. Photo by Paul Kolnik Paul by . Photo Revelations The Company in Alvin Ailey’s in Alvin Company The
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On March 30, 1958, Alvin Ailey led a group of young African-American his successor, and over the next 21 years, she brought the Company to modern dancers in a now-fabled performance at the 92nd Street Y in unprecedented success. Ms. Jamison, in turn, personally selected Robert New York City that forever changed the perception of American dance. Battle to succeed her in 2011. In announcing his appointment, she Mr. Ailey was a pioneer in establishing a multi-racial repertory company stated, “Combining an intimate knowledge of the Ailey company with an that presented important works by both dance masters and emerging independent perspective, Robert Battle is without question the creative choreographers. Regarded as one of the world’s premiere dance force of the future.” Through the remarkable artistry of 30 extraordinary companies, Alvin Ailey American Dance Theater is a recipient of the National dancers, Alvin Ailey American Dance Theater continues to celebrate the Medal of Arts and is recognized by a U.S. Congressional resolution as a African-American cultural experience and to preserve and enrich the vital American “Cultural Ambassador to the World.” Having performed in 71 American modern dance tradition. With a repertory of over 200 works by countries on 6 continents for an estimated 23 million people worldwide—as more than 70 choreographers and a permanent home at The Joan Weill well as millions more through television broadcasts—Alvin Ailey American Center for Dance in New York City—the largest building dedicated to dance Dance Theater continues to inspire and unite people of all backgrounds in New York City, the dance capital of the world—the Ailey legacy flourishes, around the globe. using the universal language of dance as a medium for honoring the past, Before his untimely death in 1989, Mr. Ailey named Judith Jamison as celebrating the present and fearlessly reaching into the future.
Artistic Director Robert Battle’s leadership has wowed audiences and critics alike:
“...So far under Mr. Battle’s direction it has been smooth sailing for the Ailey company...” —THE NEW YORK TIMES
“...Mr. Battle has made a point to expand the company’s repertory...”—THE WALL STREET JOURNAL
“Be prepared for 2 things: a continued devotion to tradition, but also big, refreshing surprises.” —CHICAGO TRIBUNE
“Artistic Director Robert Battle has the troupe’s forward momentum well in hand.” —THE WASHINGTON POST
Robert Battle. Photo by Paul Kolnik. Ailey II Ailey II is universally renowned for merging the spirit and energy of the country’s best young dance talent with the passion and In addition to presenting dance on the concert stage, and in accordance creative vision of today’s most outstanding with Mr. Ailey’s dictum “dance is for everybody,” Alvin Ailey Dance emerging choreographers. Under the artistic Foundation offers many programs that further his long-standing direction of Troy Powell, the Ailey II name has come to epitomize stunning modern dance commitment to building an extended cultural community. and distinguished style.
The Ailey School The Ailey/Fordham B.F.A. in The Ailey Extension Each year, more than 5,000 students of Dance Program Ailey offers “real classes for real people” at all ages from NYC, across the country and all levels in a welcoming, non-competitive The B.F.A. in Dance offers the best of two around the globe benefit from world-class environment. Up to 80 dynamic classes are worlds: the artistic pre-eminence of The Ailey training in a full range of techniques at The offered each week, taught by expert teachers School combined with Fordham University’s Ailey School, directed by Tracy Inman and in West African, Salsa, Hip Hop, Ballet, Horton exceptional liberal arts education that stresses Melanie Person. (the modern dance technique featured in Mr. intellectual development and personal growth. Ailey’s classic, Revelations) and more.
Arts In Education AileyCamp Ailey’s Home and Community Programs The unique summer day camp serves under In 2004, Alvin Ailey American Dance Theater served youth ages 11 to 14. The program moved into its permanent home, The Joan The Ailey Organization is committed to provides a safe environment where they Weill Center for Dance, on 55th Street and bringing dance into classrooms, communities can explore their creativity and strengthen 9th Avenue in Manhattan. The striking glass- and lives of people throughout the world. their respect for themselves and others enclosed building, featuring 12 studios and Each year, more than 100,000 people from within a supportive framework that gives a 275-seat theater, is the largest building diverse backgrounds enjoy the opportunity to them an important foundation for the future. dedicated to dance in New York City, the explore their creative potential and build their AileyCamps are currently operating in nine dance capital of the world. self-esteem while fostering an appreciation cities around the country, including NYC. for the art of dance.
Top to bottom: Ailey II in Ray Mercer’s Something Tangible. Photo by Eduardo Patino, NYC; First Steps. Photo by Rosalie O’Connor; Students from The Ailey/Fordham BFA Program in Natalie Lomonte’s Common Heart. Photo by Christopher Duggan; Horton class at The Ailey Extension. Photo by Arthur Coopchik; AileyCamp 2010. Photo by Julieta Cervantes. Alvin Ailey American Dance Theater’s Joan Weill Center for Dance Photo @archphoto. Ailey Star Renee Robinson and Ailey Master Teacher Nasha Thomas leading the Ailey Arts In Education and the Segerstrom Centers Revelations Celebration in Costa Mesa, CA. Photo by Joesan Diche
ALL ABOUT AILEY
Alvin Ailey American Dance Theater grew from a now-fabled performance in March 1958 at the 92nd Street Y in New York City. Led by Alvin Ailey and a group of young African-American modern dancers, that performance changed forever the perception of American dance. The Ailey company has gone on to perform for an estimated 25 million people at theaters in 48 states and 71 countries on six continents – and has reached millions more online and through television broadcasts.
In 2008, a U.S. Congressional resolution designated the Company as “a vital American cultural ambassador to the world” that celebrates the uniqueness of the African-American cultural experience and the preservation and enrichment of the American modern dance heritage.
When Mr. Ailey began creating dances, he drew upon his "blood memories" of Texas, the blues, spirituals, and gospel as inspiration, which resulted in the creation of his most popular and critically acclaimed work, Revelations.
Although he created 79 ballets over his lifetime, Mr. Ailey maintained that his company was not exclusively a repository for his own work. Today, the Company continues Mr. Ailey's mission by presenting important works of the past and commissioning new ones. In all, more than 200 works by over 80 choreographers have been part of the Ailey company’s repertory.
Before his untimely death in 1989, Alvin Ailey named Judith Jamison as his successor, and over the next 21 years, she brought the Company to unprecedented success. Ms. Jamison, in turn, personally selected Robert Battle to succeed her in 2011. In announcing his appointment as Artistic Director, she stated, “Combining an intimate knowledge of the Ailey company with an independent perspective, Robert Battle is without question the creative force of the future.”
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Alvin Ailey American Dance Theater gratefully acknowledges The Joan & Sandy Weill Global Ambassador Fund, which provides vital support for Ailey’s national and international tours. ______
ROBERT BATTLE ARTISTIC DIRECTOR
Robert Battle became artistic director of Alvin Ailey American Dance Theater in July 2011 after being personally selected by Judith Jamison, making him only the third person to head the Company since it was founded in 1958. Mr. Battle has a long-standing association with the Ailey organization. A frequent choreographer and artist-in-residence at Ailey since 1999, he has set many of his works on Alvin Ailey American Dance Theater and Ailey II, and at The Ailey School. The Company’s current repertory includes his ballets The Hunt, No Longer Silent, and Awakening, a 2015 world premiere – his first since becoming Artistic Director. In addition to expanding the Ailey repertory with works by artists as diverse as Kyle Abraham, Aszure Barton, Ronald K. Brown, Christopher Wheeldon, Rennie Harris, Hofesh Schechter, Jiří Kylián, Wayne McGregor, Robert Moses, Ohad Naharin, and Paul Taylor, Mr. Battle has also instituted the New Directions Choreography Lab to help develop the next generation of choreographers. Mr. Battle’s journey to the top of the modern dance world began in the Liberty City neighborhood of Miami, Florida. He showed artistic talent early and studied dance at a high school arts magnet program before moving on to Miami’s New World School of the Arts, under the direction of Daniel Lewis and Gerri Houlihan, and finally to the dance program at The Juilliard School, under the direction of Benjamin Harkarvy, where he met his mentor, Carolyn Adams. He danced with the Parsons Dance Company from 1994 to 2001, and also set his choreography on that company starting in 1998. Mr. Battle then founded his own Battleworks Dance Company, which made its debut in 2002 in Düsseldorf, Germany, as the U.S. representative to the World Dance Alliance’s Global Assembly. Battleworks subsequently performed extensively at venues including The Joyce Theater, Dance Theater Workshop, American Dance Festival, and Jacob’s Pillow Dance Festival. Mr. Battle was honored as one of the “Masters of African-American Choreography” by the Kennedy Center for the Performing Arts in 2005, and he received the prestigious Statue Award from the Princess Grace Foundation-USA in 2007. In 2014, he received an honorary doctorate from the University of the Arts. Mr. Battle was named a 2015 Visiting Fellow for The Art of Change, an initiative by the Ford Foundation. In October 2015, Simon & Schuster published MY STORY, MY DANCE: Robert Battle’s Journey to Alvin Ailey, an inspiring children’s book based on Mr. Battle’s life. He is a sought-after keynote speaker and has addressed a number of high-profile organizations, including the United Nations Leaders Programme and the UNICEF Senior Leadership Development Programme.
