Revelations by Alvin Ailey Flashcards
What is the theme of Revelations
Revelations, made in 1960, is based on Alvin Ailey’s childhood “blood” memories of worshipping at his Baptist church in Texas
Revelations is a reflection of the cultural heritage of the African-American people - reflecting their journey.
The work is presented in 3 chronological parts, each depicting a different time period in African-American’s journey from slavery to freedom
What is the mood of the piece
The mood throughout the piece is filled with hope and longing, as the dancers pray for salvation in times of strife and injustice
What is the atmosphere of the piece
The atmosphere throughout the piece is sad and solemn as it recalls the legacy that slavery has left behind, and the oppression and struggle felt by many that resounds throughout history
What is the choreographic intention of the piece
What is the meaning of the choreography?
Revelations is a reflection of the cultural heritage of the African-American people, inspired by childhood memories & blood memories of attending the Baptist Church in Texas.
CHOREOGRAPHIC INTENTION
● RELIGION - Importance of religion to the slaves, their faith binds and unites them together, providing hope
● SLAVES - Poor treatment of slaves & the deep sorrow they experienced. Sense of hope and longing for a better life
What are the choreographic intentions of each section
Part 1, the slaves are longing and pleading with God to help, to save them from their plight and end their misery and sorrow. They are united and bound together by their faith and religion.
Part 2, the slaves are being taken to the river to be baptised into the Christian faith. In doing som, they hope to be cleansed of their sins.
Part 3, the slaves have been freed and are now able to worship freely in their Baptist Church. They are again united by their religion and faith. They are the ‘Holy Rollers’.
What are the motifs used
The bird pose motif: Look in ‘I Been Buked’, ‘Daniel’, ‘Fix Me’, ‘Procession’, ‘Wade’, ‘You May Run On’, ‘Rock a-My-Soul’ for the bird pose performed as a group or individually.
Praying: Notice the number of different ways Revelations depicts praying. Think about how it is portrayed and why and where it is done.
Falling to the floor in grief and despair: Look in ‘I Been Buked’, ‘Daniel’, ‘Fix Me’ for falling and grief and despair.
Rising into the air in hope: One woman is so overcome with despair she faints twice, but in the end she ascends toward the sky as if on wings.
Looking for a place to hide: In one section, several dancers try to hide from consequences of their irresponsible actions.
A man and woman clear away evil spirits: A man (with a twig and scarf) and a woman lead the Processional to cleanse the way for a couple on their way to be baptized.
Three people walk into a river: A blue scarf depicts water. Look for wading and splashing movements.
A man crawls on the floor in determination: He moves with great effort, ,deliberation, tentativeness, supplication (prayer) and triumph.
Several women and men carry stools: Note the greeting and exchanges of people gathering at a church meeting one hot summer evening. Tired movements turning to energetic excitement, and then to stately decorum.
The women playfully chastise the men: Note the piercing looks, wagging and pointing of fingers and fans.
The company is swept away in joy: A crescendo of bodies, sweeping arms, gathering arms, then spreading arms wide to theheavens as they travel around the stage, ending in tight contraction of the body and breath-taking release
What is the structure of revelations
The structure of the dance is a 3-part episodic structure with a chronological narrative thread. The dance is in 3 sections – each section contains 3 or 4 dances. Each section, and dance within that, depicting a different time period in the evolution of the African-American people.
What is part 1 of revelations
Pilgrim of Sorrow:
- “I been ‘Buked’
- “Didn’t my Lord Deliver Daniel?”
- “Fix Me, Jesus
What is part 2 of revelations?
Take Me to the Water:
1. “Processional”
2. “Wade in the Water”
3. “I Wanna be Ready”
What is part 3 of revelations
Move, Members, Move!
1. “Sinner Man”
2. The Day is Past and Gone”
3. “Preaching Spiritual”
4. “Rocka’ My Soul in the Bosom of Abraham
Discuss the structure of Revelations
Revelations is divided into 3 sections, with each section containing several dances. The 3 sections each depict a different time period or stage in the evolution of the slaves through Baptist worship. The 3 sections are performed in chronological order and are connected by a narrative thread. Each part conveys the importance of religion to the African-Americans
● Section 1 introduces the African slaves who are looking for salvation and hoping and reaching to God to save them
from their hardship
● Section 2 shows the dancers being introduced into the Christian faith and being baptised in the pond
● Section 3 shows the slaves have been released from slavery and have gathered as a congregation at church for
worship
The dance structure follows a chronological order, with each section of the dance addressing a different time period.
