Alvin AileyAmerican Dance Theater

CuesheetFOR STUDENTS

B orn in a small Texas town in 1931, Alvin Ailey began his dance training at age eleven, under the

guidance of dance pioneer Lester Horton. From this early training, Ailey was exposed to a wide range of classical, social and folk dance, as well as the new techniques of modern dance.

Ailey began his career during a period when opportunities for African American dancers were severely limited. Ailey wanted to create a company that allowed African American dancers to display their talents and to express their experiences and heritage. Decades later, when he formed the Alvin Ailey American Dance Theater, it was one of the first professional companies where dancers of all races and backgrounds were welcome.

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.

Ailey’s Style Ailey carefully observed natural human movements, and used those which appealed to him in creating new dances. He also was strongly influenced by three modern choreographers:

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 movements that originate in the tension of a contracted muscle, creating forceful, angular lines when the tension is released.

Jack Cole was a jazz choreographer known for his use of expressive hand movements.

During the performance, watch for movements that show the influence

of each of these choreographers.

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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 the Alvin Ailey American Dance Theater.

This parasol marks topics

for discussion or activities you may want to do with other students, friends, or family.

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“The dance came from the people and should always be delivered back to the people.”

-Alvin Ailey

Photo courtesy of Alvin Ailey Dance

Foundation Archives. Photo by Eric

N. Hong.

Alvin Ailey American Dance Theater’s L. Sims, A. Graf, and G. Sims in Revelations, photo by Andrew Eccles.

Go Online!There are many Ailey-related resources online, including video excerpts, interviews, and more. Check

www.artsedge.kennedy-center.org/alvinailey

for a clickable list.

Stephen A. SchwarzmanChairman

Michael M. KaiserPresident

Darrell M. AyersVice President, Education

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Cuesheets are produced by ARTSEDGE, a program of the Kennedy Center Education Department.

Adapted from a Cuesheet created by Lillie Stewart and Karen Selwyn.

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50 Years of InnovationThroughout its history, Ailey’s company has explored themes of African American heritage and culture. In honor of the company’s 50th anniversary, Judith Jamison created Anniversary Highlights, which explores each decade of the Ailey company and features selections from many of the company’s most popular works. During today’s performance, you will see these excerpts from three longer ballets:

“Jumpin’ the Blues” from Opus McShann, a tribute to the jazz era pianist Jay McShann and the popular dances of the time, including the Lindy, a kind of swing dance.

“Jazz Trio” from The Road of the Phoebe Snow imagines incidents that might have occurred near the tracks of the legendary railroad train, the Phoebe Snow.

“Martin Luther King” from Three Black Kings celebrates Dr. King’s life and work through movement. It features the music of composer Duke Ellington, who created it for this ballet.

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In addition to these short excerpts, the company will perform Revelations, Ailey’s most popular work.

RevelationsFirst performed in 1960, Revelations is based on Alvin Ailey’s childhood memories of his Baptist church in Texas. He used blues, work songs, and gospel music as an inspiration, weaving them together to create a picture of the African American experience in the American South.

Revelations is divided into three sections; each 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—the ritual in which one becomes a full member of the congregation—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 attempts 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.

Blood MemoryAiley described the memories that inspired Revelations as “blood

memories” because they were so strong he felt they were part of him as much as the blood that ran through his veins. Write a paragraph describing an experience from your own life that is so important you believe it will become a blood memory to you.

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Alvin Ailey American Dance Theater’s Linda Celeste Sims and Glenn Allen Sims in Revelations, photo by Andrew Eccles.

Alvin Ailey ® American Dance Theater