MASAZUMI CHAYA ASSOCIATE ARTISTIC DIRECTOR
Masazumi Chaya was born in Fukuoka, Japan, where he began his classical ballet training. Upon moving to New York in December 1970, he studied modern dance and performed with the Richard Englund Repertory Company. Mr. Chaya joined Alvin Ailey American Dance Theater in 1972 and performed with the Company for 15 years. In 1988, he became the Company’s Rehearsal Director after serving as Assistant Rehearsal Director for two years. A master teacher, both on tour with the Company and in his native Japan, he served as choreographic assistant to Alvin Ailey and John Butler. In 1991, Mr. Chaya was named Associate Artistic Director of the Company. He continues to provide invaluable creative assistance in all facets of its operations. In 2002, Mr. Chaya coordinated the Company’s appearance at the Rockefeller Center Christmas tree-lighting ceremony, broadcast on NBC.
Mr. Chaya has restaged numerous ballets, including Alvin Ailey’s Flowers for the State Ballet of Missouri (1990) and The River for the Royal Swedish Ballet (1993), Ballet Florida (1995), National Ballet of Prague (1995), Pennsylvania Ballet (1996) and Colorado Ballet (1998). He has also restaged The Mooche, The Stack-Up, Episodes, Bad Blood, Hidden Rites, and Witness for the Company. At the beginning of his tenure as Associate Artistic Director, Mr. Chaya restaged Ailey’s For ‘Bird’ - With Love for a Dance in America program entitled Alvin Ailey American Dance Theater: Steps Ahead. In 2000, he restaged Ailey’s Night Creature for the Rome Opera House and The River for La Scala Ballet. In 2003, he restaged The River for North Carolina Dance Theatre and for Julio Bocca’s Ballet Argentina. Most recently, Mr. Chaya restaged Blues Suite, Mary Lou’s Mass, Three Black Kings, Forgotten Time, Hymn, and Streams for the Company. As a performer, Mr. Chaya appeared on Japanese television in both dramatic and musical productions. He wishes to recognize the artistic contribution and spirit of his late friend and fellow artist, Michihiko Oka. ALVIN AILEY FOUNDER Alvin Ailey was born on January 5, 1931, in Rogers, Texas. His experiences of life in the rural South would later inspire some of his most memorable works. He was introduced to dance in Los Angeles by performances of the Ballet Russe de Monte Carlo and the Katherine Dunham Dance Company, and his formal dance training began with an introduction to Lester Horton’s classes by his friend Carmen de Lavallade. Horton, the founder of one of the first racially-integrated dance companies in the United States, became a mentor for Mr. Ailey as he embarked on his professional career. After Horton’s death in 1953, Mr. Ailey became director of the Lester Horton Dance Theater and began to choreograph his own works. In the 1950s and 60s, Mr. Ailey performed in four Broadway shows, including House of Flowers and Jamaica. In 1958 he founded Alvin Ailey American Dance Theater to carry out his vision of a company dedicated to enriching the American modern dance heritage and preserving the uniqueness of the African-American cultural experience. He established the Alvin Ailey American Dance Center (now The Ailey School) in 1969 and formed the Alvin Ailey Repertory Ensemble (now Ailey II) in 1974. Mr. Ailey was a pioneer of programs promoting arts in education, particularly those benefiting underserved communities. Throughout his lifetime he received numerous honors and awards, and in 2014, he posthumously received the Presidential Medal of Freedom, the country’s highest civilian honor, in recognition of his contributions and commitment to civil rights and dance in America. When Mr. Ailey died on December 1, 1989, The New York Times said of him, “you didn’t need to have known [him] personally to have been touched by his humanity, enthusiasm, and exuberance and his courageous stand for multi-racial brotherhood.”
JUDITH JAMISON ARTISTIC DIRECTOR EMERITA
Judith Jamison joined Alvin Ailey American Dance Theater in 1965 and quickly became an international star. Over the next 15 years, Mr. Ailey created some of his most enduring roles for her, most notably the tour-de-force solo Cry. During the 1970s and 80s, she appeared as a guest artist with ballet companies all over the world, starred in the hit Broadway musical Sophisticated Ladies, and formed her own company, The Jamison Project. She returned to Alvin Ailey American Dance Theater in 1989 when Mr. Ailey asked her to succeed him as Artistic Director. In the 21 years that followed, she brought the Company to unprecedented heights – including two historic engagements in South Africa and a 50-city global tour to celebrate the Company’s 50th anniversary. Ms. Jamison is the recipient of numerous awards and honors, among them a prime time Emmy Award, an American Choreography Award, the Kennedy Center Honor, a National Medal of Arts, a “Bessie” Award, the Phoenix Award, and the Handel Medallion. She was also listed in “The TIME 100: The World’s Most Influential People” and was the 50th inductee into the Hall of Fame at the National Museum of Dance. Ms. Jamison was honored for her contributions to dance by First Lady Michelle Obama at the first White House Dance Series event in 2010 and the White House Black History Month event in 2016.
As a highly regarded choreographer, Ms. Jamison has created many celebrated works, including Divining (1984), Forgotten Time (1989), Hymn (1993), HERE. . .NOW. (commissioned for the 2002 Cultural Olympiad), Love Stories (with additional choreography by Robert Battle and Rennie Harris, 2004), and Among Us (Private Spaces: Public Places) (2009). Ms. Jamison’s autobiography, Dancing Spirit, was edited by Jacqueline Kennedy Onassis and published in 1993. In 2004, under Ms. Jamison’s artistic directorship, her idea of a permanent home for the Ailey company was realized and named after beloved chairman Joan Weill. Ms. Jamison continues to dedicate herself to asserting the prominence of the arts in our culture, and she remains committed to promoting the significance of the Ailey legacy – using dance as a medium for honoring the past, celebrating the present and fearlessly reaching into the future.
MATTHEW RUSHING REHEARSAL DIRECTOR & GUEST ARTIST
Matthew Rushing was born in Los Angeles, CA. He began his dance training with Kashmir Blake in Inglewood, CA and later continued his training at the Los Angeles County High School for the Arts. He is the recipient of a Spotlight Award and Dance Magazine Award and was named a Presidential Scholar in the Arts. He was a scholarship student at The Ailey School and later became a member of Ailey II, where he danced for a year. During his career, Mr. Rushing has performed as a guest artist for galas in Vail, Colorado, as well as in Austria, Canada, France, Italy, and Russia. He has performed for Presidents George H. Bush, Bill Clinton, George W. Bush, and Barack Obama, as well as at the 2010 White House Dance Series. During his time with the Company he has choreographed three ballets: Acceptance In Surrender (2005), a collaboration with Hope Boykin and Abdur Rahim-Jackson, and Uptown (2009), a tribute to the Harlem Renaissance, and ODETTA (2014), a celebration of “The queen of American folk.” In 2012, he created Moan, which was set on Philadanco and premiered at The Joyce Theater. Mr. Rushing joined the Company in 1992 and became Rehearsal Director in June 2010.
All Photos by Andrew Eccles. Headshot of Alvin Ailey by Eric N. Hong. WHO’S WHO IN THE COMPANY
HOPE BOYKIN (Durham, NC) is a three-time recipient of the American SEAN AARON CARMON (Beaumont, TX) attended New York Dance Festival’s Young Tuition Scholarship. University’s Tisch School of the Arts and She attended Howard University and while in later graduated from the Ailey/Fordham Washington, DC she performed with Lloyd B.F.A. Program in Dance. He was a Whitmore’s New World Dance Company. Ms. member of Elisa Monte Dance and Boykin was a student and intern at The Ailey subsequently originated the role of School. She was assistant to the late Talley Phaedra in the 2010 Tony Award–winning Beatty and an original member of revival of La Cage Aux Folles. Mr. Complexions. Ms. Boykin was a member of Carmon also performed in the Broadway Philadanco and received a New York Dance production of The Phantom of the Opera. and Performance Award (“Bessie”). In 2005, He has appeared as a guest artist with the International Dance Ms. Boykin choreographed Acceptance In Surrender in collaboration Association in Italy and with the Cape Dance Company in South Africa. with Abdur-Rahim Jackson and Matthew Rushing for Alvin Ailey As a choreographer and jazz teacher, he has taught at and set works, American Dance Theater. Most recently she choreographed Go In both original and as a répétiteur, on numerous high schools, colleges Grace with award-winning singing group Sweet Honey In The Rock for and for the Youth American Grand Prix competition. Mr. Carmon joined the Company's 50th anniversary season. Ms. Boykin joined the the Company in 2011. Company in 2000.
