Weaving together deep personal experiences and an original score by composer Damien Sneed, Associate Artistic Director Matthew Rushing, Company member and Assistant to the Rehearsal Director Clifton Brown, and former Company member Yusha-Marie Sorzano present Testament—a tribute to Alvin Ailey’s Revelations that follows a community of people turning pain into power and lament … As stated by Moore and DeFranz, “the men rise from their chairs to join in the dancing, skipping transitional states of everyday gesture to launch into a flowing, tightly syncopated phrase of bounding jazz dance”. Advertisement. (Hubbard et al, 1998) Performance as a whole yields insight into political activity in the way it focuses … Revelations is the signature choreographic work of Alvin Ailey American Dance Theater. Check out Revelations by Alvin Ailey on Amazon Music. Privacy Policy   Please enter your email address to stay informed about the latest Ailey happenings and special offers. There is much reaching in this portion of the piece as well, showing how these dancers still yearn and fight to achieve joy. The white umbrella is symbolic of water and being baptized as well. Ailey was only 29 when he created Revelations. © 2021 Alvin Ailey Dance Foundation, Inc. All rights reserved. The world premiere of A Jam Session for Troubling Times by … This movement is grounded but not floor work, exemplifying the middle stage between grief and joy. Nine special presentations extending from December 2 – 31 will each be available online for a one-week period and open to all. Revelations is the best-known work of the jazz-dance choreographer Alvin Ailey. Music 2. Being raised by a fervent Christian mother, this piece was inspired by his days spent celebrating Christianity with song and prayer at the tiny Mount Olive Baptist Church,[7] along with the works of Langston Hughes and James Baldwin, two African American authors and social activists. When Ailey joined Horton’s dance school at the age of 22, he was introduced to a wide range of dance styles. [2] The dance conveys a ceremonial baptism, focusing on purity. For the latest video, please visit: https://vimeo.com/195812890 Alvin Ailey said that… [5]  When Ailey was 11 years old, his mother chose to relocate to Los Angeles, California, with the intention of becoming employed. At its premiere, the piece initially had 10 sections, a live vocal chorus, and was an over an hour in duration, and included 2 soloists. Read More, New York – November 10, 2020 – This holiday season, Alvin Ailey American Dance Theater will continue a tradition of uplifting and uniting audiences across the globe with a free virtual engagement celebrating six decades of Revelations, thanks to the generous support of Bank of America. Ailey did not dance in the world premiere, but as early company personnel shifted, he performed some of its group sections as solos. “Take Me to the Water” is an enactment of Ailey’s own baptism, which took place in a pond behind his church. Stream ad-free or purchase CD's and MP3s now on Amazon.com. It is best known for Ailey's masterwork, Revelations—a work which has been in its repertory since its creation in 1960. Alvin Ailey American Dance Theater Invites Viewers To Enjoy Family Programs During Ailey Forward - First-Ever Virtual Season Celebrating Six Decades Of Revelations New York – December 4, 2020 – Alvin Ailey American Dance Theater invites families around the world to gather for special family programming during Ailey Forward – the Company’s first-ever virtual holiday season. Closing every show is Alvin Ailey’s masterpiece “Revelations,” which, coincidentally, premiered 47 years ago too. [8] During the duet part of this section, the lyrics “fix me Jesus” are repeatedly sung, showing that these dancers are asking for help. Upon finding his place in California at the Thomas Jefferson High School, Ailey became involved with glee club, poetry, and language. It is an American phenomenon. 