dancers’ technical ability
- students trained through improvisation
- Rocka my soul
12
Q
Influence of Martha Graham:
A
- ‘mother of modern dance’
- included movement that was jarring, violent and trembling, believing these movements allowed a spiritual and emotional connection
- her father used physical movement to remedy nervous disorders
- he believed the body could express inner senses and this intrigued Martha
- her trademark contraction and release principle
- she often included social, political, psychological and sexual themes
- I’ve been buked
13
Q
Graham technique:
A
- contraction and release
- emotional inner self
- high releases
- flexed feet
- spirals
- cupped hands
- bow and arrow arm lines
14
Q
Influence of Jack Cole:
A
- jazz dance pioneer
- choreography based on ethnic or exotic themes
- fused Indian dance, modern and jazz
- plie, isolations, knee slides and floorwork, long spine, supple arms, ripples of the torso
- sinner man
15
Q
What is Revelations about?
A
-the story of the African American experience, looking at cultural roots, heritage and the strength of the black people living through slavery and racism but with a sense of pride and dignity
16
Q
When was revelations first performed?
A
1960
17
Q
What music is Revelations set to?
A
-spirituals, gospels and blues songs
18
Q
Structure of Revelations:
A
-3 sections - Pilgrim of Sorrow, Take me to the water, Move members move
19
Q
About Pilgrim of Sorrow
A
- sombre mood is reflected in abstract gestures with bowed heads and weighted bodies reaching powerfully upwards
- muted lighting effects and brown and skin toned costumes aid in this
20
Q
Fix me Jesus:
A
- conveys the strength of faith between a women and her pastor
- through a subtle unfolding of learnings, balance and leg extensions speak of trust and a conviction of belief
21
Q
Take me to the Water:
A
- enactment of ceremonial baptism
- a tree branch to sweep the earth and a white cloth to cleanse the sky
22
Q
I wanna be ready:
A
-build on exercises derived from the Horton modern dance technique
23
Q
About Move Members Move:
A
- celebrates the power of 20th century gospel music
- the dancers embody the joy of faith
24
Q
Costumes in Pilgrim of Sorrow:
A
- full length dresses in muted earthy tones - originally made to match each person’s skin tone
- fitted top allows the movement of the torso and alignment to be seen
- full swirling skirt accentuates the turns and high leg extensions
- men wear trousers and a mesh top which allows movement to be clearly seen along with the musculature of the arms and torse
25
Q
Costumes in Take me to the Water:
A
- similar style, fitted top and swirling skirt, white to show innocence and purity
- added frills and layers on the skirt reflect the ceremonial aspect of the section
- men wear white trousers and bare chest
- props: ribbons to clear the path and cleanse the sky, parasol to protect from the sun, swathes of blue material suggest water
- all the props add an element of theatricality
26
Q
Costumes in Move Members Move:
A
- women wear yellow skirts, tops and hats which suggest their ‘Sunday best’
- mean wear black trousers, shirt and waistcoat, again looking smart with a sense of occasion
- props: women use handheld fans to cool themselves and sit on small stools, making it look like a church
27
Q
How did Ailey choose the music?
A
- either builds on the last piece or contrasts
- maintains audience attention and engagement
- each track highlights a particular message
28
Q
Music in I’ve been Buked:
A
- calm, slow, full of soul
- movement reflects this and focus’ the audience’s attention
29
Q
Music in Didn’t my Lord Deliver Daniel:
A
- more upbeat, busy, contrasting
- still about deliverance and religious meaning
30
Q
Music in Wade in the Water:
A
- different beat, walking pace
- traditional song sung at baptism
- allows movement to reflect processional feel
31
Q
Music in Sinner Man:
A
- fast, up tempo, lots of running, elevation, drops to the floor
- very different feel
32
Q
Music in Rocka ma Soul:
A
- rhythm to get the audience clapping
- joyous, heartfelt, full of good spirit, builds to a huge crescendo
33
Q
What is the movement in Pilgrim of Sorrow about?
A
- movement relates to the strength and dignity of black people in the face of adversity
- includes reaches to heaven, seeking enlightenment
34
Q
What is the movement in Take me to the Water about?