JEROBOAM BOZEMAN (Brooklyn, NY) began his dance training ELISA CLARK (Brandywine, MD) received her early training from the under Ruth Sistaire at the Ronald Edmonds Maryland Youth Ballet and earned her B.F.A. Learning Center. He later joined Creative from The Juilliard School under the direction of Outlet, under Jamel Gaines, and was Benjamin Harkarvy. She was a founding granted full scholarships at the Joffrey Ballet member of Robert Battle’s Battleworks Dance School and Dance Theatre of Harlem Company from 2001 to 2006, where she also School. Mr. Bozeman is a gold-medal served as company manager. In addition, Ms. recipient of the NAACP ACT-SO Clark was a member of the Mark Morris Dance Competition in Dance. He performed in Group and the Lar Lubovitch Dance Company, Elton John and Tim Rice’s Broadway as well as a dancer at the Metropolitan Opera, musical Aida (international tour in China) and was a part of Philadanco, where she worked with Crystal Pite, among Donald Byrd’s Spectrum Dance Theater, and Ailey II. Mr. Bozeman others. She has assisted Mr. Battle on several commissions, including joined the Company in 2013. Juba and Love Stories. As a teacher, Ms. Clark has been on faculty at the American Dance Festival, taught numerous master classes throughout the nation and abroad, and worked closely alongside Carolyn Adams. She is a 2008 Princess Grace Award winner. Ms. Clark joined the Company in 2013. SARAH DALEY (South Elgin, IL) began her training at the Faubourg SAMANTHA FIGGINS (Washington, DC) began dancing at Duke School of Ballet in Illinois under the direction Ellington School of the Arts under the of Watmora Casey and Tatyana Mazur. She tutelage of Charles Auggins and graduated from the Ailey/Fordham B.F.A. Sandra Fortune-Greene and attended Program in Dance in 2009. Ms. Daley has summer intensives at Dance Theatre trained at institutions such as the Kirov of Harlem under the direction of Arthur Academy, National Ballet School of Canada, Mitchell. She continued her education The San Francisco Conservatory of Dance, at SUNY Purchase Conservatory of and intensives at Ballet Camp Illinois and Dance. There, she performed works by Ballet Adriatico in Italy. She is a recipient of a George Balanchine, Bill T. Jones, Paul Youth America Grand Prix Award and an ARTS Foundation Award. Taylor, and Twyla Tharpe. Upon graduating cum laude, Ms. Figgins She was a member of Ailey II and joined the Company in 2011. became a member of Complexions Contemporary Ballet, performing works by Dwight Rhoden, Jae Man Joo, and Camille A. Brown. She also performed at the 2014 DanceOpen Festival in St. Petersburg, Russia. Ms. Figgins was featured both on the cover of Dance Spirit magazine and in Pointe magazine's “10 Careers to Watch” in 2013. She has worked with Beyoncé and can be seen in the film Enemy Within alongside Tiler Peck and Matthew Rushing. Ms. Figgins joined the Company in 2014. GHRAI DeVORE (Washington, DC) began her formal dance training at the Chicago Multicultural Dance Center and VERNARD J. GILMORE (Chicago, IL) began dancing at Curie was a scholarship student at The Ailey Performing and Creative Arts High School in School. She has completed summer Chicago and later studied at the Joseph programs at the Kirov Academy, Ballet Holmes Chicago Dance Theatre with Harriet Chicago, Deeply Rooted Dance Theater, Ross, Marquita Levy, and Emily Stein. He American Ballet Theatre, and Alonzo King’s attended Barat College as a dance LINES Ballet. Ms. DeVore was a member of scholarship recipient and received first place Deeply Rooted Dance Theater 2, Hubbard in the all-city NAACP ACT-SO Competition in Street 2, Dance Works Chicago, and Ailey II. Dance in 1993. He studied as a scholarship She is a recipient of the Danish Queen Ingrid student at The Ailey School and was a Scholarship of Honor and the Dizzy Feet Foundation Scholarship, and member of Ailey II. In 2010, he performed at the White House Dance she was a 2010 nominee for the first annual Clive Barnes Award. Ms. Series. Mr. Gilmore is an active choreographer for the Ailey Dancers DeVore joined the Company in 2010. Resource Fund and has choreographed for Fire Island Dance Festival 2008 and Jazz Foundation of America Gala 2010; he also produced the Dance of Light Project in January 2010. Mr. Gilmore is a certified Zena Rommett Floor-Barre® instructor. He continues to teach workshops and master classes around the world. Mr. Gilmore joined the Company in 1997.
SOLOMON DUMAS (Chicago, IL) was introduced to dance through JACQUELINE GREEN (Baltimore, MD) began her dance training at AileyCamp. He later began his formal training at the Baltimore School for the Arts under the The Chicago Academy for the Arts and the direction of Norma Pera, Deborah Robinson, Russell Talbert Dance Studio, where he and Anton Wilson. She is a graduate of the received his most influential training. Mr. Dumas Ailey/Fordham B.F.A. Program in Dance. Ms. studied at New World School of the Arts and Green has attended summer programs at was a fellowship Level 1 student at The Ailey Pennsylvania Regional Ballet, Chautauqua School. He has performed with companies Institution, Earl Mosley’s Institute of the Arts, including Garth Fagan Dance, Ronald K. Brown/ and Jacob’s Pillow. She has performed works Evidence, and Labyrinth Dance Theater and was a member of Ailey II. by a variety of choreographers, including Elisa Monte, Helen Pickett, Mr. Dumas joined the Company in 2016. Francesca Harper, Aszure Barton, Earl Mosley, and Michael Vernon. Ms. Green is the recipient of a 2014 Dance Fellowship from the Princess Grace Foundation-USA and a 2015 Clive Barnes Award nominee. She is also the recipient of the 2009 Martha Hill Fund’s Young Professional Award and the 2010 Dizzy Feet Foundation Scholarship. Ms. Green was a member of Ailey II and joined the Company in 2011.
DANIEL HARDER (Bowie, MD) began dancing at Suitland High MEGAN JAKEL (Waterford, MI) trained in ballet and jazz in her School’s Center for the Visual and Performing hometown. As a senior in high school, she spent a Arts in Maryland. He graduated from the year dancing with the City Ballet of San Diego. In Ailey/Fordham B.F.A. Program in Dance, where 2005, Ms. Jakel was an apprentice and rehearsal he was awarded the Jerome Robbins/Layton director for the Francesca Harper Project. She Foundation Scholarship. He participated in the graduated with honors in May 2007 from the Holland Dance Festival with The Ailey School Ailey/Fordham B.F.A. Program in Dance. Ms. Jakel and as a member of the Francesca Harper has performed works by choreographers David Project. After dancing in the European tour of Parsons, Debbie Allen, Thaddeus Davis, Hans van West Side Story, Mr. Harder became a member of Ailey II. He joined Manen, and Dwight Rhoden. She was a member of Ailey II and joined the Company in 2010. the Company in 2009.
JACQUELIN HARRIS (Charlotte, NC) began her dance training at YANNICK LEBRUN (Cayenne, French Guiana) began training in his Dance Productions Studios under the direction native country at the Adaclam School under the of Lori Long. In 2010, as a finalist for National guidance of Jeanine Verin. After graduating high Foundation for the Advancement of the Arts, school in 2004, he moved to New York City to she received a silver ARTS award and was a study at The Ailey School as a scholarship semifinalist for the Presidential Scholar in the student. Mr. Lebrun has performed works by Arts. She attended summer programs at choreographers Troy Powell, Debbie Allen, Scott Jacob’s Pillow and Joffrey Ballet School and Rink, Thaddeus Davis, Nilas Martins, and Dwight has performed works by Kate Skarpetowska, Rhoden and danced with the Francesca Harper Daniel Catanach, Troy Powell, and Erika Pujic. Project, and Modo Fusion. He was named one of Dance Magazine’s “25 She graduated with honors from the Ailey/Fordham B.F.A. Program in to Watch” in 2011, and in 2013, France-Amérique magazine highlighted Dance. She was a member of Ailey II, and joined the Company in him as one of the 50 most talented French in the United States. Mr. 2014. Lebrun was a member of Ailey II and joined the Company in 2008.
COLLIN HEYWARD (Newport News, VA) began his training at The RENALDO MAURICE (Gary, IN) began his dance training with Tony Academy of Dance and Gymnastics in Simpson and is a graduate of Talent Unlimited High School. He Newport News, VA, under the direction of attended the Emerson School for Visual and Performing Arts and Linda Haas, and later at Denise Wall’s studied with Larry Brewer and Michael Davis. Dance Energy in Virginia Beach. Mr. Mr. Maurice was a scholarship student at The Heyward also attended several dance Ailey School, has trained on scholarship at intensives, including Earl Mosley’s Institute Ballet Chicago and Deeply Rooted Dance of the Arts, and Hofesh Shechter Company, Theater, and had an internship at the Martha and has performed works by Sidra Bell, Graham School of Contemporary Dance. In Francisco Martinez, Elisa Monte, and Scott 2008, he received second place in modern Rink. He has made guest appearances with Company Stefanie Batten dance from the National Foundation for Bland and in the revival of E. Clement Bethel’s The Legend of Sammie Advancement in the Arts and received the Dizzy Feet Foundation Swain, directed by Philip A. Burrows in Nassau, Bahamas. Mr. Scholarship in 2009. In February 2012, Mr. Maurice was honored with Heyward is also a featured dancer in the Fox Searchlight film Black the key to the city of Gary, Indiana, his hometown. He was a member of Nativity. He graduated with honors from the Ailey/Fordham B.F.A. Ailey II and joined the Company in 2011. Program in Dance and was a member of Ailey II from 2010 to 2012. Mr. Heyward joined the Company in 2014.
MICHAEL JACKSON, JR. (New Orleans, LA) began his dance ASHLEY MAYEUX (Houston, Texas) began her dance training at the training at age 14 at the Duke Ellington School of High School for Performing and Visual Arts the Arts in Washington, DC under the direction of and graduated cum laude with a BFA from Charles Augins. He became a member of Dance SUNY Purchase. Ashley continued her Theatre of Harlem Dancing through Barriers studies at the Dance Theatre of Harlem and Ensemble in 2005. In 2006, he joined Dallas Black went on to perform in the tour of the Dance Theatre and in 2008 joined Philadanco, Broadway musical Aida. She has been where he also worked as Artistic Director of D3. featured in publications including The New Mr. Jackson joined the Company in 2011 and York Times, The Los Angeles Times, and rejoined in 2015. Pointe Magazine. From 2012 to 2016, Ms. Mayeaux was a member of Complexions Contemporary Ballet. She joined the Company in 2016.