1. PILGRIM OF SORROW Read More. Revelations, created in 1960, is the signature work of jazz-dance choreographer Alvin Ailey. Site Credits, Ghrai DeVore-Stokes and Yannick Lebrun in, Akua Noni Parker and Demetia Hopkins Greene in, Photo courtesy of Emily Kikta and Peter Walker, Alvin Ailey American Dance Theater Repertory, LISTEN to the songs featured in Alvin Ailey's, WATCH Robert Battle and dancers discuss what. To describe his childhood, Ailey said, "I was miserable then and felt very alone". Revelation Dance by Alvin Ailey In the revelation dance, dancers use complex body movements to give a sense of the weight and strain that was faced by the people. Using African-American spirituals, song-sermons, gospel songs and holy blues, Alvin Ailey’s Revelations fervently explores the places of deepest grief and holiest joy in the soul. The lyrics, along with the rolling movements of the arms and silk add to the importance of water in this dance. According to Alvin Ailey, Revelations began with the music. This special evening honors the 50th anniversary of 'Revelations', which is considered one of the timeless masterpieces of American dance. As the stage lights up, the earthy colours of the costumes and backdrop become apparent. More than just a popular dance work, it has become a cultural treasure, beloved by generations of fans. The Day is Past and Gone - Music arranged by Howard A. Roberts and Brother John Sellers Due to the Great Depression and racial segregation, there was a large struggle for finding work and the two of them were forced to move often. The hats and fans are used to enact church service, and the fast and upbeat music adds to the positivity. Led by Artistic Director Robert Battle, Ailey’s extraordinary dancers will elevate a legacy of artistic innovation and excellence while celebrating six decades of Alvin Ailey’s timeless Revelations. Set to spirituals, gospel, and blues music and influenced by the choreographer's own Christian upbringing, it presents a vision of the historical African American experience from a church-inspired perspective. Loretta Abbott, Merle Derby, Joan Derby, Jay Fletcher, Thelma Hill, Gene Hobgood, Natheniel Horne, Herman Howell, Minnie Marsall, Don Martin, Nancy Redi, Corene Richardson, Juliet "Geri" Seignious, Ella Thompson, James Truitte and Myrna White. trouble, love and deliverance,” Alvin Ailey wrote for the premiere of Revelations on January 31, 1960, at the Kaufmann Concert Hall, 92nd Street YM-YWHA. Ailey’s extraordinary dancers will elevate a legacy of innovation and excellence in artistry with a reimagined season featuring premieres by Ailey’s Resident Choreographer Jamar Roberts; and Associate Artistic Director Matthew Rushing, in partnership with Company member and Assistant to the Rehearsal Director Clifton Brown, and former Company member Yusha-Marie Sorzano; a variety of other distinct programs; and a series of BattleTalk conversations, moderated by Artistic Director Robert Battle. [3], Revelations has been presented at the White House on many occasions, including the presidential inaugurations of Jimmy Carter and Bill Clinton, and it also formed part of the Opening Ceremonies for the 1968 Olympics in Mexico City.[4]. Rocka My Soul in the Bosom of Abraham - Music adapted and arranged by Howard A. Roberts. The three sections of the final 36-minute revis… Fix Me, Jesus - Music arranged by Hall Johnson*, TAKE ME TO THE WATER See more ideas about alvin ailey, alvin ailey revelations, dance theater. 2008 performance footage of Alvin Ailey's 'Revelations.' This section also has the most dancers, conveying a large celebration. Disclosure: Dance Dispatches received complimentary admission to this performance by Alvin Ailey Amerian Dance Theater to write an open and honest dance show review of Lazarus and Revelations. Didn't My Lord Deliver Daniel - Music arranged by James Miller+    The work is a contemporary response to Alvin Ailey’s Revelations that illuminates the enduring impact of the beloved classic 60 years after its creation, set to an original score by composer Damien Sneed. But since its premiere in 1960, the ballet has been performed continuously around the globe, transcending barriers of faith and nationality, and appealing to universal emotions, making it the most widely-seen modern dance work in the world. The choreography contains a lot of arms reaching, as people reach upward to rise. Stretched across the stage with torsos proudly lifted, the dancers embody the joy of faith contained by complex stepping patterns performed in unison. These drab colors symbolise the earth, as Ailey’s intentions were to portray people attempting to rise up from the ground. Created by Ailey in collaborations with its original dancer James Trite, the solo builds on exercises derived from the Horton modern dance technique. Earthy but bright tones in the costumes, such as yellow and white, symbolize the joyous nature of the piece. Now as we celebrate the holidays during these unprecedented times, the theater debuts its first virtual engagement to honor one of its classic ballets called Revelations. Nine presentations through the holidays, each available free online for a week, carry on the