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