MICHAEL FRANCIS McBRIDE (Johnson City, NY) began his training DANICA PAULOS (Huntington Beach, CA) began her dance training at the Danek School of Performing Arts and later at Orange County Dance Center in southern trained at Amber Perkins School of the Arts in California and also studied in Los Angeles with Yuri Norwich, NY. Mr. McBride attended Earl Mosley’s Grigoriev. She graduated from the Professional Institute of the Arts for two consecutive summers Performing Arts School in New York and trained at and was also assistant to Mr. Mosley when he set The Ailey School as a scholarship student. Ms. the piece Saddle UP! on the Company in 2007. In Paulos attended summer intensives at Kirov January 2012, Mr. McBride performed and taught Academy of Ballet, The Juilliard School, as a Guest Artist with the JUNTOS Collective in Complexions Contemporary Ballet, and Jacob’s Guatemala. Mr. McBride graduated magna cum laude from the Pillow. She has performed works by Robert Battle, Judith Jamison, Ailey/Fordham B.F.A. Program in Dance in 2010 after he joined the Matthew Rushing, Hope Boykin, Erika Pujic, Christian von Howard, Company in 2009. and Kate Skarpetowska. Ms. Paulos received a Level 1 award as a YoungArts finalist by the National Foundation for Advancement in the Arts. In 2015, she was featured on the cover of Dance Magazine as one of “25 to Watch.” Ms. Paulos was a member of Ailey II and joined the Company in 2014.
RACHAEL McLAREN (Manitoba, Canada) began her formal dance AKUA NONI PARKER (Kinston, NC) began dancing at the age of training at the Royal Winnipeg Ballet School. After three. She later moved to Wilmington, DE and graduating high school, she joined the Toronto cast continued her training at the Academy of the of Mamma Mia! Ms. McLaren moved to New York Dance until she graduated high school. In 1999, City to study at The Ailey School as a scholarship she joined Dance Theater of Harlem where she student and later joined Ailey II. She has performed danced leading roles in Giselle, Agon, and The works by Karole Armitage, Dwight Rhoden, Four Temperaments. In 2005, she joined Francesca Harper, and Nilas Martins. Ms. McLaren Cincinnati Ballet where she danced soloist roles in joined the Company in 2008. Swan Lake and Lambarena. In 2006, Ms. Parker joined Ballet San Jose where she was the first African-American woman to dance the Sugar Plum Fairy in The Nutcracker. She teaches master classes throughout the country, has coached young dancers for YAGP, and worked on the film Enemy Within as a wardrobe consultant and rehearsal director. Since joining the Company, she has had the pleasure of performing at the Gala of International Dance Stars. She joined the Company in 2008.
CHALVAR MONTEIRO (Montclair, NJ) began his formal dance BELEN PEREYRA (Lawrence, MA) began her formal dance training at training at Sharron Miller's Academy for the the Boston Arts Academy, where she graduated as Performing Arts and went on to study at The valedictorian. She was also a member of Ailey School. He received his BFA in dance Origination Cultural Arts Center in Boston. Upon from SUNY Purchase, where he performed moving to New York City, Ms. Pereyra was closely works by Merce Cunningham, Helen Pickett, mentored by Earl Mosley and danced with Camille Doug Varone, Paul Taylor, Kevin Wynn, and A. Brown & Dancers for three years, during which Dianne McIntyre. Since graduating, Mr. time she performed at The Joyce Theater, Jacob’s Monteiro has worked with Sidra Bell Dance Pillow Dance Festival, and Dancers Responding to New York, Elisa Monte Dance, Keigwin + Company, and, most AIDS' annual events, Dance from the Heart and The Fire Island Dance recently, Abraham.In.Motion. He has assisted Kyle Abraham in setting Festival. Ms. Pereyra was an apprentice for Ronald K. and creating work for Barnard College, Princeton University, Emory Brown/Evidence,A Dance Company, and has performed with Lula University, Tisch School of the Arts at NYU, Alvin Ailey American Washington Dance Theater, Nathan Trice, and Roger C. Jeffrey. She Dance Theater, and Wendy Whelan's Restless Creature. Mr. Monteiro assisted Matthew Rushing with his ballet Uptown for the Ailey company was a member of Ailey II and joined the Company in 2015. in 2009. Ms. Pereyra joined the Company in 2011.
JAMAR ROBERTS (Miami, FL) graduated from the New World School GLENN ALLEN SIMS (Long Branch, NJ) began his classical dance of the Arts. He trained at the Dance Empire of training at the Academy of Dance Arts in Red Bank, Miami, where he continues to teach, and as a NJ. He attended The Juilliard School under the fellowship student at The Ailey School. Mr. Roberts artistic guidance of Benjamin Harkarvy. In 2004, he was a member of Ailey II and Complexions was the youngest person to be inducted into the Contemporary Ballet. Dance Magazine featured Long Branch High School's Distinguished Alumni Jamar as a “25 to Watch” in 2007 and on the cover Hall of Fame. He has been seen in several network in 2013. He has performed at The White House in television programs including BET Honors, Dancing 2010, and as a guest star on So You Think You Can Dance, Dancing with the Stars, and The Today Show. In 2010, Mr. Sims taught as a with the Stars, and The Ellen Degeneres Show. In 2015 he made his master teacher in Ravenna, Italy for “Dance Up Ravenna,” sponsored by Ailey II choreographic debut with his work Gemeos, set to the music of the International Dance Association, and performed in the White House Afrobeat star Fela Kuti. Most recently, Mr. Roberts won Outstanding Dance Series. He has performed for the King of Morocco and is a certified Performer at the prestigious New York Dance and Performance Zena Rommett Floor-Barre® instructor. Mr. Sims was featured on the “Bessie” Awards and was a guest star with London’s Royal Ballet. He cover of and wrote a featured guest blog for Dance Magazine. Recently, first joined the Company in 2002. he became a certified Pilates Mat trainer. He joined the Company in 1997.
SAMUEL LEE ROBERTS (Quakertown, PA) began his dance training LINDA CELESTE SIMS (Bronx, NY) began her dance training at Ballet under the direction of Kathleen Johnston and Hispanico School of Dance and is a graduate of attended The Juilliard School. He performed in LaGuardia High School of the Performing Arts. In the first international show of Radio City addition to a National Foundation for Advancement Christmas Spectacular in Mexico City and in the Arts award, Mrs. Sims recently won danced with the New York cast from 1999- Outstanding Performance at the prestigious New 2004. Mr. Roberts performed during the award York Dance and Performance Awards (“The ceremony at the 2002 Salt Lake City Winter Bessies”). Featured on the cover of Dance Olympics, worked with Corbin Dances and Keigwin + Company, and Magazine, and in annual “Best of” lists, she has performed as a guest was a founding member of Battleworks Dance Company. In May 2006, star on So You Think You Can Dance, Dancing with the Stars, and The Mr. Roberts was named Dance Magazine’s “On the Rise” Dancer. He Today Show. Mrs. Sims has also made guest appearances at the White performed several roles in Julie Taymor’s film Across the Universe and House Dance Series, Youth America Grand Prix, Vail International the original opera Grendel. Mr. Roberts joined the Company in 2009. Dance Festival, and galas in Budapest and Vienna. She teaches classes around the world and is a certified Floor-Barre instructor. Mrs. Sims joined the Company in 1996.
KANJI SEGAWA (Kanagawa, Japan) began his modern dance CONSTANCE STAMATIOU (Charlotte, NC) began her dance training training with his mother, Erika Akoh, and studied at Pat Hall’s Dance Unlimited and North Carolina ballet with Kan Horiuchi and Ju Horiuchi at Unique Dance Theatre. She graduated from NorthWest Ballet Theatre in Tokyo. In 1997, he came to the School of the Arts and studied at SUNY Purchase United States under the Japanese Government before becoming a fellowship student at The Ailey Artist Fellowship to train at The Ailey School. Mr. School. In 2009, Ms. Stamatiou received the Segawa was a member of Ailey II from 2000-02 Leonore Annenberg Fellowship in the performing and Robert Battle’s Battleworks Dance Company and visual arts. She performed at the White from 2002-10. He worked extensively with choreographer Mark Morris House Dance Series and has been a guest performer on So You Think from 2004-11, repeatedly appearing in Mr. Morris’ various productions, You Can Dance, Dancing with the Stars and The Today Show. She including as a principal dancer in John Adams’ Nixon in China at The has also danced in the films Shake Rattle & Roll and in Dan Pritzker's Metropolitan Opera. He has also worked with Aszure Barton’s Aszure Bolden. Ms. Stamatiou was a member of Ailey ll and a guest artist for and Artists, Jessica Lang Dance, Earl Mosley, Jennifer Muller/The Dance Grand Moultrie and Caroline Calouche & Co. She is a certified Works, and Igal Perry. Mr. Segawa joined the Company in 2011. Gyrotonic and Gyrokinesis instructor and mother of two. Ms. Stamatiou
first performed with the Company in 2007 and rejoined in 2016.
JERMAINE TERRY (Washington, DC) began his dance training in FANA TESFAGIORGIS (Madison, WI) is a graduate of the Kissimmee at James Dance Center. He graduated Ailey/Fordham B.F.A. Program in Dance, with a cum laude with a B.F.A. in Dance Performance from minor in journalism. She began training at Ballet the University of South Florida, where he received Madison, under the direction of Charmaine scholarships for excellence in performance and Ristow, and Interlochen Arts Academy High choreography. Mr. Terry was a scholarship student at School. Ms. Tesfagiorgis also trained at summer The Ailey School and a member of Ailey II, and he has and winter intensives at Earl Mosley’s Institute of performed with Buglisi Dance Theatre, Arch Dance, the Arts, Alonzo King LINES Ballet, and Lar Dance Iquail, and Philadanco. In 2013, he received the Distinguished Lubovitch Dance Company. Professionally, she Alumnus Award from USF for outstanding service to the arts. Mr. Terry has danced with Ailey II, Brian Harlan Brooks' Continuum, Alenka joined the Company in 2010. Cizmesja's Art DeConstructed, Dance Iquail, Freddie Moore's Footprints, and Samuel Pott's Nimbus Dance Works. Ms. Tesfagiorgis has been a rehearsal assistant for Hope Boykin, Earl Mosley, Pedro Ruiz, Matthew Rushing, and Sylvia Waters. Ms. Tesfagiorgis joined the Company in 2013.
