On April 26, 1977, Studio 54 first opened its doors for partygoers of all backgrounds and lifestyles to partake in extravagant nights of dancing, music, and stardom. In honor of Studio 54’s opening anniversary, celebrate with this video by Alvin Ailey, whose Ailey School students headlined the evening’s grand opening.
Over four decades later, their dancers follow the dancing disco ball across our galleries to relive a moment of disco cheer. One day soon, we look forward for guests near and far to hustle on over to the Museum.
Created by Red Is Dancing Agency, directed by Redha Medjellekh, produced by Katya Martín and Yohann Yoh, cinematography by Caroline Mariko Stucky, makeup by Virgin Arte, camera assistant Shuhan Xie, production assistant Sofia Barnard, and edited by Eddy Garcia. AileyII Dancers Caroline Dartey, Carl Ponce Enriquez Cubero, Elijah Lancaster, Jamaris Mitchell, Brenda’ Thomas, and Marcel Wilson, Jr.
Course Blog: "Three Perspectives on Modern Dance and the Evolution of an Art Form" - Tori Sweeney on Martha Graham, Alvin Ailey, and Yuri Possokhov
(Photo: SF Ballet dancers perform in Yuri Possokhov's new choreography of Igor Stravinsky's Rite of Spring. Credit: Erik Tomasson via the SF Ballet's program page, linked.)
As a dancer myself, I have had much experience learning various dance styles, including: tap, jazz, ballet, hip-hop, contemporary, and modern. With all my training, I have marveled at the fact that even when taught by various teachers, each dance style will always revert back to a basic technique, an unchanging technique. A ballerina in the 1950s was practicing the same barre and center floor exercises as I do today. This semester, I had the opportunity to see multiple renowned dance companies: the Martha Graham Dance Company, the San Francisco Ballet, and the Alvin Ailey Dance Company. All three of these companies approach dance with visibly different styles, yet ballet is at the center of them all. That said, I do believe traditional dance forms can still contribute to the sense of a new experience for an audience. After watching these dance companies, I was both in awe of, and shocked by, the rigidity of the individual genres as well as by the impact of choreographies using combined forms. I also wanted to take this opportunity to describe some of the variety I’ve seen.
In each program I attended, there was one performance piece that stood out to me, and each of the pieces was originally premiered in the early to mid-1900s. The Martha Graham Dance Company performed Aaron Copland’s Appalachian Spring. Originally premiered on October 30, 1944, it tells the story (as specified in the Cal Performances program notes) of a man and a woman “building a house with joy and love and prayer,” a “revivalist and his followers” with their “shouts of exaltation,” and a “pioneering woman with her dreams of the Promised Land.” The piece includes intricate movements, simple walking and running patterns, body music, harshness, cupped hands, rotation and contortion of the upper body, and contrast between use of kinetic tendencies and stillness. When looking to title or classify this work of art, many would refer to it as a ballet. But does it really follow the strict technique of ballet? The answer is no, and that is what makes this piece of choreography so unique and timeless. Martha Graham was the pioneer of the modern dance movement. She took the ballet form and created a whole new dance technique. She removed the rigid upper body, the light hands, and the fluidity and elitism of ballet. As a result, she created works that featured pedestrian movements, a sort of colloquialness, while still valuing sharpness, precision, and beauty.
Martha Graham was following other innovators of the Modernist period. In American music, George Gershwin was finding a music of the people, bridging the gap, by bringing everyday jazz music into a classical concert setting. In Western Europe, Stravinsky, Bartok, and many other composers were fascinated with folk music, nationalism, and bringing cultural history to their people. Meanwhile, following Graham’s rise to fame, Alvin Ailey founded the Alvin Ailey Dance Company upon the idea of discovering and revolutionizing a dance through which African Americans could perform and celebrate their culture. Alvin Ailey, a student of Martha Graham, popularized and participated in the development of modern dance that both embraced pure modern dance and blended modern dance with African influences.
