In celebration of Martin Luther King, Jr. Day, Alvin Ailey American Dance Theater company members Khalia Campbell, Jacquelin Harris and Solomon Dumas perform an excerpt of Wade in the Water apart of Alvin Ailey’s masterpiece, Revelations on Live with Kelly & Ryan.
NEW YORK -- The Alvin Ailey American Dance Theater's holiday engagement is now underway at New York City Center. From now until Dec. 24, you can catch 10 works created by founder Alvin Ailey. But a new piece called "Busk" choreographed by Aszure Barton includes a Bronx native in a featured role. Featured dancer Khalia Campbell joined CBS2 to discuss the show and her passion for dance.
At Kyle Abraham’s premiere for Alvin Ailey American Dance Theater at New York City Center, dancers find intimacy in songs by Erykah Badu and Jazmine Sullivan. The choreographer Kyle Abraham knows how to make a playlist. His third work for Alvin Ailey American Dance Theater, “Are You in Your Feelings?,” which had its premiere on Friday as part of the company’s annual New York City Center season, unfurls to an R&B, soul and hip-hop compilation of thoroughly danceable songs about love and relationships.
Survivors’ has new resonance in a period of widespread protests. As Alvin Ailey American Dance Theater returns to New York for its winter season, it will perform Revelations, of course, as well as a world premiere from in-demand choreographer Kyle Abraham. But it will also feature a work that has not been seen for more than 30 years: a wrenching tribute to Nelson and Winnie Mandela titled Survivors.
Renowned choreographer Alvin Ailey started his namesake dance company back in 1958, and his work has remained timeless over the decades. Whether it’s the joyous celebration of Night Creature, the playful Pas de Duke, or his most revered masterpiece, Revelations, his work can be a transcendent experience that has filled the hearts and souls of audiences around the globe.
Alvin Ailey’s “Revelations” is back in the flesh — and Alvin Ailey American Dance Theater is dancing it as rousingly as ever. If you’ve never seen “Revelations,” or haven’t gotten a dose in a few years, make haste to the Ailey company’s current run at UC Berkeley’s Cal Performances, where this eternal and indestructible 1960 classic is slated to cap every program (there are five of them) on offer through Sunday, April 3. And brace yourself; as one longtime fan was heard telling a newcomer on opening night Thursday, March 29, “You’re about to go to church.”
Twenty-five years is a long time to be involved in any discipline. Now imagine having to be in prime physical shape all that time—on the level of an elite athlete. Vernard Gilmore, who grew up in Chicago, has been with the Alvin Ailey American Dance Theater for a quarter-century. He began his training at Curie Performing and Creative Arts High School before studying at the Joseph Holmes Chicago Dance Theater and then moving to New York City. Gilmore is currently featured in Alvin Ailey's solo "Reflections in D" and takes center stage in other classics such as Revelations and Blues Suite. Gilmore, who's openly gay, recently talked with Windy City Times about Alvin Ailey, the evolution of dance, the Ailey documentary and his own feelings during the past two years that have challenged everyone.
A local dancer will perform for a hometown crowd when the Alvin Ailey American Dance Theater comes to Chicago. Sarah Daley-Perdomo, who grew up in South Elgin and graduated from St. Charles North High School, is a company member of the Alvin Ailey American Dance Theater and will perform at the Auditorium Theatre in Chicago March 2-6. Daley-Perdomo, 35, started out in ballet when she was five years old and continued her training at the Faubourg School of Ballet in Hanover Park. "It was something I realized I had a talent for and wanted to see how far I could go," she said.
Instinct rather than intention guided Robert Battle, artistic director of the Alvin Ailey American Dance Theater, when he choreographed the image of dancer Renaldo Maurice, a Black man, draped in the American flag. Battle had envisioned his piece, “For Four,” as a light opener to a jazz score capturing the pandemic’s pent-up energies. But at some level, Battle said, he needed to respond to the murder of George Floyd and “these fragile times in our democracy.”
As a Black girl from the inner city of Baltimore, I hadn’t known anything about the codified world of dance growing up. Ballet was something I had only seen on TV—and who I saw in it never looked like me. I never thought that would be my future. My first introduction to dance was at my audition for the Baltimore School for the Arts, and from there a love bloomed.