The Ailey dancers are supported, in part, by The Judith McDonough Kaminski Dancer Endowment Fund.
Ailey Milestones
1958 – Alvin Ailey, who believed passionately that “dance belongs to everyone,” and a group of young black dancers perform for the first time as members of the Alvin Ailey American nd Dance Theater at New York’s 92 Street Y.
1960 – Alvin Ailey choreographs his classic masterpiece Revelations, which brings international acclaim. During the organization’s first 10 years, Ailey created 20 new ballets; during his lifetime, he choreographed 79 ballets.
1962 – AAADT is chosen to go on an extensive tour to the Far East, Southeast Asia and Australia as part of President John F. Kennedy’s progressive “President’s Special International Program for Cultural Presentations.”
1965 – Judith Jamison joins Alvin Ailey American Dance Theater and becomes recognized internationally as a performer and as an exceptional choreographer.
1967 – AAADT embarks on a 3-month, 10-country African Tour for the State Department.
1968 – AAADT performs for President Johnson at the White House
1969 – Alvin Ailey founds The Ailey School.
1970 – AAADT’s second State Department-sponsored tour of North Africa and Europe. AAADT also tours the USSR – the first visit by an American modern dance company since the days of Isadora Duncan. The Washington Post reports that the Company was kept onstage for 20 minutes of curtain calls after a sold-out opening night in Moscow.
1971 – Alvin Ailey choreographs Cry for Judith Jamison as a birthday present to his mother. Cry becomes an instant hit, bringing even greater popularity to Mr. Ailey as a choreographer and Ms. Jamison as a dancer.
1972 – Judith Jamison receives the distinguished Dance Magazine award.
1974 – Ailey II is founded to develop young artists and new dance audiences.
CBS airs “Ailey Celebrates Ellington,” Alvin Ailey’s dance tribute to the American jazz legend.
1975 – Alvin Ailey receives the Dance Magazine Award.
1976 – The NAACP awards Alvin Ailey the prestigious Springarn Medal.
1977 – AAADT performs at the inaugural gala for President Jimmy Carter at the White House
1982 – Alvin Ailey receives the United Nations Peace Medal.
1983 – AAADT celebrates its 25th anniversary with an anniversary benefit The New York Times calls “the biggest celebration of all” and further proclaims that “The Alvin Ailey American Dance Theater is not just a company, it is a school of thought.”
Kansas City Friends of Alvin Ailey is founded and subsequently launches the Company’s national AileyCamp program.
1985 – AAADT is the first modern dance company to go on a US government-sponsored tour of the People’s Republic of China since the normalization of Sino-American relations.
1987 – Alvin Ailey receives the Samuel H. Scripps American Dance Festival Award, modern dance’s greatest honor.
1988 – 30th Anniversary Gala with Bill Cosby is recorded as a special tribute to Mr. Ailey entitled “Cosby Salutes Ailey,” which later airs on NBC.
Alvin Ailey receives The Kennedy Center Honors for Lifetime Contributions to American Culture through the Performing Arts and New York’s City’s highest cultural honor – the Handel Medallion.
1989 – Upon Alvin Ailey’s death and at his request, Judith Jamison is named Artistic Director. Under her leadership, the company flourishes, building an unparalleled reputation for performance, education, and innovation.
1991 – AileyCamp established in New York City. This program is successfully replicated in cities nationwide and continues to inspire thousands of inner-city youth.
1993 – AAADT celebrates its 35th Anniversary with a gala that includes Maya Angelou, Jessye Norman, Anna Deavere Smith, Maya Angelou, Denzel Washington, Al Jarreau and Dionne Warwick.
1994 – AAADT performs at the televised inaugural gala for President Bill Clinton, seen by 80 million viewers, and was featured on The Phil Donahue Show, reaching 18 million viewers.
New York City’s West 61st Street (where the company is renting studio and office space) is renamed Alvin Ailey Place.
Judith Jamison’s autobiography, Dancing Spirit, edited by Jacqueline Kennedy Onassis, is published by Doubleday.
Historic Annie Liebovitz photo shoot produces poster image that becomes a classic.
Ailey in the Park attracts 30,000 spectators, who congregate in New York City’s Central Park to see the live performance.
1995 – Judith Jamison and the Company are featured in a very successful American Express ad campaign. Advertising Age calls it “the campaign of the decade.”
1996 – Jennifer Dunning’s loving, biographic tribute, Alvin Ailey: A Life in Dance, is published by Addison Wesley.
1997 – Historic AAADT residency in South Africa, signaling the end to a long cultural boycott of the old apartheid regime by the world performing arts community.
1998 – AAADT celebrates its 40th Anniversary. A two-CD box set, containing the music of Revelations and other Ailey favorites, is released through V2 Records.
The Ailey organization pioneers its new B.F.A. program – a joint venture between the Ailey and Fordham University, which offers students a unique opportunity to receive both superb dance training and a superior liberal arts education.
Judith Jamison is the youngest person ever to receive the Dance/USA Award during the Spoleto Festival USA – as well as the New York State Governor’s Arts Award.
1999 – Judith Jamison receives The Kennedy Center Honors for Lifetime Contributions to American Culture through the Performing Arts. Orlando Bagwell’s documentary “A Hymn for Alvin Ailey” is broadcast nationally on PBS’ Great Performances, inspired by Judith Jamison’s work Hymn, her powerful tribute to Alvin Ailey, in collaboration with Tony nominee Anna Deavere Smith. Judith Jamison wins a Prime Time Emmy Award in the category of Outstanding Choreography.
2000 – Alvin Ailey Dance Foundation launches A Soaring Spirit: The Campaign for Ailey to catapult the organization to new levels of achievement and to ensure its future.
2001 – Ailey purchases a building site at 55th Street and 9th Avenue for the organization's first permanent home.
2002 – President George W. Bush awards the 2001 National Medal of Arts to both Judith Jamison and the Alvin Ailey Dance Foundation. The Foundation is the first dance organization in history to be given this prestigious award and it is the first time ever than an arts organization and its artistic director have been recognized independently for this honor.
Judith Jamison carries the Olympic torch in Salt Lake City, UT prior to the opening of the 2002 Winter Olympics. AAADT performs Jamison’s HERE…NOW, commissioned for the Olympic Arts Festival.
2003 – Alvin Ailey American Dance Theater celebrates its 45th Anniversary. Alvin Ailey Dance Moves!, an innovative approach to exercise and fitness, is published by Stewart, Tabori & Chang, followed by Ailey Spirit: The Journey of an American Dance Company, which is filled with stunning photographs from the world’s finest dance photographers.
As part of its annual ranking of the 100 Best Charities in the country, Worth magazine recognizes Alvin Ailey Dance Foundation as one of the top arts organizations in the US.
AAADT performs at the White House State Dinner honoring President Mwai Kibaki of Kenya.
2004 – The United States Postal Service issues a first class postage stamp honoring Alvin Ailey as part of the American Choreographers stamp series, which commemorates four visionary 20th century choreographers who left a profound mark on the language of dance.
2005 – The Ailey organization celebrates the official opening and public dedication of its new home, The Joan Weill Center for Dance, the largest building dedicated to dance in New York City, the world’s dance center.
AAADT returns to Russia, becoming the only American company to perform in the Stars of the White Nights Festival and the first modern dance company presented at the legendary Mariinsky Theatre in St. Petersburg.
Launch of The Ailey Extension, a new program for the general public that offers “real classes for real people” with a variety of techniques taught morning, noon and night.
2006 – The Library of Congress announces the donation of the Ailey archives to “the nation’s library,” which will preserve the materials, digitize them and make them more widely available to future generations. According to Librarian of Congress James H. Billington, it is “…a major achievement for the Library.”
PBS Dance in America’s Beyond the Steps: Alvin Ailey American Dance Theater, which chronicles the 2005 tour to Russia, the Ailey organization’s move into its new home and the creation of the acclaimed ballet Love Stories, premieres.
2007 – Judith Jamison is awarded a 2007 Bessie award for her lifetime commitment to the preservation and development of dance and the arts. To add to the celebration, company member Clifton Brown is also presented with a Performance Bessie Award.
AAADT Associate Artistic Director Masazumi Chaya celebrates his 35th Anniversary with the Company.
Ailey II premieres at The Ailey Citigroup Theater. The two-week, sold out engagement marked the company’s first New York season in its own home. AileyCamp grows to 9 sites nationwide with the inaugural sessions of AileyCamp Staten Island, the second camp in New York City, and a two-week pilot program in Atlanta, GA.
AAADT is featured on The Oprah Winfrey Show and the season opening of The Ellen DeGeneres Show.
2008 – The Ailey organization launches its 50th anniversary celebration with 18 months of special performances, projects and events, including:
The Library of Congress in Washington, D.C. opens the exhibit Alvin Ailey American Dance Theater: 50 Years as Cultural Ambassador to the World.
AAADT is the first concert dance company to perform on ABC’s Dancing With the Stars and FOX’s So You Think You Can Dance.
The Ailey organization creates special commemorative merchandise in celebration of the 50th anniversary including a Barbie® Doll, Hallmark greeting cards, a Movado Museum Timepiece, and a photographic art book—Ailey Ascending: A Portrait in Motion by renowned photographer Andrew Eccles.
Ailey holds free summer performances in all five boroughs of New York City, including a street party on 55th street in front of New York City Center. An estimated 40,000 people attend one of these events.