tradition of uplifting audiences and making dance accessible to all with engaging family-friendly programs and interactive experiences to uplift and unite across generations. For the last six decades, dancers from the iconic company have performed signature masterpieces all over the globe. The motions of these dancers also add to the portrayal of rising. It is also the signature work of the Alvin Ailey American Dance Theater, which premiered an extended version of the work (lasting over an hour)[2] in 1960, when Ailey was 29 years old. It is infused with what he terms “blood memories” – memories of his Seeing Revelations for the first time or the hundredth can be a transcendent experience, with audiences cheering, singing along and dancing in their seats from the opening notes of the plaintive “I Been ’Buked” to the rousing “Wade in the Water” and the triumphant finale, “Rocka My Soul in the Bosom of Abraham.”. Led by Alvin Ailey and a group of young African-American modern dancers, that performance changed forever the perception of American dance. Ailey intended for the dance to be the second part of his larger, evening-length survey of African-American music which had been begun in 1958 with his work Blues Suite though this was never fully realized. Watch for the devotional leader in … Ailey progressed greatly while studying at the school, and when Horton suddenly died in 1953, Ailey became the new artistic director of the company. Read More, New York – December 4, 2020 – Alvin Ailey American Dance Theater invites families around the world to gather for special family programming during Ailey Forward – the Company’s first-ever virtual holiday season. The yearning of the people comes through the contraction of muscles such as … I Been 'Buked - Music arranged by Hall Johnson*, Didn't My Lord Deliver Daniel - Music arranged by James Miller+, Fix Me, Jesus - Music arranged by Hall Johnson*, Processional/Honor, Honor - Music adapted and arranged by Howard A. Roberts, Wade in the Water - Music adapted and arranged by Howard A. Roberts, "Wade in the Water" sequence by Ella Jenkins  / "A Man Went Down to the River" is an original composition by Ella Jenkins, I Wanna Be Ready - Music arranged by James Miller+, Sinner Man - Music adapted and arranged by Howard A. Roberts, The Day is Past and Gone - Music arranged by Howard A. Roberts and Brother John Sellers, You May Run On - Music arranged by Howard A. Roberts and Brother John Sellers, Rocka My Soul in the Bosom of Abraham - Music adapted and arranged by Howard A. on Saturday, August 6. While drawing on the modern-dance techniques of Lester Horton, who had been Ailey's mentor, Martha Graham and Doris Humphrey, the dancing is also influenced by the movement studies of Asadata Dafora, Katherine Dunham and Pearl Primus. 4:11 PREVIEW Didn't My Lord Deliver Daniel. Alvin Ailey American Dance Theater’s winter opening night virtual benefit December 2 will celebrate six decades of its beloved American masterpiece, Revelations. Born in 1931 in Rogers, Texas, Alvin Ailey was raised by a young, single mother named Lula Elizabeth. Alvin Ailey American Dance Theater in Alvin Ailey's Revelations. I Been 'Buked - Music arranged by Hall Johnson* The companion piece to the Alvin Ailey American Dance Theater tribute A Musical … The piece was expanded to include parts for keyboards, drums and electric bass. "Revelations has a way of breaking through spiritual and language barriers." AAADT's Michael Jackson Jr. in Alvin Ailey's Revelations. It can easily be identified as the most active part, as the dancers finally reach a state of happiness. The next section of the dance, “Take me to the Water” is partially set to the spiritual "Wade in the Water", which was commonly used among slaves to signal a planned riverbank escape. Every American owes it to him or herself to see the Ailey [company] perform Revelations. The movements in this section are mainly upright, and this part consists of more jumps than the other sections. More than 23 million people in 71 countries have seen Revelations – more than any other modern dance work. Ailey said that one of America’s richest treasures was the African-American cultural heritage—“sometimes sorrowful, sometimes jubilant, but always hopeful.” This enduring classic is a tribute to that tradition, born out of the choreographer’s “blood memories” of his childhood in rural Texas and the Baptist Church. "Wade in the Water" sequence by Ella Jenkins  / "A Man Went Down to the River" is an original composition by Ella Jenkins Sections were removed as the work evolved, and an