Review: Celebration Through Story
By Monica Caprarella
In 1958 Alvin Ailey debuted Blues Suite, the same year his dance company was founded,
and also during the Civil Rights Movement. Judith Jamison, who eventually took over Ailey’s
company, explains, “Alvin Ailey wanted to celebrate what he couldn’t see celebrated. That the
images of African Americans, the beauty of it, the enormous talent out there that was not being
seen. He wanted to celebrate our experience, but he also wanted you to know it's a universal
experience, and he did” (Stephan, .52 - 1.22). What makes this dance so powerful is the time in
which it was first choreographed and performed. During the 1950s, racial tensions were high and
to be able to show the black perspective would’ve been incredibly impactful. Not only were
African Americans watching these performances, so were white people and other groups as well.
To be able to showcase these dances with a focus on the African American story, including a
highly diverse cast, would have been not only eye-opening but thought provoking and possibly
mind-changing too. Even while watching it over 60 years later, in the midst of another social
uprising, the messaging and celebration of the black experience is highly palpable. This dance
and message transcends time and continues to be relevant just as his personal legacy is today.
Alvin Ailey had a distinct style and viewpoint, making him a greatly recognized dancer
and choreographer. In his own words he describes, “My roots are in the blues, the street people
whose lives are filled with beauty and misery and pain and hope. My roots are also in the gospel
church. The gospel churches of the south where I grew up” (Stephan, .10 - .41). When viewing
Blues Suite all these elements mentioned are at play. While dances can oftentimes feel subjective
and the meaning obscure, there is realism and many clear stories unfolding. Ailey’s
choreography highlights joy, freedom, and sorrow throughout the piece, which depicts a
progression of a night out over 26 minutes. It is set on a dark stage, clouded by a smokey haze,
appearing to be in a bar or nightclub. Each portion showing varying emotions of the many stages
of the night. Because each section has a different song and group of dancers the audience is
pulled back in again each time these change. There is only one instance in which the soundtrack
stops. For a full minute, the couple who has been disconnecting and reconnecting with each other
have a final stand. She appears to leave him, however, he reels her back in as they tug over a
scarf. The music is stopped at the most heightened part, leaving you more focused than before.
What follows this dramatic dance between the two, fades into a solo (AlvinAiley,13 - 14). This
pause is skillfully placed in the middle of the entire performance, which appears to have the
purpose of resetting and transitioning into the final acts.
In addition to the well crafted timing of the show, the movements are full and express
vibrance and deep emotion. Arms are outstretched, the legs and feet move swiftly, and bodies
jump and jitter. This is introduced quickly from minute 4.05 to 5.25. The group of men with
black outfits and red neckties pump their arms and glide them overheard while spinning. They
jump in unison across the stage moving their full bodies with each motion. Additionally, three
women, clothed in white dresses, immediately follow up the men’s portion with a much slower
song and complementary movements. However, they still use their entire bodies to express their
passion in accompaniment to House of the Rising Sun. This includes sweeping arm movements
oftentimes with grasping hands and leg extensions while balancing on one foot (AlvinAiley, 7.50
- 8.20). The fullness of the range of motion translates the immense feelings of both the men and
women. The emotions are so great they must be released and shown through the entirety of the
body with grand gestures. These movements feel natural and from the heart. While technical,
they look effortless with grace and ease. The dancers do not seem to be simply mimicking the
choreography, but truly feeling the rich sentiments with the moves, which is a testimate to
Ailey’s ability to translate emotions through movement.
In pairing with the large, expressive movements, these dances are performed across the
stage. Rather than relegated to one specific point, for example, only in the center or off to the
side, the dancers utilize the entirety. When in groups the dancers are not typically seen huddling
together, they are in windows, each having their own space on the stage (AlvinAiley, 4.15 - 4.30,
17.00 - 17.15). Because the movements are large and expansive, and the dancers have their own
area, this leaves the viewer with an understanding that these people and stories are meant to take
up space. They are meant to be seen, heard, and understood. There is meaning and attention to be
had, which feels very relevant to the time in which this dance was originally choreographed and
performed. The Black community was demanding equality and fighting to be heard with a right
to share space in the country. Though a night out may feel insignificant to the larger plight of the
Black community, these moments, in which they are seen doing ordinary things is exactly why it
is important. These everyday stories show that we as a people have much more in common than
we do different.
As previously mentioned Judith Jamison said that Alvin Ailey wanted to tell stories and
this dance is expertly crafted in just that. However, a specific example that stood out to me was
during the ending segment when a man in a green hat is doing his best to allure any one of the
women in the room. However, his attempts are squandered multiple times. He can be seen
sneaking behind women or blatantly trying to take them from their date. But each time he is
shooed away or even hit (AlvinAiley,18.25 - 18.42). I think in the midst of the many serious
tones, having this playful moment interwoven with the scene is clever and adds levity. Towards
the end, the song transitions into Morning Blues, and the dancers begin to move slowly
appearing tired after a long night of dancing. At the same time, they look reluctant to go home.