AAADT launches its five-week 50th Anniversary Season at New York City Center with a Golden Anniversary Gala with Honorary Chair Oprah Winfrey. The season includes special live performances with Jazz at Lincoln Center Orchestra and Sweet Honey in the Rock.
The US Congress passes a resolution naming Alvin Ailey American Dance Theater a vital American “Cultural Ambassador to the World.”
Ailey II Artistic Director Sylvia Waters celebrates her 40th anniversary with the Ailey organization and receives a 2008 Dance Magazine Award.
2009 – AAADT members perform at a special performance in honor of Martin Luther King Jr. Day on the eve of President Barack Obama’s first inauguration.
AAADT kicks off its 50th Anniversary U.S. Tour to 26 cities in Washington, D.C. where President Obama and the First Family attend a performance at the John F. Kennedy Center for the Performing Arts.
Judith Jamison is named a 2009 TIME 100 Honoree from Time Magazine’s annual special issue highlighting the most influential people in the world. 2010 – Judith Jamison and Alvin Ailey Dance Foundation appoint Robert Battle as Artistic Director Designate.
Tracy Inman and Melanie Person become co-directors of The Ailey School, succeeding the late Denise Jefferson, who led the School for about 25 years.
The Ailey Extension celebrates its 5th birthday -- serving over 35,000 individuals who have participated in weekly dance and fitness classes since the program’s inception.
Ailey at SummerStage attracts 3,800 spectators, who congregate in New York City’s Central Park to see live performances by the Company, including Revelations.
Judith Jamison is the 2010 recipient of The Montblanc de la Culture Arts Patronage Award, which honors outstanding art patrons whose personal commitment and achievements deserve wider recognition, and the 2010 recipient of the Congressional Black Caucus’ prestigious Phoenix Award. First Lady Michelle Obama honors Ms. Jamison at The White House Dance Series: A Tribute to Judith Jamison, celebrating her career as an American dancer, choreographer and Artistic Director of the Company for the past 20 years.
Mayor Michael Bloomberg presents Judith Jamison with highest honor awarded by the City of New York – the Handel Medallion for distinguished achievement in the arts.
2011 – During Alvin Ailey American Dance Theater’s 2011 International Tour Judith Jamison passes the mantle of Artistic Director to Robert Battle on July 1, 2011. He becomes only the third person in the Company’s history to hold that position.
Robert Battle initiates a major new program: the New Directions Choreography Lab, designed to serve the entire field of dance. Assisting choreographers in developing their work, the program will grant resident fellowships to four emerging and mid‐career artists each year, offering a stipend, the use of gifted dancers from The Ailey School, creative mentorships and rehearsal time at The Joan Weill Center for Dance.
AileyCamp Newark launches to provide at-risk youth ages 11-14 with activities that build self-esteem, encourage creative expression, and impart life skills such as goal-setting, self-discipline, and teamwork. AileyCamps operate in ten sites, and engage nearly 1,000 young people across the country: Atlanta, GA; Berkeley/Oakland, CA; Boston, MA; Bridgeport, CT; Chicago, IL; Kansas City, KS; Kansas City, MO; Miami, FL; Newark, NJ; New York City.
10-year agreement announced with New York City Center designating Ailey as the venue’s Principal Dance Company and providing financial support for the creation of one new dance work for the Company’s performances at the landmark theater during each of the next ten seasons.
Robert Battle’s first season receives critical and audience acclaim: Featuring a rich array of premieres and new productions that extend the company’s legacy in exciting new directions, including landmark works like Paul Taylor’s Arden Court, Rennie Harris’s Home, Ohad Naharin’s Minus 16.
2012 – After 38 years, Sylvia Waters steps down and her personally-selected successor, Troy Powell takes the reigns of Ailey II as Artistic Director on June 30th. Mr. Powell began his dance training at the age of nine as a scholarship student at The Ailey School, later dancing with Ailey II and then Alvin Ailey American Dance Theater, before rejoining Ailey II first as a resident choreographer, then as Associate Artistic Director.
Launch of the Ailey Legacy Residency -- a new lecture, technique and repertory program for college-level students looks definitively into the history and creative heritage of Alvin Ailey -- led by Sylvia Waters.
Ailey board appoints Bennett Rink as the new Executive Director of Alvin Ailey Dance Foundation, succeeding Sharon Gersten Luckman, who stepped down in January 2013 after over two decades with the organization.
Alvin Ailey American Dance Theater’s international appearances include four-week sold-out engagement in Paris, France, as well as visits to Denmark, Israel, Spain and Switzerland.
2013 – An historic engagement at Lincoln Center, for the first time in 13 years, launches 2013-14 season led by Robert Battle, which also includes visits to Brazil and Argentina and a record-breaking five-week engagement at New York City Center. Ailey II’s first New York season led by Artistic Director Troy Powell also breaks box office records.
2014– Another record-breaking New York City Center Season: for the second consecutive year, Alvin Ailey American Dance Theater broke New York City Center season box office records—nearly 70,000 audience members attended a total of 39 performances during the five-week engagement from December 4, 2013 to January 5, 2014.
In the second season under the artistic direction of Troy Powell, Ailey II celebrated its 40th anniversary. The company performed for approximately 40,000 people in 33 cities worldwide, including five cities across France, Germany, Poland and Luxembourg, and 28 cities in the United States and Canada.
Launch of AileyCamp Baltimore – a new AileyCamp site opened in Baltimore, Maryland, welcoming children between the ages of 11 and 14 for a pilot session, as one of the nine camps in operation nationwide in 2014.
Robert Battle visits the White House to accept from President Obama the Presidential Medal of Freedom, the country’s highest civilian honor posthumously awarded to Alvin Ailey in recognition of his contributions to civil rights and dance in America.
2015–Alvin Ailey American Dance Theater makes an historic return to South Africa after nearly 20 years, performing in Johannesburg and Cape Town, and leading workshops, master classes, and lecture demonstrations in over two dozen schools, universities, and community centers.
Alvin Ailey American Dance Theater makes its national film debut as part of “Lincoln Center at the Movies: Great American Dance.” Shown on approximately 600 screens across the country, the film includes Chroma by Wayne McGregor, Grace by Ronald K. Brown, Takademe by Robert Battle, and Alvin Ailey’s masterpiece Revelations, along with a rare look behind the scenes and exclusive interviews with the artists.
Simon & Schuster publishes MY STORY, MY DANCE: Robert Battle’s Journey to Alvin Ailey, an inspiring children’s book based on Mr. Battle’s life. His landmark year continues with the December debut of Awakening, his first world premiere since becoming Artistic Director.
2016–Judith Jamison’s contributions to dance were celebrated at a White House Black History Month event hosted by First Lady Michelle Obama.
ALVIN AIL~Y AMERICAN DANCE THEATER
PRESS COVERAGE
Broadcast Highlights 2015 – 16 Season
PBS – NewsHour: Robert Battle TBS - CONAN: Conan O’Brien visits The Fox 5 NY – Behind the scenes of discusses his vision for Ailey’s future. Ailey School, and Company performs Awakening, Robert Battle’s first world Sinner Man for a live studio audience. premiere since becoming Artistic Director.
CNN 360: A 360 behind-the-scenes look Elle.com – The Movement: Rachael NPR: Matthew Rushing discusses his long at the Ailey dancers rehearsing Mauro McLaren dances Cry and discusses body and illustrious career. Bigonzetti’s Deep. image.
CBS2 NY: Constance Stamatiou UNIVISION - ¡Despierta América!: Belen HLN – Weekend Express: Glenn and Linda discusses returning to the Company as a Pereyra on her journey to Alvin Ailey. Celeste Sims discuss their love story. mother.
(Ctrl + Click on images for full video) November 27, 2016
Online:http://www.nytimes.com/2016/06/15/arts/dance/meet-new-dancers-alvin-ailey-american-dance-theater.html?nytmobile=0&_r=1
June 15, 2016
Online and included in Village Voice Newsletter: http://www.villagevoice.com/arts/promised-lands-four- different-dances-explore-places-of-pleasure-and-pain-8733282
et1}e Nettr !llork Qliute£1 II OANCI:
An 'A,~akcn ing' for Robert &ttJc. EY UIA ~0\JRLI\S Arts&Leisure SUNDAY. NOVEMBER 29 , 2015
Dance His Steps, Finally in the Spotlight
Robert Battle makes his first Ailey danoe as artistic direct~r.