On April 2, 2014, I had the pleasure of seeing one of the Alvin Ailey Dance Company’s most popular repertory pieces, Revelations, which originally premiered in January 31, 1960. This work is structured around spirituals, religious songs developed around slave culture that express secular salvation. There is a direct expression of longing for freedom, yearning to be unchained and free from slavery, between the lyrics of the song and the choreography of the movement. (See this clip—“I’ve Been Buked”—for a glimpse of the music and dance in action.) The dance style includes contractions, hip swings, African folkloric movements, acrobatics, pedestrian movements (i.e. walking, running, skipping), while still featuring moments of ballet. When Revelations first premiered, there was a controversy over labeling it ethnic because the movements were derived from traditional African dancing. At a time when ballet was considered the purest form of American dance, Alvin Ailey fused this traditional form with modern and Afro-Carribean dance. Ballet came to be associated with racial terms, which was a shock for many. At the same time, it paved a path toward acceptance for African Americans in the dance community. Ailey eventually created a dance form that was palatable for audiences across the world. And with pieces like Revelations, he demonstrates such genius.
Finally, I had the opportunity to see the San Francisco Ballet’s new rendition of The Rite of Spring, composed by Igor Stravinsky and choreographed by Yuri Possokhov. Originally choreographed by Vaslav Nijinsky, and infamously premiered on May 29, 1913, it brought about riots and uprising with its jarring music and choreography. Possokhov’s rendition may not have caused upheaval among contemporary audiences, but it did bring turmoil to my mind. The whole piece felt like one giant oxymoron. It constantly shifted between elegance and contortion, chaos and unison, traditional ballet movement and movement reminiscent of the original choreography, such as jerking stamps, violent jumps, and choreographic floundering. To my eye, there did not seem to be a solidified intention behind the choreography. It was as though Possokhov had taken elements of traditional ballet—beautiful arms, pointed feet, rigid torso, and graceful partner lifts—and replaced them with their complete opposites. Yet, there were still many moments when traditional balletic form would return unpredictably. This made it very difficult for me to grasp what was unfolding on the stage. With my expectation that certain moves will be used consistently throughout a work to express narrative and character personality, one difficulty that I had with Rite of Spring was that the choreography used these different styles to portray the same emotions, thus making it very difficult to understand character portrayal.
As beautiful and interesting as the piece was, I was lost in the instability between dance forms. For example, Possokhov introduced into the piece a traditional couple in love, the “pas de deux” of the ballet, which ultimately seemed to distract from the original purpose of the work. The innocent girl playing the Chosen One, someone with whom the audience was to sympathize because she must be sacrificed to the gods, was now battling her struggles with a lover. Furthermore, the traditional “pas de deux” led to a decidedly less traditional major emphasis on sex. Such dramatic contrast of innocent love and mature sexual relation furthered the chaos and confusion in my understanding of the narrative. Possokhov’s attempt to blend dance forms essentially became a battle of superiority between dance forms.
To briefly conclude—although the three performances I saw this semester all grew out of the same basic technique of modern ballet concert dance, they each felt distinct and gripped my attention for different reasons. It is wonderful to realize how an art so unchanging in its base elements can become so unpredictable!
Just Dance! Alvin Ailey American Dance Theater Returning to South Florida
(Photo Credit: Andrew Eccles)
By Michael W. Sasser
Led by Miami native Robert Battle in his third season as artistic director, Alvin Ailey American Dance Theater, one of the world’s most beloved dance companies, returns by popular demand to the Adrienne Arsht Center for the Performing Arts of Miami-Dade County from Thursday, February 20 through Sunday, February 23, 2014.
The Thursday, February 20 opening night program (also seen on Saturday evening) features the premieres of multi-award-winning British choreographer Wayne McGregor’s Chroma, and celebrated dance storyteller Ronald K. Brown’s uplifting Four Corners.
The Family Matineé on Saturday, February 22 will be a special Ailey/Ellington program featuring productions of The River and Pas de Duke, along with Night Creature, three of the 14 ballets that founder Alvin Ailey created during his career that celebrate the musical genius of the eminent American composer Duke Ellington.