extensive tour sponsored by the U.S. Department in 1962 forced Ailey to commit the music for Revelations to recording. Alvin Ailey’s Revelations was premiered in 1960 and is based on Alvin Ailey’s childhood memories of worshipping at his Baptist church in Texas. Using African American spirituals, song-sermons, gospel songs and holy blues, Ailey’s timeless masterpiece fervently explores the places of deepest grief and holiest joy in … Photo: Alvin Ailey American Dance Theater’s Ghari DeVore and Yannick Lebrun in Alvin Ailey’s Revelations. Five years later at age 27, Ailey founded the Alvin Ailey American Dance Theater to present his vision of honoring the African-American culture through dance. [8] This section includes the propulsive men's trio "Sinner Man" and the "Yellow" section, set in a southern Baptist rural church. 1998 Preview SONG TIME I Been Buked. All performances of Revelations are permanently endowed by a generous gift from Donald L. Jonas in celebration of the birthday of his wife, Barbara, and her deep commitment to Alvin Ailey American Dance Theater. Terms & Conditions   As the lyrics go in “I Been ’Buked” — the opening section of Alvin Ailey’s masterpiece, “Revelations” — “There is trouble all over this world.” Don’t we know it. [8]  To the strains of "Wade in the Water" a devotional leader bearing a large umbrella baptizes a young couple at a river, represented by yards of billowing blue silk stretched across the stage. The final section, entitled “Move, Members, Move” celebrates the liberating power of 20th-century gospel music This is the most positive and uplifting section, as it celebrates the church and its people. Processional/Honor, Honor - Music adapted and arranged by Howard A. Roberts Since its premiere in 1960, Alvin Ailey’s "Revelations" has been a lasting cultural treasure beloved by people from around the world. Alvin Ailey’s timeless masterpiece Revelations has become one of the most well-known and respected ballets in the history of dance, acclaimed as a must-see for all and recognized by a U.S. Senate resolution. As a result, Ailey spent the first twelve years of his life in various Texas small towns with only his mother to provide for the family. Revelations is the best-known[1] work of the jazz-dance choreographer Alvin Ailey. I Wanna Be Ready - Music arranged by James Miller+, MOVE, MEMBERS, MOVE The first section, “Pilgrim of Sorrow” begins in total stillness. Alvin Ailey American Dance Theater was founded in 1958 by dancer, choreographer, and visionary Alvin Ailey, to bring African-American Dance to all audiences. [6]  Alvin followed shortly after, for he stayed in Texas for a brief time to finish the school year. Alvin Ailey's "Take Me to the Water" section from Revelations, and Donald McKayle's Games are representative works that inspired the creation of lessons. Ailey grew up in the stereotypical black, impoverished South, and he found refuge in the church. The "pilgrim of sorrow" also represents a bird trying to be free but never is. * Used by arrangement with G. Schirmer, Inc., publisher and copyright owner. It was first produced by Alvin Ailey in New York City, New York on January 31, 1960, when Ailey was only 29 years old. As Revelations approaches 60 years of nearly uninterrupted performances, Ailey's hopeful message continues to spread. Alvin Ailey American Dance Theater in Alvin Ailey's Revelations. Sinner Man - Music adapted and arranged by Howard A. Roberts     [8], Revelations is divided into three sections "Pilgrim of Sorrow", "Take Me to the Water" and "Move, Members, Move". WATCH a short film celebrating Revelations at 50, LISTEN to the songs featured in Alvin Ailey's Revelations, WATCH Robert Battle and dancers discuss what Revelations means to them. This dance uses a lot of team work. The contractions choreographed in the piece portray the strength that these people must exert to try to be free, however they are unable to reach that freedom, shown by the dancers falling to their knees. Read More, The Alvin Ailey Dance Theater has become a cultural landmark in the world of dance. It is also the signature work of the Alvin Ailey American Dance Theater, which premiered an extended version of the work (lasting over an hour) in 1960, when Ailey was 29 years old. Jul 4, 2020 - Explore Peachy Keen's board "Alvin ailey revelations" on Pinterest. You May Run On - Music arranged by Howard A. Roberts and Brother John Sellers Credit: Pierre Wachholder. Using African-American spirituals, song-sermons, gospel songs and holy blues, this suite fervently explores the places of deepest grief and holiest joy in the soul. Roberts.