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Unquestionably there couples. lm'E: "Program B" fascinaUn& mix of the Ailey is a cat;adyl5mic disturbance "'Love Soop: an Ailey includes Rennie Harris' iDheritance and Battle's own in the air u the dancers ciulie from 1972, feattares a "Exodus" and Battle's ~o bravura theabicality driven swirl frenziedly- gathering single dancer (the Intensely Longer Silent," and "C" fea by hill ability to colljure ritu into a tight huddle at some foeuaecl GleM Allen Sima) tures Ailey's "Blues Suite" al• made modern. momenta, as ifsooking a coJ:Ullli.ng three episodes In and "Cry:' plus Paul Tay1or'a Set to a thunderous, zone of collective safety, and a man'!Iliff' ~ ItbegiM with "PlazzoUa Caldera... altc)eether thrilling IICOre by then circling out like a flock Donny Hathaway's render John Maclcey, "Awakening" ofbirdl stmmed by gunshot. ing or •A Sone ror You." Follow Hedy Weill on TtuitUr. mlabt best be deteribed lUI or a bomb. Breathtakillg movee on to Nina Simone'I @H«lyWeiuO-ilk "The Rite of Spring" meeta from start to finish. bauntin1 take on •Poppies," alatter-da,y vision of End Alao new to Cb.icaao and ftnaUy augcsta the need metr®) November 13-15, 2015 Dance dance revolution 1lle Ah in AiJev 1.1. "The t;~ngo is~ \Orork world debuts) that Alvtn con 1pan) gets 1L'i.IJy fur iug-da.ss dance, and the ~ley h.a.s pl.aru:led this d;u1ct:rs havt' to inreract wtmer season. one ofits rnost exciting Wlth thiS UUO desire Also on df'Ck: RC'In seasons yet bur combinP it with t hl' a ld K. Brown's CUb~n clean precision of mod intleC'tt'd MOpcu Door: nn d•mce.• f~aturtng IDUSl<: by Artu· It's ;~ho tedlrucatly ro O'Farrill and the Afro demanding: A man Loltin Juz Ordlenr.t; ~lid~ ac.ro.s:; tht' !'OOID, "Untitled Amcnca: First Ru.:hitrd Chen See is set· tv.•o female dancers Mo\•ement " tht' first of tang up for a rehc&rsal hanging from his ;~nns ; a tl~e- part series .about at the Alvin Ailey Ameri one guy suddenly flips the U.S. Jru:a.n:eration t:lln Dclll~ Theater stu .mother upsldl! down system created for the ruo. Today. the t:ompany and. wh1le holdmg each company by rhorcog will tw nanning through other, the two bcgtn r.tphtt and MocAnhur choreographer raul T:ly· dolll~ <.~ )eries of CClrt· "C.t-nm'i· Kyle Abra· lor's fiery "Piazzolla Cal· whccJs. l'h~'s a lot of ham. and MAwakcning.• der.t• for the fint tlme. violtnt h1. sling and in the fint work cboreo Cben se~ danced in tricat~ footwork and ;m J. liOd.t (~ ·p~lrr .mdY;~nnidc l~hrun .u.wrmn . nily he rostered. every worth doing :1re the Spring.'" one of the most day. And 1 know there things that people don't notorious, and best, bal a.re some things I do utadersla.ud 1·igbt away." Jds ~"·er _l)C!rformcd. ..1 that ruffle feathers. but He CiteS Stravmskys JUSt follow· my gut and somettmc~ tl'u? things riot-indt1cing "RitP of c;Pe w)lP~ that l~ads . " The spirit of Alley Rflli rf~ Jpilii of il~ffit\11'? :~r-rl (.tltures. sur.h san ,:.ilft)· \\'01\ uu1tami1;oo,' ~~" ts?Jt "'· •It ·tm e;perime.m~;t~ , is inch:! Alnn p.l1 iCI!f htif n;:.yc to the tl.ues .. rr.1 o · ~ o t t~.e tJr December 2-8, 2015 Leaps and bounds Alvin Ailey American Dance Theater celebrates its 45th season at New York City Center. By Leah Faye Cooper rs tne &nt dart of reneersa1 the~. wtlldlptt(J"'Ittreclln "'*\'hen I £0 outen6 &ppreetate before N-An AltoyAmertcan~ \rle gt'QI.AP'S l958oenv\ '"""""'""PI#SYfts. ·ms ...... Just secme<~ .,...,. 11~ OU'Ief wt. 11a.e It lO dlswct me ITheater bttlns bmonttltorc perlom'lanc.e on a t1ny Sf.lt5e at ~ the rieR bm&.l\le f\8d ~t.ne from ...,..,_wor I'm ~tres$lre ~Aintet N&$01\. and tf'On\ l'lll otftco 92nd Street 'f. AOOienots wl!l etao IO &invner, as they' Rj, and I cafe ~• the 2;S-yearoold Harlem In tho eomDW!Y'• He!•' • Kitthtn be treal!!ld lo thO wcttt premlere Of teu about~the plecG 15 a reaidef1t 58)'5 as .she prcp.ates ~.llltlstlcekectof Aobert ~AONlam'SUnCICJed~: tuooeuOt tallure, beeauMimldc fOr rti'\Ut$&1. ·1 want to 00 the Battle Hi pro~ a lit~~CUPtl'lat F'II'Sk ~r.lhe tlrstpleoe., a QMce \hal c:omos from my hew\.· urno~:tud~os. lwantthetn blends be4oYed worics from the a ttYee-pan series that examl~s TNs. wlnt«, Alleytans 'llifl.,so to stopwonyln& aboUt ""at'& COMPDI'IY' t (JMtwfth h~ U'lamultJ&«Mtratlonallmpecta -nee Open"""· a wOOd ao•nc on In me out51de WOI16- ~Cd. f'lCWH.oefOtO. of lr'lcutccretb\. Be~. who and~'saklotl01n&on-end ~Cianoor.. wes piCked to told 1M K. Btotwn thM como out Of tU 2013 jutlliONot tft'O ti'ICI a hOff hOuri or "Forflvowoeks, WOt/'J comoanyln20Ubyhls ... pei)Qe end jo'f. • 1r1Pto~.!I'•Mttotl'!o...,.L to 1Jve NN Y«k evel)'ttlloa leieflda.yprede • THE Arts SAl\IR.DAY. OOCE.i\15ER 26,2015 Dance Gave Him the Voice He Lacked !JyGIA KOO'ftl.A$ Ol$p(!nue. taut. Many Aller oancers Jeroboam Boteman at the Ade:y WileD Mr. Ow.eman Wllli tl.uall)' umm:d lltep t~uwr1. 1U 22, r.tr. nun:1uan Willi tlkkr Jtrollo3m BQ¥ef1Wl, wb~ l.J(()ad kiiOW how to seD adatltewltb dule,atld Studios in MidtQwn. C,.Qwinr up, he a ptaoo in Ailey IJ, the group's $Ct01ld than most of tbe or.her dancen -ln both sboulders and wl'ftty fluidness give him tbat's fine. but Mr. Bozeman's stedy wall tormented for liking dance. eo•npatl)', he dkl.n't be9;1tate. Oilier& qe and in life experieoce. a st.ngulu, rugge4 grace, has been bav· pcrfcitntiU!Oe& are more ot a aiOw bum. mlgllt bilve. He bild il.lmtdy beta a m~ '"I remember te!UJ'Ig OOBalcl Byrd, Md lng il brt;tk:out lii:OM(IO with Alvin Alley and Ut~t'$ cvt:n bet.tt"r, bc:r M PliDadanoo, ot lbe Pbiladelphla be wns tiltc, 'Whef?'" Mr. BI.Ya!man re Arnerl<'M Dance Theolter. Sn fw; he bu Appmu~dy, he o~ tim~: te> grow wrned down tor a sum.me:r P~t~Vant at Dance Compll.tlf, l<:d by JOiln Myel'$ a tlled ••vou•re stbl& to dance far Ailey triumphed tn. k>ed roles ln works by tnto himsell. Now It~ hard to Utbom tbat cbe Ailey scbool. B~ rot aboot three )oesrs; tbeo, be II?'" Robert Baule and Rennie Harris. His J..t; ROxtmllll auclltia.ned ror the Ailey ..-Didn't ge-t in," he sUd ~Aitb t1 1rin dur mo\oed to Seattle to join Donald Byrd's 8ut for Mr. Bo:an.m. now 2!5, it v.·•s "SimteTM:m'"' ''tt.ri;uioo in theeompany':$ ecmpany fi'N! times before landl.ng a ingan intcrvicwatOIYC~ottr, "'btrtthe Spe«rum Dance Th~ter. In terms of signature •:Revelations· was redtless. a{ot. And that as a tttMgtr, be was company is io re:sidcll(:t t.hroug~ hn. 3. pay and, ttl a degree, doot, Alley II was a comt11uedo~t ~6 Dance Gave Him the Voice He Lacked as a Boy --- NGw IOQh!ICIOUJ all4 ¥J1mr114 Tilt: z.,.,.. V.bdd 5dloal ell tlW Aru tA WMml wa...... ,. ~ b ~ dlool lltoty ~..,. llld .... , . ~ plla.pnift.l.. hl' ~ if\4 ~-..*"1••111)\ .... IUrnt.. _, "'ht-n dw-..., fi"'IJ •r"'""' lobrrt .....ntd twit tqd ~· •t"'...,.. ".IJ ..,_,. •Ill\.,.: lk' 1uW \C• t.\\.*'r ...,..11'1., ••' !Jw '-'' ~ k ra-Nd \\'-tt~ llobrn rf'CI'tlllfd .l MTIFU:t~t• &ra-re. lw lirH ...,~tp. • tw W lnd"" tw WIIW f"'n ~ olwn "" ... t-...... al. rrom•M My Story, My Dance: Robert Battle's Journey to Alvin Ailey By Lesa Cline-Ransome. Illustrated by James E. Ransome. The story of a child who overcomes what could have been devastating obstacles to reach the heights of artistic achievement has become a staple of picture-book biographies, but this one has an especially warm glow around it. Robert Battle's journey to the center of the New York dance world - he is currently the artistic director of Alvin Ailey American Dance Theater - started out in Florida, where as a child he was raised by a cousin after his mother wasn't able to care for him, and was forced to wear painful metal braces to straighten his legs. In the hands of the Ransomes, a husband-and-wife team, Robert's life is a classic inspirational story of family love, faith and passionate artistic devotion. His "mama Dessie," the cousin who takes him in, surrounds him with music and tender care, but sends him to karate lessons too, since the streets aren't quite so nice. "Do you think I can be the first black Baryshnikov?" Robert asks when his braces have come off and he begins to study ballet. His sights are always upward, and yet the story emanates gentleness. In James E. Ransome's realistic pastel portraits, Battle, his family and his teachers all seem lit from within. 48 pp. A Paula Wiseman Book/Stmon & Schuster S17 99 (Picture book, ages 4 to 8) June 13, 2015 June 19, 2015 Forgotten Score Opens an Unexplored World By Gia Kourlas .lNhllt-4 Ml'll-vn.. 