In 1972, Alvin Ailey created the elegiac solo Love Songs for dancer Dudley Williams. The sixteen minute solo, composed in three sections includes A Song for You by Donny Hathaway; Poppies by Nina Simone; and He Ain’t Heavy, He’s my Brother by Donny Hathaway. Many thought of the work as the male equivalent of the female solo Cry (1971). Continue reading
By Walter Rutledge
To celebrate the Martha Graham Dance Company New York Season- February 14th thru 26th at the Joyce O&A NYC Magazine reposts Clive Thompson- The Graham Years
The life of a bank clerk at the Government Savings Bank in Kingston, Jamaica was not going be Clive Thompson’s fate; he had been a performer for most of his life. Clive and his sister Norma had been childhood favorites in the local talent shows and were part of the “opening act” in Children’s Corner Club at the Saturday matinees. After seeing the Katherine Dunham Dance Company perform and a chance encounter with modern dance teacher Ivy Baxter he began formal dance classes. 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 and Kelvin Rotardier. Continue reading
Winter At Westbeth, a documentary film by Australian filmmaker Rohan Spong, follows the lives of three seasoned artists living in New York City’s Westbeth Artists Housing. The film makes its international premiere at the IFC Center, 323 Avenue of the Americas, as part of DOC NYC; New York’s annual festival of documentary films.
By Walter Rutledge
“George Faison is one of my favorite people. Choreographer, director, performer, teacher, activist and cultural icon Faison’s story is larger than life. Throughout his five decades of artistic exploration he has maintained a keen eye, a childlike curiosity and a frolicsome sense of humor; which is reflected through his art and life. This interview was originally posted on May 6, 2016 and was filmed at the Faison Firehouse.”- W. Rutledge
Tony and Emmy Award winning choreographer George Faison will present a new work entitled Kingdom Come at the McDonald’s Gospelfest – Live at Prudential Center (25 Lafayette Street, Newark, NJ) on Saturday May 7th. The ensemble work is an inspiring, and uplifting ballet set to a haunting score of Jerome Olds. Throughout Faison’s career the humanistic quality of his work, and his ability to reach beyond the footlights and touch an audience has become his signature. Continue reading
By Walter Rutledge
During a recent interview with Martha Graham Dance Company Artistic Director Janet Eilber we discussed the collaboration between Martha Graham and Isamu Noguchi on Appalachian Spring. 
Graham and Noguchi worked together over 20 sets for Graham over the course of three decades, including those for her series based on Greek myths; Cave of the Heart (1946), Errand into the Maze (1947), Night Journey (1947), Clytemnestra (1958), Alcestis (1960), Phaedra (1962), Circe (1963), and Cartege of Eagles (1966) Noguchi also designed the set for her biblical and religious themes, including Herodiade (1944), Judith (1950), Seraphic Dialogue (1955), and Embattled Garden (1958). Probably the most recognizable collaboration is for her movement manifesto on Americana Appalachian Spring (1944).
Janet Eilber discusses Appalachian Spring
(Repost) April 1, 2014- Martha Graham: Appalachian Spring and Rite of Spring:
At first glance the Isamu Noguchi set, with its sparse flat look established the boundaries of the performance space. The “house” structure with the downstage “porch” set on a diagonal stops short of center stage. The flat fence placed downstage left, and the preacher’s pedestal set upstage on an angle from the fence completed the set design.
These configurations of objects create the converging lines; the lines that produce the classic perspective used by artists to direct the eye in paintings. Noguchi’s house mimics Brunelleschi’s drawing of perspective almost exactly. This is not an accident, but a conscience decision by Noguchi and Graham to subtly frame the choreography.
Most of the primary action takes place within the converging lines. Very little group choreography is designed behind the fence and nothing is set stage right of the house. Without obvious overkill Graham was able to effectively direct the viewer’s eye the primary movement conversion.
The close proximity of the downstage porch and fence to the audience builds closeness/empathy for the characters (especially the husband and wife). When these characters look out past the audience we can see the splendor of the open prairie on their faces. And we see it in the glorious “Technicolor” of our individual imaginations.
The universality of the experience extends beyond the American Prairie. This is the story of new beginnings, the optimism of youth, and the promise/hope for the future. Graham’s technical prowess creates a clear and unfettered moving picture, combine this with her ability to convey the humanistic elements of her characters and it becomes apparent why the public has endeared Appalachian Spring for over 70 years.
By Walter Rutledge
Lloyd Knight will make his debut in the role of Oedipus in Martha Graham’s masterwork Night Journey on Friday April 15, 2016 during the New York City season of the Martha Graham Dance Company. O&A NYC Magazine had an opportunity to sit down with Knight, who will be the first African-American to dance the role, and talk to him about his preparation for the role. Continue reading
To celebrate the 90th Anniversary Season of the Martha Graham Dance Company April 14th, 15th, 16th and 18th at New York City Center O&A NYC Magazine reposts Martha Graham’s Appalachian Spring.
Appalachian Spring premiered on October 30th, 1944, at the Library of Congress, Coolidge Auditorium in Washington DC, with Martha Graham dancing the lead role. Created during the darkest days of War World II Graham wanted to create inspiring art that came out of the American experience. Graham spoke of the work, “To be great art… it must belong to the country in which it flourishes, not be a pale copy of some art form perfected by another culture and another people”. Continue reading
By Walter Rutledge
The Dayton Contemporary Dance Company (DCDC) will perform Donald McKayle’s Rainbow Round My Shoulder tonight with Paul Taylor’s American Modern Dance at the Koch Theater, Lincoln Center. This is the second season of the new initiative by the Taylor Company to showcase works by emerging choreographer and modern dance masters during their New York City season. O&A NYC Magazine talked with DCDC Artistic Director Debbie Blunden- Diggs about the work and the New York City performances. Continue reading
To honor the Martha Graham Dance Company’s 90th Anniversary Celebration Paul Taylor’s American Modern Dance will perform Graham’s Diversion of Angels during the New York City season at the Koch Theater, Lincoln Center. Former Graham principal dancers Blakeley White-McGuire and Tadej Brdnik restaged the work on the Taylor Company; which has been maintained by Linda Hodes. Hodes, a former member of both the Graham and Taylor Companies, performed the work with Taylor and in 1993 became the Founding Director of Taylor 2. Continue reading
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 