A
- relates to Ailey’s childhood memories of baptisms in the nearby lake
- celebratory, joyous, about hope and looking forward, spiritual
35
Q
What is the movement in Move Members Move about?
A
- links to Ailey’s religious upbringing, attending church on a Sunday
- gospel music, real sense of pride in cultural heritage and traditions
36
Q
About blues suite:
A
- from Ailey’s childhood
- evokes the humour, sorrow, humanity of the blues
- “hymns to the secular regions of the soul”
37
Q
About cry:
A
- birthday present for his mother
- represents the women who came through the hardships of slavery and triumphing
- dedicated to “all black women especially our mothers”
- journey
38
Q
About memories:
A
- Ailey said all his pieces were based on a relationship feeling or event he experienced
- this was the most personal, about Joyce trisler, a friend and colleague
39
Q
About Witness:
A
- inspiration from traditional spirituals
- a ballet to celebrate the strength elegance and versatility of black women
40
Q
About Blues Suite:
A
- links to Ailey’s childhood
- evoked the sorrow, humour, and humanity of the blues
- “hymns to the secular regions of the soul”
41
Q
About Cry:
A
- birthday present to his mother
- created it on his muse Judith Jamison
- the woman in the dance represents the women who came before her, the hardships of slavery, coming out of a world of pain and trouble finding her way and triumphing
- dedicated to “all black women everywhere especially our mothers”
- 3 part solo
- white leotard and long ruffled skirt
42
Q
About Memoria:
A
- deeply personal
- about the death of a close friend and colleague Joyce Trisler
- in the first section the woman is often isolated
- the mood in the second section transcends into sorrow ending in a joyous emotional crescendo
43
Q
What does Ailey say about how personal his dances are? (link to Memoria)
A
-all his dances had some basis in a relationship, feeling, or event that he experienced
44
Q
Abour For Bird - With Love:
A
- tribute to jazz musician
- emulates the relaxed atmosphere of a local jazz club
- the dancers explore his swing based style and knack for improvisation
- dressed in bejeweled costumes
45
Q
About Witness:
A
- female soloist embarks on a spiritual journey
- inspiration from recording of traditional spirituals
- celebrates the strength and elegance of black women
46
Q
Judith Jamison background:
A
- she studied ballet, modern, tap, acrobatics
- her classes were theatrical with a sense of performance
- Ailey spotted her when she was (unsuccessfully) auditioning for another choreographer
- joined the company
- 1984 choreographed Divining
- 1989 she became artistic director when Ailey died
47
Q
Ulysses Dove background:
A
- auditioned for Ailey company but failed
- took a scholarship at Merce Cunningham
- became a principal dancer with Ailey’s company
- choreographic debut in 1979 “I see the mood…and the moon sees me”
- he adapted the same repertoire for contemporary and classical companies
48
Q
About Dove’s work:
A
- developed a distinctive style - was interested in passion
- often sexually charged, bold, powerful
- concerned with human behaviour
- power shifts between between men and women
- controversy due to overt sexuality and percieved aggression
49
Q
About Vespers:
A
- realistically portrays trials of black women
- could be different sides of same woman
50
Q
About Episodes:
A
- encounters between men and women caught in diagonal corridors of light
- passionate embraces could signify love and hate
51
Q
Robert Battle background:
A
- Julliard school
- danced with Parsons Dance Company, started setting his choreography on them in 1998
- founded his own company which premiered in 2002
- frequent choreographer and artist in residence at AAADT since 1999
- became Artistic director for them in 2011
- expanded the repertoire to be very diverse
52
Q
About Takedeme:
A
- rhythms of Indian Khatak dance
- percussive and fast paced
- clear shaped and jumps mimic the vocalised rhythmic symbols
53
Q
About The Hunt:
A
- reveals the predatory side of human nature and the primitive thrill of the hunt
- deals with the fact that Dove studied martial arts before dance
54
Q
Who have been the artistic director of AAADT since it began?
A
- Alvin Ailey 1958
- Judith Jamison 1989
- Robert Battle 2011
