Every time we have a real snowstorm it brings back one the most lasting and endearing early memories I have of my father. I was six years old; we lived in a quiet residential Northeast Bronx neighborhood. (Yes there are quiet neighborhoods in New York City.) Back then we didn’t have a formal sidewalk the grassy front lawn meandered into a roughly paved street that seemed to be more dirt than asphalt. Continue reading
By Walter Rutledge
There is only one George Faison! Dancer, choreographer, teacher, director, playwright, social activist, entrepreneur and friend. George has been one of my inspirations and artistic standard bearers for most of my career. In 2017 the Ailey American Dance Theater presented an excerpt of Suite Otis, his iconic tribute to Otis Redding. Faison sat down to talk about this masterwork, experiences in the Ailey Company and his arts aesthetic. Happy Birthday George.
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 Euclidean 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
The Alvin Ailey American Dance Theater began their 2021 fall New York City season December 1 at New York City Center. The annual holiday season usually runs five weeks ending with a festive New Year’s Eve finale. This highly anticipated return to live indoor performance (the first since 2019) will offer the public an abridged three-week season that runs through December 19, 2021.
The Company is presenting a total of eighteen works over eighteen days. The ambitious fall offering includes seven works by founder Alvin Ailey, five from Robert Battle, four new productions and two premieres by Battle and the company’s first resident choreographer Jamar Roberts. The recently retired company member, (Roberts last performance was during this season on December 9th) created a cathartic and holistic environment in the age of COVID designed to foster healing.
Robert’s Holding Space, a twelve-member ensemble work, filled the space with what can be best described as “organized choreo-chaos”. The dancers performed the same movement, but in different time signatures and at different angles. Slowly the dancers begin moving in individual patterns forming duets, trios, and small groups. The multiple patterns, happening simultaneously, heighten the tension and pushed the audience to visually dart from one group and configuration to another.
Eventually the dancers formed three lines (stage right, stage left and center) these linear progressions provided a modicum of order while allowing the dancers to maintain their movement individuality. One distinct image Roberts used effectively had dancers balanced on a forced arch with the pelvis dramatically thrusted forward, giving the turns and extensions an off kilter look and a desolate feeling. Tim Hecker’s harrowing score and the atmospheric lighting by Brandon Stirling Baker created an austere and sober otherworld.
A large square frame supported by four dancers (one at each corner) appears upstage left making the proceeding section the most thought provoking. Filled with arresting imagery the dancers one at a time entered the space inside the cube/isolation chamber; mirroring the isolation many people faced at the height of the pandemic.
The series of solos evolved into character studies portraying angst, aloneness and frustration. These emotions permeated the tight and expressive movement embellished by open mouths, outstretched arms and reaching hands. Personal and introspective these psychodramas recalled Ana Sokolow’s Rooms, where inner city people living in proximity were still isolated and alone. Throughout, the raw and abandon movement was tempered by the dancer’s incredible control.
The lights changed from a cool darkness to warm amber in the last section, while the dancers reprised the movement from the opening section. This time the choreography was performed in unison. The chaos was replaced by a meditative synchrony symbolizing the beginning of the end of despair.
Holding Space is an ambitious undertaking. The strong introspective elements produced a cerebral, “thinking man’s” ballet. Roberts’ efforts were admirable, but needed more contrast. The combination of dark lighting, musical monotony, nuanced movement and protracted length caused the work to meander.
One thing the company founder and its present artistic director have in common is an affinity for jazz music. Both artists understood/understand the fusion of function, form and style synonymous with jazz music and dance. From the beginning Ailey’s portrayal of the African American experience was acclaimed for the works universal consciousness.
Blues Suite (1958), his first work for the then newly established Alvin Ailey American Dance Theater, is a fusion of modern dance, ballet, jazz, black vernacular dance and non-verbal storytelling. From the down-home feel of Backwaters Blues to the symphonic power of Ellington, the poetry of Parker and the lyric longing of Jarrett; Ailey created dances that captured the majesty of this great American art form.