[9]. "Alvin Ailey was able to create a work about faith in God, yet it transcends religion," says Battle. New York – November 25, 2020 – Alvin Ailey American Dance Theater’s holiday virtual season Ailey Forward celebrating six decades of the beloved American masterpiece, Revelations, will launch on Wednesday, December 2 at 7:30pm ET with a “Revelations Reimagined” Opening Night Virtual Benefit. A large group of dancers clad in white sweep onto the stage as baptismal agents—a tree branch to sweep the earth and a white cloth to cleanse the sky—lead a processional to the stream of purification. A raucous ceremony is followed by the meditative solo "I Wanna Be Ready"[7] which communicates a devout man's preparations for death. The dance then solidified into the three-part format seen today with a duration of 36 minutes. This can be seen with the white and pale blue costumes, ribbons on stage, and backdrops, as the color white symbolizes purity, heaven, and illumination. Alvin Ailey American Dance Theater in Alvin Ailey's Revelations with guest singer Ledisi. Eighteen dancers in yellow costumes enact a church service with fans and stools. Revelations illustrates the history, traditions, faith, and beliefs of the African American culture while telling the story of African-American faith and tenacity from slavery to freedom through a suite of dances set to spirituals, gospels, and blues music. "Dancin' to Freedom: A Historical Analysis of the Rise of the Alvin Ailey American Dance Theater", "Dancing Southern Diaspora,: Alvin Ailey's Blood and the Backwardness of Quare Disidentification", "Dancing Revelations : Alvin Ailey's Embodiment of African American Culture", Archival footage of Matthew Rushing performing "I Wanna Be Ready" from, Archival footage of Ailey II performing "Wade in the Water" from, Matthew Rushing – a 25-year veteran of the Ailey company — performed the solo “I Wanna Be Ready” from, https://en.wikipedia.org/w/index.php?title=Revelations_(Alvin_Ailey)&oldid=1000325769, Wikipedia articles incorporating the Cite Grove template, Wikipedia articles incorporating the Cite Grove template with a url parameter, Creative Commons Attribution-ShareAlike License, Company: New York, Kaufman Concert Hall, 92nd Street YM-YWHM, 1960, World: New York, Kaufman Concert Hall, 92nd Street YM-YWHM, 1960, Costumes: Costumes for Rocka My Soul section redesigned by Barbara Forbes, Décor and costumes: Original décor and costumes by Lawrence Maldonado; Revival décor and costumes by Ves Harper, This page was last edited on 14 January 2021, at 17:17. DANCE IN PROFILE: Alvin Ailey, Revelations (1960) A complete performance of Revelations from 1986 is viewable on YouTube here (28 minutes into the video).. With Revelations, dancer-choreographer Alvin Ailey (1931-1989) revolutionized the role of African-Americans in Modern dance and created an enormously successful fusion of widely accessible style and themes and artistic quality. The three sections of the final 36-minute revised version depict the suffering of slavery ("Pilgrim of Sorrow"), baptismal joy ("Take me to the Water"), and a choral church celebration ("Move, Members, Move"). I’ve probably seen it countless times and every time it’s magical and spiritual and hopeful - everything that we want ourselves to be and hope that our country will be. Alvin Ailey American Dance Theater grew from the now-fabled performance in March 1958 at the 92nd Street Y in New York. Wade in the Water - Music adapted and arranged by Howard A. Roberts     Revelations is a contemporary style dance that tells the story of African-American faith and tenacity from slavery to freedom through a suite of dances set to spirituals and blues music.This choreographic work was first performed in New York City on January 31,1960 at the Alvin Ailey American Dance Theater and later recognized to be a signature piece for the theater. + Used by special arrangement with Galaxy Music Corporation, New York City. The original score included parts for guitar, percussion and violin and voice. Set to spirituals, gospel, and blues music and influenced by the choreographer's own Christian upbringing, it presents a vision of the historical African American experience from a church-inspired perspective. Aside from falling to the knees, this section of dance has the most floor work and grounded movement, symbolising the low state of mind that the characters have. Of arms reaching, as people reach upward to rise up from the iconic have... 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