Francesca Harper, the artistic director of Ailey II, joins PIX11 to discuss the upcoming Golden Anniversary program at the Joyce Theater celebrating 50 years since the dance company was founded. Harper also brings along dancers from the program to give a preview of the upcoming performance.
Back in 2001, Solomon Dumas’ mother was listening to the car radio when she heard an interview with some of the dancers from the Alvin Ailey American Dance Theater. Her son had planned to enroll in theater camp, but after hearing about AileyCamp — a summer dance program for youth — she decided to enroll him there instead.
Zellerbach Hall was packed and spirits were high for opening night of Alvin Ailey American Dance Theater’s 56th visit to Berkeley.
The annual DC Gala Benefit of the Alvin Ailey American Dance Theater coincided with the company's week-long residency at the John F. Kennedy Center for Performing Arts.
As Alvin Ailey American Dance Theater celebrates its 65th anniversary year, the organization has embarked on an initiative to honor the legacy of its founder, Alvin Ailey, by providing free educational resources through PBS.
Acclaimed choreographer Alvin Ailey infused his life story and Black cultural roots into his modern dance works, which have been enjoyed by millions since he first founded Alvin Ailey American Dance Theater in 1958 in New York City. Early dances such as Revelations remain favorites in the company repertory today, but many people don’t know the background of the artist, who died in 1989.
When 31-year-old professional dancer Coral Dolphin was 5 years old, she saw the Alvin Ailey American Dance Theater Company perform at The Music Center’s Dorothy Chandler Pavilion. Dolphin, who is from South Central, remembers feeling a sense of joy and excitement to see dancers perform the late world-renowned Alvin Ailey’s magnum opus Revelations in person.
Houston-born dancer and arts educator Isabel Wallace-Green vividly recalls seeing a performance of Alvin Ailey’s landmark 1960 dance work Revelations as a child, peering over a high balcony in Jones Hall. “The dancers were pretty small!” laughs Wallace-Green, who nevertheless was captivated, especially by a section in Revelations titled “Wade in the Water,” where translucent white, cobalt, and aquamarine cloths are stretched across the stage to evoke baptismal waters and — for African American slaves — the riverbed as a pathway to freedom. “I’d never seen anything like that.”
My relationship with dance has been defined by witnessing. It began at an early age within the vibrant walls of the dance studio. It was more than a space of movement; it was my haven, a second home sculpted by the passion of my mother—Denise Jefferson, a devoted student and teacher of Martha Graham’s technique, and eventually director at The Ailey School. She was passionately devoted to her craft.
A class unto itself: Seeing a performance of Alvin Ailey is a transformative experience and the Benefit Dinner and After Party for the weeklong engagement of the Company was a great success.