By Walter Rutledge
Michael Jackson, Jr. has spent his career working in the Black dance genre. The gifted dancer, choreographer, teacher, and this season’s Ailey “poster God” began his dance training at age 14 at the Duke Ellington School of the Arts in Washington, D.C. under the direction of Charles Augins. His irrepressible curiosity, athletic physique and pliant musculature help Jackson Jr. quickly excel. Continue reading
By Walter Rutledge
The Alvin Ailey American Dance Theater will present an excerpt of George Faison’s masterwork Suite Otis at their New York City Center season opening night gala, Wednesday, November 29 2017. Choreographed in 1971 for the George Faison Universal Dance Experience the work joined the Ailey repertoire in 1977. 40 years after it’s Ailey debut Suite Otis continues to excite and entertain audiences with verve, aplomb, fleet footed technique and imaginative Archimedean storytelling.
The company will perform the finale section set to Otis Redding’s Tenderness. The full cast section reintroduces the dancers creating a visually exciting yet compelling epilog. Throughout the work Faison (the imperial storyteller) does what every choreographer should do- invites us into his vision and delivers with clarity, focus and impeccable choreographic timing.
Balletomanes still long for the return of old fashion honest storytelling- the hallmark of Ailey’s original company. In Suite Otis Faison’s articulate use of the dance narrative genre captures the majesty and universal humanity of both Otis Redding’s music and the black dance experience. This gave him a voice in an era when Black American dance and culture had started to becoming a global force.
Suite Otis- George Faison
What Faison did (and continues to do) is to keep the dance/theatre aesthetic in the forefront of the arts conversation. Tenderness will be performed for one performance only on Wednesday, November 29 for tickets and a complete schedule of the five-week New York City season visit ailey.org.
By Walter Rutledge
Loretta Abbott, dancer, actress, singer and choreographer passed away on Sunday June 5, 2016. A natural performer Abbott had two passions: her love for dance that spanned over 70 years, and her allegiance to the Harlem community where she lived her entire life. Continue reading
On Thursday October 23, 2014 Dance critic and author Jennifer Dunning talked with Dudley Williams about his career that spans almost six decades. Clack Center NYC hosted A Conversation with Dudley Williams at the New York Public Library for the Performing Arts Bruno Walter Auditorium, 40 Lincoln Center Plaza at 6pm.. Williams was frank, funny and informative, discussing a wide range of his experiences with some of the world’s most renowned choreographers.
By Walter Rutledge
President Franklin Delano Roosevelt said, “Happiness lies in the joy of achievement and the thrill of creative effort”. Jeroboam Bozeman is living Roosevelt’s observation. At first glance Jeroboam is a quiet, reserved young man with a warm and genuine smile; on stage Bozeman is a dance warrior. This talented 23 years old performer will make his debut with the Alvin Ailey American Dance Theater during the New York City Center season, which begins on Wednesday, December 4.
Jeroboam Bozeman part one
A native of Brooklyn, New York Jeroboam was one of those fortunate individuals who discovered his “joy of achievement” early in life. He began studying dance at the Ronald Edmonds Learning Center (Junior High School 113) in Brooklyn with Ruth Sistaire. It was Sistaire who soon introduced Jeroboam to Creative Outlet Dance Theater of Brooklyn, a community based dance school and company.
Jeroboam Bozeman part two
Under Artistic Director Jamel Gaines’ guidance Jeroboam got his first real taste of the New York City dance scene. He trained in a nurturing family-like environment with working professionals including former Ailey dancers Shirley Black Brown and Raquelle Chavis. At age 16 he was asked to perform with the company and toured London, England. These experiences with Creative Outlet gave this young artist a chance to see the world, earn income and most importantly build a professional ethos.