The dance takes leaps forward in time to show how their culture evolved over a long period of time.
How is unison used in Revelations
UNISON
● Section 1: Unison
● In “I been Buked”, the dancers perform many movements in unison. This is to show
that they are united in what they are going through during slavery. They are all doing
the same thing (bird pose and falling to the ground) and multiple praying movements
to show that they are experiencing similar things. They are being treated the same
during slavery and feeling sorrow and pain.
● They also perform in unison – praying movements – to show that they are united by
their faith. Faith is the only thing that they all have and it is the thing that is bringing
everyone together. Their faith binds them together and this is why it is symbolic that
they are doing the same movement(s) at the same time
How is augmentation used in Revelations
Augmentation – augmentation is when the movements are made bigger in space or time.
In “I been Buked”, the dancers initially stand close together in centre stage and perform a wing like gesture with their arms. The dancers are at various levels to create the look of a flock of birds.
Later in this section, the dancers repeat the ‘flock’ shape but this time some of the dancers are positioned further
away at the side and back of the stage. The dancers in the centre continue to create the shape, using various levels, but they are also spaced apart further from one another.
Ailey has used augmentation here to increase the size and spacing of the flock. The physical growth in size and
space on stage could relate to the desires and aspirations of the group to grow and move on from their current
state and position as slaves.
Alternatively, moving the dancers apart could identify them as individuals and not just a group. This could help
emphasise the humanitarian aspect and show them as individual people with individual hopes and issues
How is fragmentation and embellishment used in Revelations
Fragmentation – using only part of a motif, isolating movements
Embellishment – details are added to the original movement
In section 1 of the dance, in “I been Buked”, the dancers perform a very memorable motif involving all dancers reaching and looking up towards heaven. They keep one arms extended upwards and reach to each side. Keeping their head up, arms straight and palms open, they then quickly circle their upper body and arms twice and stop abruptly. The finish this motif by slowly crossing their arms, stepping into a wide 2nd plié and opening out their arms wide into a wing like action.
In section 2, during “Processional”, Ailey fragments the motif from “I been Buked” and uses parts of it in the Baptism scene. During the baptism, the 3 dancers stand behind a cloth (representing the water) and perform fragments of the motif again. The dancers reach upwards with both arms and then bend their arms back down before performing smaller upper body circles. They then reach up again and open momentarily into the wing like action before quickly reaching up for a third time. Ailey uses embellishment at this point by adding a fluttering detail with the hands.
Ailey may have chosen to fragment the earlier motif to bring back memories and reminder to the audience of how their lives used to be before they found salvation. The arm action is embellished by bending the arm to symbolise the action of bowing down to God and offering themselves in prayer. The final reach may have been embellished to represent the water being sprinkled on them during their Baptism and being washed of their sins and their past
How is augmentation and embellishment used in Revelations
Embellishment – details are added to the original movement
Augmentation – the movements are made bigger in space or time
In section 1, we see the dancers stand centre stage in a group, cup their hands (with palms facing them) and reach up with their arms straight above their heads as if they are pleading to God to help save them. They then open their arms out smoothly, like the petals of a flower opening. (1.43)
We see the move augmented and embellished a second time (at 2.06) but this time then the dancers hands are cupped slightly differently (one hand cupped above the other)and they reach upwards to god but then rapidly open their arms out to 2nd (like a crucifix) and into a wide 2nd plie. (embellishment)
It is seen for a third time (3.12) with the hands are opened outwards, with fingers spread, and arms open outwards to the side like a sunrise. (embellishment)
It is seen for a fourth time (4.02) when the dancers reach up more slowly and open their arms out in a jerky and stop-start fashion. Unlike the earlier version, the dancers all open their arms out at different times. The dancers arms are opened into a crucifix position. (embellishment) This section is performed at a slower speed and increases the time of the motif. (augmentation)
Ailey has used embellishment to add detail to the arms opening out like a flower, which could symbolise growth). He uses augmentation by slowing down the movements and having the dancers move independently, rather than all at the same time, increasing (makes bigger) the time of the section.