The production has garnered additional attention for two of its dancers and their recent nuptials. Kirven Douthit-Boyd and Antonio Douthit-Boyd recently enjoyed freedoms granted in New York to wed and have become an inspiration to many in New York, in the creative community and beyond.
Wire Magazine sat down with Kirven and Antonio to discuss the upcoming performance, the world of dance and their recent marriage.
Michael W. Sasser: How will the sixth annual Miami engagement differ from previous years with the introduction of several new premiers and productions?
Kirven Douthit-Boyd: Every year, we do something different and that's what literally makes every engagement unique. That's something about the company that defines it; new rep productions. It's very exciting. This time, we have Chroma, D-Man in the Waters (Part I) and LIFT, for example. We're very excited about being able to present these this year.
MWS: What is your favorite section to perform it in any of the programs showcased and why?
Antonio Douthit-Boyd: I would have to say that Chroma is one of my favorite ballets. It's special because it's the first time it's ever toured. We somehow managed to figure out how to take it on the road. It's great to be able to perform for an audience that might not otherwise ever be able to see it.
MWS: In addition to performing, why do you feel making dance accessible to aspiring dancers and students via auditions and master classes is important?
KDB: I think just giving the next generation of dancers an opportunity is important. It's good to let young performers get to know troupes like Ailey.
MWS: There are countless reasons why people turn to dance; what was your particular reason to seek expression through dance?
ADB: My reason for turning to dance is that you can travel anywhere in the world and express yourself even if you don't speak French or German, etc. – you express yourself through the language of movement and dance, which is universal.
MWS: After years of performing, at times do you feel you have reached a plateau? How do you overcome this feeling?
KDB: I feel that if you are in any profession and if you feel you hit a plateau, then the chances are you have stopped growing and changing, and it's time to change professions. You shouldn't do it anymore. I feel dancers should change, especially in groups like Ailey – you always want to be better. You always have to grow and learn.
MWS: How has the artistic direction of Miami’s own Robert Battle shaped the success of Alvin Ailey in the last three seasons?
ADB: I think Robert has hit right on what Mr. Ailey wanted us to do, which is rep. He brings all this great rep to town, which I believe is staying true to what Ailey wants. You don't even have to go out for rep – it's all presented by one company.
MWS: As dancers, you continue to inspire, but what is it that continues to inspire you?
KDB: I'm inspired by a lot of things. Usually other dancers, obviously; but also traveling to so many different places. When on tour, I like to experience what other cultures have to offer. I take inspiration from life really.
MWS: Which program do you feel will resonate most with Miami audiences and why?
ADB: With all we do, we will have something for everyone. You'll enjoy from some aspect of the program. Everyone will connect with one or more parts of the program. But I think everyone will take away something from the experience and enjoy it.
MWS: In addition to universally inspiring via dance, are you at all hopeful that your recent marriage will inspire others as well? How?
KDB: You know, when you think about marriage, you don't make the decision to impact other people's lives. It's kind of a selfish thing. Since we are in this company, it's created this image of us to others – and they feel inspired. But we didn't intend to make a statement. However, we are living our lives as we choose to. We live a high-caliber life. I think that just inspires people.
MWS: Where did you get married and why did you pick that state?
KDB: We got married in New York, in part because it's legal there and in part because we live in New York. We just wanted to do it in New York.
MWS: Do you envision a day when same-sex couples' marriages will be universally accepted in all states of the U.S.? What do you think it will take to make that a reality?
ADB: I think every gay man envisions that. To be realistic, it might not happen in our lives, but of course I do believe it will happen one day. But that shouldn't discourage people from pursuing a relationship. It shouldn't deter them from a life and love with a partner.
MWS: Is there anything else you would like to share with Wire Magazine readers?
KDB: I always like to encourage people who haven't seen the company to come out for the experience. I promise it is a life-changing experience. It will change people's perspectives on dance, on modern dance; and even people who aren't experienced with dance will be changed.
This article was originally published in Wire Magazine Issue #7, 2014
Do I see Ailey Dance Company do Petite Mort on the 14th or do I see them do Revelations with an expanded cast of 50 with live music and choir? OR do I see Petite Mort and the expanded cast of 50 but without live music?