Bozeman’s talents were rewarded with full scholarships to attend two of New York City’s most prestigious dance schools, the Joffrey Ballet School and Dance Theatre of Harlem. By age 19 his commitment and hard work paid off once again when he was chosen by choreographer Sarita Allen to performing in the Far East touring company of Elton John and Tim Rice’s musical Aida. These experiences helped shape the aspiring artist, but his career defining moment can when Jeroboam joined Philadanco.
Jeroboam Bozeman part three
The venerable Philadelphia Dance Company known to the general public, as Philadanco was the environment that propelled Bozeman from neophyte to professional. He credits the no nonsense approach of Artistic Director/Founder Joan Myers Brown for his artistic growth. For over 40 years Brown’s strong repertory company has featured choreography by such dance luminaries as Talley Beatty, George Faison, Rennie Harris and Ronald K. Brown; during his three-year association with the company Jeroboam learned to dance beyond the footlights.
A turning point for Bozeman came during the rehearsals of the solo from Faison’s Suite Otis. Former Ailey dancer and current Philadanco Rehearsal Director/coach Debora Chase-Hicks pushed him to find that inner dance warrior. The sessions were a watershed moment for Jeroboam, helping him move his artistry to the next level.
Jeroboam Bozeman part four
Returning to New York in 2012 Bozeman danced with Ailey II under the direction of then newly appointed Artistic Director Troy Powell. Less than a year later he was invited to join the Alvin Ailey American Dance Theater. As Bozeman makes this next career move he retains a humble teachable spirit, unpretentious demeanor and that exuberate smile. We wish this rising dance warrior much continued success.
Originally posted 12/2/13 for Harlem World Magazine
The Alvin Ailey American Dance Theater performed two excerpts from his masterwork Revelations on the weekly television variety show The Hollywood Palace (1968). The episode hosted by Diahann Carroll helped give the then fledgling dance company national attention. The cast included Judith Jamison, George Faison and Kelvin Rotardier. Continue reading
The Alvin Ailey American Dance Theater performed two excerpts from his masterwork Revelations on the weekly television variety show The Hollywood Palace (1968). The episode hosted by Diahann Carroll helped give the then fledgling dance company national attention. The cast included Judith Jamison, George Faison, Kelvin Rotardier, and Dudley Williams. Continue reading
By Walter Rutledge
The Thelma Hill Performing Arts Center’s 40th Anniversary season at the Actor Fund Center, 160 Schermerhorn Street, is in high gear. The third evening presented new, emerging and mid-level choreographers with works ranging from ballet to hip-hop. The performance expressed the founding credo of the organization by presenting the diverse and innovative choreography of artists of color.
The evening opened with a series of solo works. Francesca Harper’s Deconstructing Flack consisted of two solo works echoing the theme of love and loss. Both works, set to the music of Roberta Flack, took the audience from prologue to epilogue.
Erika Lisaku danced the opening solo with a poignant despair. Harper captured the haunting quality of Flack’s First Time Ever I Saw Your Face. In the second solo dancer Amanda Sachs conveyed the acceptance of her situation. More reflective and introspective Ballad of the Sad Young Men had a feeling of resolve.
Toro (pool in a river) by Takeshi Ohashi moved with an elegant quiet control. Danced by Ohashi, with live trumpet accompaniment by Justin Osouna Chance, the impressive movement quality combined tight, isolated movement with sweeping floor work. The works fluidity and grounded quality evoked both the purposeful nature Tai Chi and the explosive excitement of break dance.
The last solo, William Isaac’s charming No Banana Skirt, offered an upbeat and fun variation. Amanda Smith danced the lively and energetic pointe piece with technical proficiency and an effervescent deportment. Both the performance and choreography encapsulated the fun spirit of the Josephine Baker’s rendition of Bye Bye Blackbird.
Purelements: An Evolution in Dance closed the first act with The Call by Men Ca. Danced by the junior company the work effectively blended West African and modern dance. The level of professionalism and commitment endeared this group of young performers to the audience, and became one of the most satisfying aspects of the performance.