By performing the motif slower (making it bigger in time), the audience’s attention is drawn into it and the action is emphasised. I believe this motif relates to the slaves desire for growth and change from their current plight. Ailey may have used augmentation and embellishment here to reinforce the idea of growth and change. By making the motif bigger in time, by repeating and extending the pleading motif’, it further cements the idea that the slaves are looking for help from God to help them move on and grow and evolve into a free person. something or someone new. I also think that having the dancers perform the movements separately, helps to highlight each person as an individual as well as being part of a group
How is proximity used in Revelations
Ailey uses clustered/clump formations in ‘I’ve Been Buked’. The dancers being grouped together in such close proximity suggests unity and solidarity between the slaves. It also symbolises group prayer and their loyalty to God. This helps to communicate the choreographic intent as Ailey is able to make the audience understand the importance of religion to the slaves through his use of space. Ailey uses juxtaposition whilst the dancers are spread and scattered across the stage, however returns abruptly all at once to unison with physical distance still between them. This suggests the unity of the slaves through their culture and religious beliefs. No matter how separated or physically far apart they are, they are all united by their belief and faith in God. This helps to communicate the choreographic intentions, as through his use of space Ailey is able to make the audience understand the unbreakable bond and support between the slaves within the community. In this section, members are a lot more spread out. This symbolizes that they are free, not all going through hardship anymore. They are still together as a group to represent that they are united by religion, but the space between them signifies freedom
How is direction and pathways used in Revelations
In Section 2 ‘Processional’, the dancers form a procession line with all dancers moving in a straight line from upstage right to downstage left. According to Doris Humphrey’s analysis, this is the strongest direction of travel, as it combines movement from stage right to stage left and upstage to downstage. The procession line depicts the African American slaves travelling as a group/congregation to the water to be baptised. Ailey may have chosen this direction and straight pathway to show that the slaves are themselves becoming stronger and moving towards a better place in
their lives. The dancers take a few steps forward before stepping back again and continue in this, two steps forward and one step back, pattern across the diagonal pathway. Ailey may have chosen to do this to highlight that their journey to
salvation has not been straightforward and has had setbacks. From a choreographic point of view, it may have been chosen to make the journey appear longer – depicting a long walk to the river for baptism
How is formation and levels used in Revelations
In ‘Didn’t my Lord Deliver Daniel’ the dancers maintain a triangular formation throughout, however take turns at performing at lower levels, with different outwards, diagonal facings.
This is to symbolizes how the fight through slavery was constantly dragging them down, and it was coming from all angles. This helps communicate the choreographic intention as it shows how slavery and oppression as an issue was draining and carried out over a long period of time. Families and communities were constantly battling with morale.
In section 3, levels also plays a part as the dancers are able to sit on chairs. This represents that they have rights now, and are able to rest and take time to sit down, unlike in section 1 or 2.
How is costume used in section 1
Section 1:
Women wore very simple long dresses with thin straps and bare feet. The Men wore dark trousers and no tops and bare feet. Costumes were very simple in dark earth coloured tones to reflect the colour of the earth they worked in. This reflected the fact that the slaves had very little, just simple rags for clothes and had not possessions.
The dancers didn’t wear shoes which again highlighted the fact that they were very poor and had nothing
How is costume used in section 2
Section 2:
The women wore long full skirted dresses with a frill around the bottom and the neckline. The men wore white trousers and string vests or no top. Dancers remained barefoot. The colour of the outfits suggests a change in time period. These costumes reflect purity and cleansing of the soul which help to convey the fact that the slaves are being baptised into the Christian faith and all their sins will be washed away. The additional details on the dresses suggested that they are wearing more expensive clothing. Often people wore their best clothes to church as a mark of respect
How is costume used in section 3
Section 3:
In the first dance, the men wear black trousers and no top. The women are in long yellow dresses, with a short loose sleeve that have a stripe detail. They also wear large brimmed yellow hats. The men wear black trousers, white shirts and waistcoats. All dancers wear shoes. The change in the costumes help to highlight a further step forward in time to when they were no longer slaves and were attending their church as free people. The yellow-earth tones suggested a warmth and heat. Hats are often worn as a mark of respect in a church and so this helps to highlight that they are in their ‘good clothes’ or ‘Sunday best’. The hats also help to convey that it is very hot and they are shielding from the hot sun. The fact they are all wearing shoes helps to highlight that time has moved on and they are in a new era. They now have their own possessions and are independent
How is lighting used in section 1
Section 1: ‘Pilgrim of Sorrow
‘I Been Buked’ In ‘I been Buked’ the stage is almost dark, apart from a yellow light shining down directly upon the group of dancers in centre stage. This could represent the slaves all standing in the hot sun (working the land) or it could be the divine light from heaven (looking up for salvation). Each time the dancers spread out across the stage, the yellow light remains in the centre, but the rest of the stage is lit a dusky red colour to highlight all the dancers. As they move back to the flock in the middle, the wider stage lights dim again, and they are only lit from above
How is lighting used in section 2
Section 2: Take me to the Water
’Processional’ The lighting in ‘Processional’ is lighter with pale blue and white wash of light from above. This creates the effect of day-time as the stage is brighter. It also helps reflect the white costumes and props. The brighter light colours also has a watery feel about it to echo the river they are to be baptised in. In “I Wanna be Ready” the stage darkens with only the centre stage lit from above. The lit area is a large circle shape to light all the movements of the solo dancer. Lighting the soloist in this way draws the audience’s eyes to the dancer and creates a sense of intimacy. This lighting may also symbolise a beam of divine light from God or heaven above. The dancer looks up at the light throughout his solo as if asking for help, guidance and salvation
How is lighting used in section 3
Section 3: Move, Members, Move!
