Welcome to Cuesheet, a performance guide published by the Education Department of the John F. Kennedy Center for the Performing Arts, Washington, D.C. This Cuesheet is designed to help you enjoy a mini-performance of Alvin Ailey American Dance Theater. This fan marks topics for discussion or activities you may want to do with other students, friends, or family. Washington Performing Arts Society Members of Alvin Ailey American Dance Theater in Revelations
heritage customs and beliefs handed down from earlier to later generations integrated people of all races included PHOTO COURTESY OF ALVIN AILEY DANCE FOUNDATION ARCHIVES Dance is for everybody, it came from the people. It should always be given back to the people. Alvin Ailey and Company Born in a small Texas town in 1931, Alvin Ailey learned early about the sharp differences between blacks and whites. Decades later, when Ailey created his dance company in 1958, African Americans were often excluded from other dance companies. Ailey knew many talented African-American dancers, and he wanted to create dances that would both show off their talent and express their heritage. After Ailey s death in 1989, Judith Jamison, one of Ailey s leading dancers, became the company s director. Today, Jamison continues Ailey s commitment to bringing dance to all people. PHOTO BY DWIGHT CARTER Ailey s Dance Style Alvin Ailey Ailey s dance style developed from careful observation of human movement. From these observations, Ailey assembled movements which appealed to him to create dances that were uniquely his own. Three other choreographers Lester Horton, Martha Graham, and Jack Cole had a particularly strong influence on Ailey. Lester Horton wanted his dancers to use as much space as possible while turning, bending, and jumping across large distances. Martha Graham s dance technique is built on contraction and release movements that extend the act of breathing. In a contraction, the dancer exhales and curves the spine; in a release, the dancer inhales and lifts the chest. Jack Cole was a jazz choreographer known for his use of expressive hand movements. Jazz dancers move their hips more freely than modern or ballet dancers. Alvin Ailey, Founder, wanted an integrated company. I didn t want all the same bodies, or all the same color, in my company. Judith Jamison, Artistic Director, was considered too tall and athletic for classical ballet. Watch That Move During the performance, watch for movements that suggest the influence of each of these choreographers.
Revelations Choreographer: Alvin Ailey Music: Traditional African-American Spirituals Revelations is based on Alvin Ailey s childhood memories of worshipping at his Baptist church in Texas. The dance premiered in 1960 and is considered Ailey s masterwork. Some have called it a hymn to God and man. Expressing the intense emotions of spirituals, Revelations is divided into three sections: Pilgrim of Sorrow, Take Me to the Water, and Move, Members, Move. Each section includes several dances representing different emotions experienced in Baptist worship. In Pilgrim of Sorrow, the dancers portray people who hope for salvation in spite of life s difficulties. Watch for the movements that suggest reaching toward heaven and being pulled back to earth. Take Me to the Water depicts Ailey s own baptism, which took place in a pond behind his church. Watch for movements suggesting rippling water. Move, Members, Move begins with a dance portraying three sinners desperate attempt to escape. In the final dance, a church congregation gathers to worship. Watch for movements that suggest gossiping conversations, discomfort on a hot day, and the hope of salvation. In Take Me to the Water, the white parasol held by the dancer suggests relief from the hot sun.the dancer must concentrate to keep the parasol upright, even as she performs difficult movements. Blood Memory Ailey described the memories that inspired Revelations as blood memories because they were so strong he felt they were part of his blood. Write a paragraph describing an experience from your own life that is so important you believe it will become a blood memory to you. spirituals songs that were developed among African Americans during slavery. They express religious beliefs, teach, scold, or communicate information baptism Christian ritual in which water is used symbolically to wash away sins Briana Reed and Amos J. Machanic, Jr. perform in Pilgrim of Sorrow. The dancers' positions emphasize the weight of their bodies, suggesting the heavy burden of earthly problems.
