Key Dates- Works and subject matters

Question 1

1954

Answer 1

According to St Francis by Alvin Ailey.
A tribute to Horton. The role of St Francis of Assisi was played by James Triutte. The dance shows control and stamina and aimed to keep the Horton technique alive.

Question 2

1954

Answer 2

Mourning, Mourning by Alvin Ailey.
About the frustration, despair and regret. Carmen de Lavellade danced the role of the dramatic heroin and the dance shows body in graceful states and beauty.

Question 3

1958

Answer 3

Ode and Homage by Alvin Ailey.
A solo dedicated to Horton that contained a series of Horton exercises. It is a dance of faith and can be described as reflective, quiet and solemn.

Question 4

1958

Answer 4

Redonda by Alvin Ailey.
Five short pieces of Rumba, Lirica, Beguine, Rumbalero and Rite. A piece with a rich Afro-Brazillian Caribbean heritage, mood and style. Based in theatrical jazz and Horton work.

Question 5

1958

Answer 5

Blues Suite.
Explore the sins committed by the African American community on a Saturday night in the barrel houses in Texas (The Dew Drop Inn) followed by the early morning church services on a Sunday.

Question 6

1960

Answer 6

Revelations.
Explores Ailey’s blood memories of his childhood years in Texas. It looks at religion and the community support that they relied on to get them through tough times/

Question 7

1968

Answer 7

Quintet.

Alvin explored for the first time the private being behind a highly public face.

Question 8

1969

Answer 8

Masekela Language by Alvin Ailey.
Explores the parallels between the era of South African apartheid and the race-induced violence of 1960s Chicago, delving into universal themes that are just as relevant today..

Question 9

1970

Answer 9

The River by Alvin Ailey.
Streams is an abstract exploration of bodies in space, danced to a percussion score by Miloslav Kabelac. Each section is inspired by a body of water, from gentle brook to turbulent ocean, representing the changing emotional tides within us.

Question 10

1971

Answer 10

Cry by Alvin Ailey.
Alvin Ailey choreographs Cry for Judith Jamison as a birthday present to his mother. It represented those women before her who came from the hardships of slavery, through the pain of losing loved ones, through overcoming extraordinary depressions and tribulations. Coming out of a world of pain and trouble, she has found her way-and triumphed.

Question 11

1971

Answer 11

Flowers by Alvin Ailey.
Choreographed by Alvin Ailey a year after Janis Joplin’s death to expresses sadness. It follows the highs and lows of her life from the fame and star status to drug addiction and her death It is described as a unique and vibrant ballet, one of Ailey’s best works.

Question 12

1976

Answer 12

Pas de Duke by Alvin Ailey.
Alvin Ailey’s modern dance translation of a classical pas de deux created for Judith Jamison and Mikhail Baryshnikov to celebrate the musical genius of Duke Ellington (1899-1974). The work is set to five of his compositions.

Question 13

1979

Answer 13

Memoria by Alvin Ailey.
Memoria is dedicated to the joy, the beauty, the creativity and the wild spirit of Joyce Trisler. Joyce was a close friend of Ailey’s from his Lester Horton days who died prematurely. It is structured in two parts “in memory” and “in celebration”

Question 14

1984 (Judith Jamison)

Answer 14

Diving by Judith Jamison.
A unique combination of primitive tribal energy, urban sophistication and creativity displaying the company’s versatility. It is a ballet in three parts; seeking, resting and moving on. Seeking is a quartet, resting is a solo and moving on is a group tribal piece. It was inspired by what she saw on her tours of Africa.

Question 15

1984 (Alvin Ailey)

Answer 15

For ‘Bird’ - With Love by Alvin Ailey.
A tribute to the great jazz musician Charlie “Bird” Parker, For ‘Bird’ - With Love brings the audience back to the relaxed atmosphere of an after-hours jam session at a local jazz club. The dancers emulate Parkers’ swing-based style and knack for improvisation while dressed to the nines.

Question 16

1986

Answer 16

Witness by Alvin Ailey.
Amidst a visually arresting stage decor of flickering candles, a female soloist embarks on a spiritual journey that echoes the repeated lyric “my soul is a witness for my Lord.” Alvin Ailey drew inspiration from a recording of traditional spirituals sung by Jessye Norman to create this stirring ballet celebrating the strength, elegance and versatility of the Ailey woman.

Question 17

1989

Answer 17

Forgotten Time by Judith Jamison.
The haunting, otherworldly sounds of Le Mystere des Voix Bulgares accompany 12 dancers on a journey through ancient rituals of love and tribal rites of passage.

Question 18

1993

Answer 18

Hymn by Judith Jamison.
Hymn was created as a tribute to Alvin Ailey. It celebrates the life and creativity of the very person who influenced and touched many lived. Spoken word was used in the piece to show the way that the dancers feel about him.

Question 19

2004

Answer 19

Love Stories by Judith Jamison.
Judith Jamison’s dynamic collaboration with hip-hop pioneer Rennie Harris and modern dance maverick Robert Battle. Love Stories was inspired by Sankofa, the Akan word which means “go back” (Sanko) and “take” (fa).

Question 20

2009 (Judith Jamison)

Answer 20

Among Us (Private Spaces: Public Places) by Judith Jamison.
Characters from all walks of life come together in Judith Jamison’s new collection of vignettes examining the joys and complications of human relationships. Original jazz compositions by the musical iconoclast ELEW and costumes by the award-winning designer Paul Tazewell are inspired by a series of Jamison’s own drawings that depict these characters’ ordinary and sometimes extraordinary lives.

Question 21

2009 (Robert Battle)

Answer 21

In/Side by Robert Battle.
Inspired by the haunting and chilling sound of Nina Simone: Wildest Wind, it starts about the inner turmoils of a broken man and goes on to explore the journey to happiness and being defiant. Created as a personal work as Ailey always said his best works were his most personal.

Question 22

2012

Answer 22

Strange humours by Robert Battle.
Equal parts comedic and combative, Artistic Director Robert Battle’s Strange Humors is an eccentric, jocular display for two dancers. Stationed far apart along a narrow shaft of light, the duo mirrors the building tension between Mackey’s string quartet and djembe with quirky spasms. They ultimately meet for an explosive confrontation of wits and prowess.

Question 23

2015

Answer 23

Awakening by Robert Battle.
Battle uses his taut, ritualistic style to powerful effect in a dance that expertly balances chaos and resolution, dissonance and harmony.