The Hip-Hop dance crew Special Ops five-man dance crew consisting of Ptah, Floats, Twist, Press, Rachett and Ej wowed the audience. The crew exemplified the evolution of the urban art form synonymous with 80’s street culture to 21st century inner city storytelling through a codified movement style. Using Flexing (isolated movement and contortions, Gliding (floating across the floor) and Shotta Dance (derived from Reggae dancehall) Special Ops shared a gritty reality ripped from today’s headlines.
Nijawwon Matthew’s XY Dance Project transported us from rap to Bach with his ensemble dance Work Forty. The work blended modern, ballet, gymnastics and “Matthews” to create a visual and kinesthetic excitement. Costumed in white bras, and briefs the dancers donned olive-green ski mask type headgear by Project Runaway’s Mondo Guerra, which reminiscence Robert Rauschenberg work in Paul Taylor’s Three Epitaphs. Matthew continues to find his own voice, and we commend and encourage him to keep exploring.
Earl Mosley’s Diversity of Dance closed with Wild and Free! (Draft 5). The jazz infused modern dance ensemble work featured a cast of 23 dancers, and quickly evolved into a witty high-energy pure dance crescendo. Mosley’s ability to bring out the best in every member of the ensemble has become one of his true strengths.
Alexander Diaz distinguished himself with abandoned risk taking and a focused attack, which made it hard not to watch him. The duet between Christine Caimares and Riccardo Bataglia had a strong yet sensual combativeness attack that (thankfully) avoided violence.
The 40th Anniversary Season continues tonight with a new line up diverse choreographers. The roster includes Jamal Story, Jean Emile, HSA Dance Ensemble, Charles Moore Dance Theater, Ronald K. Alexander, Abdiel Jacobsen and Bones The Machine. The evening will open with a special tribute to Loretta Abbott presented by Tony and Emmy Award winner George Faison.
For more information and tickets visit www.thelmahill.com tickets can also be purchased at the box office 30 minutes prior to the performance.
Loretta Abbott, dancer, actress, singer and choreographer passed away on Sunday June 5, 2016. A natural performer Abbott had two passions: her love for dance that spanned over 70 years, and her allegiance to the Harlem community where she lived her entire life. Continue reading
The Thelma Hill Performing Art Center (THPAC) will dedicate their 40th Anniversary season to dancer icon and longtime THPAC supporter Loretta Abbott. The 4 day season, which runs from June 19 through June 22 at the Actor Fund Center 160 Schermerhorn Strret in downtown Brooklyn, will showcase 40 choreographers, and dance companies during the milestone 40th season. The artists presented range from early THPAC contributors including such dance luminaries as Emmy and Tony Award winner George Faison, Philadanco, Charles Moore Dance Theatre, and Rod Rodgers Dance Company. Mid-career choreographers Marshall Swiney, Ronald K Alexander, Germaul Barnes and Rodger C. Jeffery; and emerging artists Nijawwon Matthews, DaVon Doane, and Sidra Bell. Continue reading
Ghanaian artist Paa Joe has brought some of New York City’s most iconic motifs to life. As part of Superhouse NYC’s inaugural “Celestial City” exhibition, the multidisciplinary artist served up a handful of lifesize sculptures of the city’s signature signage, including pizza boxes, taxi cabs, bagels and of course, rats. 120 Walker Street, 6RGhanaian artist Paa Joe has brought some of New York City’s most iconic motifs to life. As part of Superhouse NYC’s inaugural “Celestial City” exhibition, the multidisciplinary artist served up a handful of lifesize sculptures of the city’s signature signage, including pizza boxes, taxi cabs, bagels and of course, rats. 120 Walker Street, 6R
The Dance of the Village Elders are back ! This time we exercise, dance and just have fun through the zoom platform or in-person at R.A.I.N. Nereid 
The Dance of the Village Elders are back ! This time we exercise, dance and just have fun through the zoom platform or in-person at R.A.I.N. Nereid 