An American art form born and reared by former slaves and their descendants in the speakeasies and brothels of New Orleans Storyville District. Sadly, Storyville is another community where the people were displaced, and the community eased. (How wonderful would a revival Donald McKayle’s District Storyville be?)
To commemorate his 10th anniversary as company artistic director Battle created For Four set to a jazz rendering by New Orleans native and jazz phenom Winton Marsalis. With classic Battle wit the quartet’s title is derived from the composition’s 4 x 4-time signature, but there is nothing “four square” about this work. Battle created a stylish and fun celebration marking our enthusiastic return to normality.
Fusing a multiplicity of style with strong dance theater elements this abstract narrative is a perfect vehicle to showcase his stellar cast. Renaldo Maurice opened and closed the work with a Master of Ceremonies whirling dervish aplomb; while Samantha Figgins executed a series of undulating fouetté inspired turns that oozed with liquid perfection. Jacqueline Green moved with such a total commitment that even her hair danced! And Solomon Dumas “do no wrong persona” wooed the audience the moment he walked on stage. In fact, the entire cast ricocheted through the energetic score with whimsical syncopated verve.
There are six more opportunities to experience the Alvin Ailey American Dance Theater live at New York City Center. For ticket information visit ailey.org.
Ailey Performance Schedule
December 14, 7:30pm- Ailey and Ellington: The River, Pas de Duke, Reflections In D, Revelations
December 15, 7:30pm- 50 Years of Cry: Blues Suite, Cry, Revelations
December 16, 7:30pm- Lazarus
December 17, 8pm- Battle 10th Anniversary: Mass, Ella, In/Side, For Four, Untold, Love Stories (finale)
December 18, 8pm- Shelter, BUSK, Revelations
December 19, 3pm- Season Finale: Season Highlights, Revelations
In Photo: 1) Robert Battle and Company 2) Jamar Roberts and Robert Battle 3) Company (Holding Space) 4) Yannick Lebron and Company (Holding Space) 5) Alvin Ailey and Company (Blues Suite) 6) Marilyn Banks (District Storyville) 7) Renaldo Maurice, Samantha Figgins, Belén Indhira Pereyra and Solomon Dumas 8) Samantha Figgins
Photographer: 1, 2, 3, 6, 7, 8 Christopher Duggan 5 & 6) Jack Mitchell
The Martha Graham Dance Company concluded its New York fall performances at the Joyce Theater. O&A NYC Editor-in-Chief Walter Rutledge sat down with Treading choreographer Elisa Monte, Graham dancers Lloyd Knight and Marzia Memoli, and “dance Icon” former Ailey principal Sarita Allen for a spirited conversation about Monte’s signature work. After the interview ended the the conversation continued. Continue reading
By Walter Rutledge
The Martha Graham Dance Company will has began their fall 2021 Joyce Theater season. The season, which runs October 26 thru October 31, will present two programs featuring Graham classics, new works and revivals. Elisa Monte‘s signature duet Treading, originally commissioned by Martha Graham in 1979, will have its anticipated return to the repertoire tonight at the Joyce Theater. O&A NYC Editor-in-Chief Walter Rutledge sat down choreographer Elisa Monte, former Ailey principal dancer Sarita Allen and present cast Lloyd Knight and Marzia Memoli for a fun and informative conversation. Continue reading
By Walter Rutledge
Martha Graham Dance Company begins it’s fall season on Tuesday, October 26 through October 31 at the Joyce Theater. Principal dancer Lloyd Knight discussed the upcoming season, working through the pandemic, and all things Graham with O&A NYC Editor-in-Chief Walter Rutledge. Continue reading
By Walter Rutledge
Kim Potter, the former Brooklyn Center police officer will be charged with second-degree manslaughter in the death of 20-year-old Daunte Wright. This comes one day after the 26-year police veteran resigned from the police department. State officials said Ms. Potter would be booked into Hennepin County Jail. She was taken into custody at the Bureau of Criminal Apprehension in St. Paul around 11:30 a.m. Wednesday.