Even the man who attempted to find someone was unsuccessful to the very end. Church bells
begin to ring and a train noise signals its passing and a new day has begun. With this, the dancers
sluggishly leave the stage and the night is over. It is not just the dancers movements and
costumes that illustrate the story. The use of the music and sound effects are utilized to push the
storyline until the end.
Alvin Ailey has executed his vision of telling stories and his experience. Though this
dance appears to display just a few scenes from a night, there is much more being explained
through this dance. Though the messaging may not be loud or directly told, he takes power back
by changing the narrative of the current times. Jon Perpener eloquently explains, “By valorizing
his African-American cultural heritage and challenging existing aesthetic hierarchies, Ailey was
effectively usurping the social and political power that was attached to privileged categories of
art and claiming it as his own”. While this dance is a ballet, it does not feel pretentious or overly
structured as may be viewed in many traditional ballet performances. In contrast to many ballets
where it is heavily female-driven, there is an equal male and female presence. Both groups have
spotlight dances as well as sequences together. His activism is seen through the movements, the
cast, and the setting, as well as the change of a traditional formula. Alvin Ailey celebrates not
only his story but so many others as well within this dance that has lasted generations.
Ailey, Alvin. “Blues Suite.” AlvinAiley,
https://www.alvinailey.org/performances/repertory/blues-suite.
Mann, Stephan. “Alvin Ailey American Dance Theatre at 50 A Golden Anniversary
Celebration.” Youtube, commentary by Alvin Ailey, Judith Jamison, 5 Jan. 2013,
https://www.youtube.com/watch?v=zS8D35FPtKk.
Perpener John. DANCE OF THE AFRICAN DIASPORA: Tracing Social and Political
Activism. Jacobs Pillow. https://danceinteractive.jacobspillow.org/themes-essays/africandiaspora/tracing-social-political-activism-african-diaspora-dance/
Content:
1.Choose one of the following dance concert works as listed on the "Concert Option Page."
2.Consider the significance of your chosen artist/dance in relation to theories and issues discussed in class, to help better give a full picture of
the work.
3. Begin with the "Dance Artist in Context" model, to better understand the work and artist. Begin by researching all of the following you can find
about the artist, company, and genre/time period that this work was created in:
• Personal History of the Dance Artist
• Socio-Cultural and Political Context of the Dance Artist (philosophies, and what was/is happening when the work was created)
• Movement Characteristics and Artistic Process of the Dance Artist (Describing the movement, aesthetic, etc.)
• Contemporaries/Collaborators (Seeing who else was/is making work during this time can help understand the greater context)
4. Utilize this information to develop your thesis/focus for writing about the concert you watch (from the provided list). For example, if you
choose to write about Merce Cunningham, your focus (thesis) could be looking at the idea of protest, and as an example of how post modern
rejected the values of narrative modern works. This analysis would then go on to provide examples of how the dance work did this by giving
movement descriptions and production descriptions, and provide other sources that discuss the history and context of Merce's work.
Use movement description and specific examples of the work to support your observations and review the work.
Format:
1. Thesis Statement: Your thesis may be formed as a question or perspective you develop. The thesis is in your introduction, and your main idea
and point of view that you are presenting.
2. Triangulation: Your process of weaving together the materials you gather and research you conduct to explore your Dance Artist and thesis in
the body, of your essay.
3. Conclusion: What did you discover? How did your thesis evolve?
4. Quality: Formal writing (no slang), and an articulate, developed report of your findings. Clear progression, organization, and connection of
ideas/content.
5. Length :4-5 pages (no cover page, no images/photos, not including works cited page), typed, spell checked, proofread.
6. Citations/Format:
o Cite-All sources cited using MLA or APA format, and include timestamps and page numbers in text, when citing film examples or direct
quotes/examples.
o Double space, .12 font, 1 inch margins.
o Include a works cited page.
7. Sources: In addition to the dance concert film, include at least 2 scholarly sources from this course, (articles, interviews, essays, etc.) You may
also utilize the Library database for scholarly sources and book sources. Do not rely on Wikipedia or other variable online sources, and
ALWAYS check the validity of your sources (example: do not assume that all blogs are trustworthy- look into who is writing and what their
credentials are). A successful research paper will draw from a variety of sources, and may include personal interview or video, in addition to
print and web sources. At least, but not limited to two sources- you will be evaluated on the quality and thoughtful use of your sources.
Choose ONE of the following full length dance works that interests you to write your analysis on. These all have slightly different streaming
windows, so be sure to check your date. Each performance runs approx. 30-40 minutes. Research the choreographer or company you choose to
aid you in writing your review.
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