“Sinner Man” In “Sinner Man” the stage is floor is lit with a blue wash of light, but the back wall is lit a deep red/ purple colour. With the appearance of clouds. These colours could signify that is early morning as sun is rising or it could be late evening and the sun is setting.
“The Day is Past and Gone” The stage floor is darker with patches of warm blues and reds. The back wall is dark to reflect a night sky and there is a large red circle lit on the wall to represent the sun starting to set. The warm red tones help the audience to understand that it is hot and the sun is baking. This is echoed by the dancers waving their large fans and wearing large brimmed hats to protect from the sun and heat
How is music used throughout the piece
The songs used in Revelations are called SPIRITUALS. These are folk songs describing personal religious experiences.
When Africans were brought to America as slaves, they lost their traditional music as well as their freedom. They added African chants, rhythms and harmonies to the Christian songs they learned and created spirituals. Today, people sing spirituals to raise their spirits, strengthen their faith, and create a sense of community.
● Sorrow songs are sung slowly and sadly and tell of the heavy burden of slavery and the belief that better days are coming.
● Jubilees are faster, upbeat songs based on Bible stories celebrating victory and joy.
Examples of when music was used by the slaves
○ Work - spirituals made work less boring and set a rhythm for actions like picking ordigging. Slave owners liked the singing because it made the slaves more productive.
○ Worship—At night, after the owners were asleep, the slaves would go out into the woods (their invisible church) and worship. Spirituals were a big part of their religious ceremony.
○ Entertainment—At the end of a long day, slaves would often sing spirituals for relaxation.
○ Code Songs—Communication through spirituals, often helped slaves escape. For example, a hidden message in the song “Deep River” led hearers to a meeting at the river. “Wade in the Water” warned an escaped slave to go into the river so bloodhounds couldn’t follow his scent.
How are props used throughout the piece
The stage is bare throughout the entire piece – there is no set or staging. The dancers use props in section 2 and 3, but not in every dance.
Section Two: Take Me to the Water
1. “Processional” – white umbrella, 2 flags/ sticks with ribbons attached
2. “Wade in the Water” – white umbrella, 2 flags/ sticks with ribbons attached, blue cloths
3. “I Wanna be Ready”
The umbrella in this section helps to indicate that they are outdoors, and it is hot so need protected from the sun.
The large sticks with the ribbons are there to help ward off evil spirits
Section Three: Move, Members, Move!
1. “Sinner Man”
2. “Day is Past and Gone”- large fans, stools
3. “Preaching Spiritual” - large fans, stools
4.“Rocka’ My Soul in the Bosom of Abraham” - large fans, stools at the back of the stage
Explain the impact the choreographer’s choice of movement/motif has on communicating the theme
and/or intentions of the piece. (4 marks)
In section 1, Ailey uses high reaches following by contracting movements, pulling the dancers bodies back down to the floor. This suggests that the slaves are reaching up to the sky asking God for help and salvation, but are being pulled back to earth to be oppressed and controlled. The impact of this movement is it allows the audience to see the importance of religion to the slaves, and feel sympathy towards their situation where they lack control and experience mistreatment.
Also in section 1, Ailey uses a variety of shapes through the dancers’ bodies, including having their arms reaching out beside into a lateral position with their heads low, which looks almost like a birds wings or crucifix. This symbolism of the crucifix could also highlight the importance of religion in their lives, through the representation of a widely used religious symbol. It also allows suggests the slaves feel so trapped and oppressed that they wish to “fly” away, creating a bird like shape with their arms. They wish to escape and be saved by God, escaping the mistreatment