Bodycam footage
Mr. Wright was killed Sunday during a traffic stop when Ms. Potter shot him with her two-pound black 9-millimeter Glock instead her eight-ounce yellow Taser. Police described the shooting as an accident, and body-camera footage showed her shouting the word Taser several times before firing her gun. The killing sparked protests and clashes with police on Sunday and Monday nights. Several cities in the region, including Minneapolis, St. Paul and Brooklyn Center, imposed curfews amid the protests.
Ex-officer charged with manslaughter
Ben Crump, who is representing the Wright family, said he appreciated that Washington County Attorney Pete Orput was pursuing justice; but a veteran of the police force knows the difference between a Taser and a gun. “This was no accident. This was an intentional, deliberate, and unlawful use of force”. If convicted charge carries a maximum sentence of 10 years in prison under Minnesota law.
By Walter Rutledge
Dance has always been a catalyst for change. In 1936 Martha Graham created her masterwork Chronicles as a weapon against the rising menace of fascism in Germany. In 1959 Donald McKayle’s Rainbow Round My Shoulder evoked the hopelessness and inequality of Black men on a southern prison chain gang. On Saturday August 29 Jamel Gaines Creative Outlet Dance Theatre of Brooklyn (also known as Creative Outlet or just C.O.) will also use the power of dance to heal a community with Peace One Love, an afternoon of the arts celebrating the spirit of the now internationally recognized Black Lives Matter movement. Continue reading
Greenwood, Donald Byrd‘s fifth Ailey commission draws on the Company’s theatrical roots and legacy of addressing social injustice. The work’s title references a 1921 tragedy that happened in Tulsa, Oklahoma’s segregated Greenwood District. At the time, it was one of the country’s most affluent African American communities, known as Black Wall Street.
Continue reading
By Walter Rutledge
Juneteenth is the oldest nationally celebrated commemoration of the ending of slavery in the United States. This observance should hold the status of an African- American Independence Day. Juneteenth 2020 will take place on Friday; and to commemorate the 155 anniversary of independence Jamel Gaines Creative Outlet Dance Company of Brooklyn and NYC Summerstage with present a virtual celebration entitled Hanging Tree. This virtual event will take place on Friday June 19, 7pm on Summerstage YouTube.
The production brought together the talents of dancer James “Banks” Davis, musician Talu Green, vocalist Marcelle Davies Lashley, poet Carl Hancock Rux, choreographer/director Jamel Gaines and members of the Creative Outlet family. Mothers and fathers performed with sons and daughters, brothers and sister, nieces and nephews, and present and former company members brought love, creative, reverence and community to the steps, plaza and base of the Doric styled Prison Ship Martyrs’ Monument in Brooklyn’s Fort Green Park. Immediately following the performance there will be a panel discussion lead by Alvin Ailey American Dance Theater dancer/choreographer Hope Boykin.
O&A NYC attended the filming of the presentation and brings you a sneak preview of Jamel Gaines Creative Outlet’s Hanging Tree.
Preview Hanging Tree: A Juneteenth Celebration
On June 19th, 1865 a regiment of Union soldiers led by Major General Gordon Granger arrived in Galveston, Texas. One of Granger’s first order of business was to read to the people of the city a document entitled General Order Number 3. The proclamation began:
“The people of Texas are informed that in accordance with a Proclamation from the Executive of the United States, all slaves are free. This involves an absolute equality of rights and rights of property between former masters and slaves, and the connection heretofore existing between them becomes that between employer and hired laborer.”
Juneteenth honors the memory of all people who have broken the chains of oppression and dehumanizing servitude. It is celebration of those who have the obtained freedom, either through the joys of emancipation or the unfortunate inevitability of death. On Friday June 19 we wish you all a joyous Juneteenth and a happy African- American Independence Day.
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, 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 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 