Using Elements of Theater There is good reason why Alvin Ailey called his company a dance theater. Ailey was interested in how elements of theater costumes, props, lighting, and music could be combined with dance to communicate with an audience. The dancers in Move, Members, Move wear colorful yellow costumes resembling the formal clothing worn to church. Notice how the dancers lean towards each other to suggest conversation. Costumes: Colors Have Meanings You will see that the color scheme for the costumes is different in each section of Revelations. In Pilgrim of Sorrow, the dancers wear earth-toned costumes; in Take Me to the Water, the costumes are white; and in Move, Members, Move, the dancers wear yellow. After the performance, discuss why Ailey might have chosen these colors. Discuss how each color relates to the meaning of each section of the dance. Props Tell a Story In Revelations, the dancers use props to help bring Ailey s childhood memories to life. Watch for: Long sheets of blue and white fabric stretched across the stage to suggest water White parasols, wide-brimmed hats, and fans to imply the heat of Texas summers Stools used by the dancers to represent a seated church congregation How Lighting Creates Mood Revelations begins with a group of dancers standing under a single spotlight on a darkened stage. Later, the dancers move across a fully illuminated stage. After the performance, consider how these and other lighting effects were used to create different moods. Moving to Music The dancers in Revelations move to the sound of African-American spirituals. Listen for these lines from the songs: There is trouble all over this world. Wade in the water. Oh sinner man, where you gonna run to? After the performance, discuss how the dancers movements related to these words. Resources You may want to read: Ailey, Alvin and A. Peter Bailey. Revelations: The Autobiography of Alvin Ailey.Secaucus, NJ: Birch Lane Press, 1995. Dunning, Jennifer. Alvin Ailey: A Life in Dance.New York,NY: DeCapo Press, 1998. Pinkney, Andrea Davis. Alvin Ailey. New York, NY: Hyperion Books for Children, 1993. watch: Four by Ailey.VHS. Director Thomas Grimm. Dance Horizons, 1986. listen to: Alvin Ailey American Dance Theater. Revelations.V2 Records 63881-27036-2, 1998. go online: Alvin Ailey Web site: alvinailey.org Stephen A. Schwarzman Chairman Michael M. Kaiser President Darrell M. Ayers Vice President, Education For more information about the performing arts and arts education, visit our Web sites: kennedy-center.org/education artsedge.kennedy-center.org Alvin Ailey American Dance Theater The performances and educational activities of the Alvin Ailey American Dance Theater are a co-presentation of the John F. Kennedy Center for the Performing Arts and the Washington Performing Arts Society. Cuesheet is funded in part through the support of the U.S. Department of Education, the Kennedy Center Corporate Fund, and the Morris and Gwendolyn Cafritz Foundation. Developed from a Cuesheet created by Lillie Stewart and Karen Selwyn Cuesheet Editor: Lisa Resnick Design: Simmons Design 2004,The John F. Kennedy Center for the Performing Arts
Getting Ready to See Choreography by Alvin Ailey Music by Duke Ellington Night Creature Night Creature is a dance set to music by jazz pianist Duke Ellington. Although the dance does not have a specific storyline with named characters, Night Creature was created by Mr. Ailey to explore the ritual of nightlife. The way the dancers move is intended to resemble animal movement and to communicate moods or ideas rather than tell stories. The choreography for Night Creature includes three different components of Ailey s movement vocabulary. During the performance, watch for: slow jazz walks an influence of modern dance boogie-woogie an influence of social dancing arabesques an influence of classical ballet. The Influence of Music Often, the inspiration to create a dance comes directly from the music. Duke Ellington was quoted as saying the following about his inspiration to compose the music used in Night Creature: Night creatures, unlike stars, do not come OUT at night they come ON, each thinking that before the night is out he or she will be the star. Using the information you know about the dance, answer the following questions: How does Duke Ellington s quote help your understanding of the choreography? If not animals, who are the real night creatures? PHOTO BY ANDREW ECCLES Members of Alvin Ailey American Dance Theater are seen here in a posed position from Night Creature. Notice how both costumes and hand gestures contribute to the appearance or feeling of stars at night. Movement Vocabulary the dance movements frequently seen in a choreographer s works Jazz Walk a low, sunken walk with feet and hips turned outward Boogie-Woogie an upbeat style of blues music from the 1920s that became popular in social dancing Arabesque A ballet position on one leg in which the dancer extends a raised leg backward while stretching one or both arms forward.
Defining Modern dance was developed in America nearly 100 years ago as a reaction against the rules and structure of ballet. While ballet dancers strive to appear weightless, modern dancers embrace gravity. The following information outlines the basic differences between modern dance and ballet. During the performance, watch for movements that represent either modern dance or ballet. Modern Dance Methods and choreographic styles are more personal; may include everyday movements such as walking, skipping, running, and falling Builds on modified versions of ballet positions; also uses as many positions as the choreographer can imagine Upper body is loose and fluid Sometimes uses asymmetrical, or not identical, patterns and designs Dancers usually perform in bare feet to maintain a closer connection to the floor Acknowledges and uses gravity Classical Ballet Based on accepted steps, movements, and traditions that go back hundreds of years Uses five basic positions of the feet and arms Upper body is held stiff and upright Based on symmetrical, or identical, corresponding patterns and designs Dancers wear ballet slippers or pointe shoes Airborne, tries to defy laws of gravity Rather than trying to defy gravity as ballet dancers would, these dancers are grounded, an important characteristic of modern dance. AMOS J. MACHANIC, JR., DWANA ADIAHA SMALLWOOD, AND MATTHEW RUSHING IN NIGHT CREATURE. PHOTO BY ANDREW ECCLES On Performance Day You, The Audience Dance is a collaborative art requiring the work of many people. The final collaborator is you, the audience. Watching dance is different from watching television and movies. The dancers are in the same room as you and are affected by your actions. By remaining quiet and attentive, you help the performers to concentrate and do their best. The other members of the audience will appreciate your thoughtful attention during the performance, too. The Kennedy Center is in Washington, D.C. but can easily be seen across the Potomac River from the state of Virginia. Visiting The Kennedy Center The Kennedy Center is a living memorial to John F. Kennedy, the President of the United States from 1961 to 1963. As a living memorial, the Kennedy Center is a place where dance, music, and theater can be experienced every day on one of its nine stages. Enjoy your visit!