't::W 'I'QIIIC 'nM(S A11~n Ailey American Oanrl! Theater Rennldo Maurioo wUh other members ofthe company ~tforming "No Longer Silen~· at Lincoln Center. Forgotten Score Opens an Unexplored World Alvin Ailey American Dance in silence. Jamar Roberts walks Th.,re's nothing romantic explores lht' idt>a of Ute individual Theater showed that a popular onto the stage with a silky red about Ailey's other new produc· and the group while adhering to a song, no matter how beloved, can scarf !!raped around his neck. and tion, Robert Battle's scaring •No stnct structure that deftly switch kill a dance, ami that a lorgutten Jacqueline Green,ln a red dress Longer suent," Which was Chor es between images Inspired by score cao inspke a choreogra by Jon Taylor, follows behind. She eographed In 2007 for Jui!Uard conceotration camps-SchuTh off pher to e>:plorean un maintains her distance even as ~Ill dents as part of A program to died m one in 1942 - and pieces of GIA ramiliar world. Con bl;; arms wrap around her frame commemorate composers whose machinery. tinuing its season at without touching her llody. This is The dancers, moving in clus· KOURLAS tbe oavld ~. Koch a lived·ln couple; their l!ngerlng ters, skitter along in quick. bird· Theater on Wednes- glances hint ru a history, stormy like steps or take stronger stomps OANCt d '-- REVIEW ay, t • .., company ~nd pllssivnal e. in profile. Mr. Bartle ecboes the bool June 21, 2015 She Really Knows Her Num.bers BySIOBHAN BURKE pany. When can you start working?• My Not many dancers spend their days da~h jaw dropped. I was JUSt staring. I know I looked crazy. I couldn't my head ing bctw~n rehearsal and muttivanabte WT3p calculus class. But that was college for Jac around at! qu tm Hnrns, one of the newest members What's been most ehallencing about the first of Alvtn Alley Amencan Dance Theater. year? •At freshman orientation, I reused my Probably the workload. We're on the road hand and said, 'I'd like to double major in for six to eight months out of the year, and engineering and math,"' Ms. Harris re· we're dancing a lot, wh.ach is a blessin&, but called "And they were like, 'That's proba It's taxing on the body. You have to find the bly not going to happen."' A.c; a student In right bo.lance of rest and hard work. the rigorous B.F.A. program offered by YOt/~ performlnc "After the Rain" this Fordham University and the Atley School, weekend. What; that Eike7 Ms. Harris would also be dancing for about It's nice to move slow. It's so different from seven hours a day. She senled for one m'lJOr a lot of our other rep. You can JUSt allow (math) to accommodate all that studio uml:! your body to be as languid as the mustc. But and, come ..emor year, a posnion with you really have to center youcsclf. Raght be· Alley's jumor company, Alley 11 fore the curtain goes up, lhe stage manager Ms. 1rarns, 22, grew up m Charlotte, N.C., asks everyone to dear the stage so you and tnkmg classes at her local competauon stu your partner can have a moment to your dio. Though most of her peers stopped selves. That really helps. danca.ng after high school, her teacher, De- ruse Brltz.Ciarke, encouraged her to contm It must be trk:Jiy switchln& between styles. ue. Sancc joining Ailey II and, last summer, It ts. But that's what's most fun about this advancing an to the main company, she has company. ln any performance, you could go lightened her acadenuc load but hasn't from somethmg totally Jazzy to African to slowed down. \\'ath her uncommon blend of hap-hop, back to • Revelations," cla.ssacal equammaty and dnve, she has performed modern. It keeps you on your toes. more featured parts than usual for a fir!>l· Does yOUI' math background help you with year company member, in works mcludmg dancln&7 Alvin Ailey's "Pas de Duke• and Chnsto Definitely. Especially with thiS season's pher Wh~ldon's •After the Rain... new Robert Battle piece, "No Longer Si- If Ms. Harris is at all daunted by the pres lent... It's nll about counts arnJ rhythms, sures of her new job, it doesn't show. Be very number·heavy. This part is In fours, tween rehearsals for Ailey's Lincoln Center then at turns to threes, then SLXCS and season, whlch wraps up this weekend, she eights. I hke to thmk about thmgs logt· tnlltcd about her first year of fuii-Ocdgcd cally. Like, If I want to do four pirou· company life. These are excerpts from the ettes, I have to spot my head fast conversation. enough to get around rour nmes in Q. How cfid you find out you'd been the amount of time I can stay on promoted to the mlrin company? relev~ It's fun to make connec· A. It was o complete shock. At the tions between science and audition, I was just having a good dance. It makes me a little bit time. We had to learn the cbor or a ner d, but that's O.K. eogruphy m 10 minutes, so we Are you finished with school? were all fumbtmg I need one or two more cred through at together. its to firush my degree an They asked me mathematics, so hopefuUy and two other soon I'll get to go back. I'll g~rls to stay, do something fun, maybe then they looked statistics. at me and were hke: "Welcome to the com- December 13, 2015 SlJNDAY ROU'riNE HOPE BOYKIN Getting Momentarily De-Danced Hope Boykin , wbo recently completed ber QIUilCH Tl [sanonnegollllbleevent , a center· 15th anniversary with the Alvin Ailey lng. Without being able to refuel and re charge mysel(, rm no good to anyone, I am American Dance Theater, has been called not c:reatlng the things that happen 10 me. a •rorce of nature" on stage. Matthew Chun:h puts my Ufe in order, just like prac Ruahlng, the company's rehearsal dlrcc· tlc.-e. Matthew sllld once, "Tho stronger our tor and a choreographer, created a lead faith and heart muscle is, the more we're role for her m his dance "Odetta,• a trib able to take on." ute to the singer and civil rights activist. EAr, WRITE. CHA.'T After returning to Manhat· Ms. Bo}'kln, 43, who Uves In Harlem, tan, l will meet R student or chat wlth$0l'Tie reaches, choreographs and continues to one I might be mentortng, or J will write, coach rising dancers- On Sundays, when usually at Le Pain QuoiJdlen. My favorite one is across from Uncoln Center. I order a she isn't dancing (Ailey 1s currently per child-siz.ed oatmeal and coffee. And they forming at City Center through Jllll. 3), have tlus huge community table. People will Ms. Boykin lowers the volume, malc1ng bring their kids. You're not overhearing cllun:h the main event. Tl1ough it is rare them. but you're not secluding yourself at a table for one. for dancers to perform into their 40s, Ms. Boyldn said, "We're not dancing late, WAUl AHD IHOP I will usually Stroll through we're dancing Just rigbl." RO.IIJH POGMDJ.N the park, !10th Street and Central Park North, to t.be gardens, catch the No.2 train, SCMQfiM P'Oit IDUS Usually J walle up do some food shopping - which IICtllaiJy I pretty earty - around 6. Even if I try to need to do on Sund~ - bead home. Then sleep late, it doesn't really work. I'm an l'U walk around in my neighborhood. NBC watcher - "Open House; after the There's an awesome coffee shop, Lenox news, which shows houses for sale m New CoHee, my go-to for a mocha or cappuccino. York. It gives me Ideas. I ltve in an apart I love a Sunday late lunch-early diMer 81 ment. The buill;ling is awesome, my neigh· Barawine m Harlem, or to Red Rooster for bors are awc:some and I love my ne1ghbor· live music, or Comer Social if friends have hood. I really do. Not just putt1nll on. come to Harlem to vlsll. MIISIMCS 1H THE GAlln J make breakfll~'t - HOMUPUH IODV TIIIATMIHTS I throw a half a bacon and eggs or a grcc:n juice. I've fallen bag of Epsom salts into my bath. I put on an in Love with rllis Chemex coffee maker. It Agatha Christie aud1obook. and get de sounds so shallow but it's w pretty. l have a danced for a moment. This bath helps get galley kitchen, so I can sltattlle bill', ymting rid of soreness, aches and such. As soon as I or revising something I've written. l've bop out of the bath I sink my feet into a been working on my thoughts. I'Ve started bucket of ic:e water. Over 20 years of danc to realize I have a voice in that way. I have ing professwnally can do a number on the journals st.a<:ked up in my apartment body; and I love, love, love beautiful high heels, so the ice bath helps that indulgence well · OAMCE MINISTII'I' 1 meet Matthew Rushing on as our corner - we Uve across Lenox Avenue from one anotller - and head ro chun:h in IIITCIIEII COHCOCIIOII$ For dinner I' Ll make a the Bronx by train or taxi We're part of our turkey chili in my slow cooker. grill some dance ministry. We share our gifts with our salmon or bake some chicken. f always church family !here. We get to remind them have a salad and maybe some fruit, all ec· that we're people. Sometimes young people companied by some spark.ting w;~ter. t cook look at you as a superhero of dance. Tiley for the week. look at you with those eyes that are bu(!e. 500TMINQ EMCUSII ACCtH'TS I put on Netfllx and watch some Agatha Christie or some Brlllsh drama and It put3 me to stoep. Seing •SWKIQJIRoullM readm ~joUaw Hope an older dancer, you have to be more rested B ~bt ~t\u !Jork ~intrs By: Gia Kourlas | November 28, 2014 The Music Runs Through Her The Ailey company's Linda Celeste Sims thrives on work. By GIA KOURLAS People used to tell Linda Celeste Sims thai she looked like an Alley dancer. She didn'l have a clue what that meant. "I knew it was a modern thing," she said, "but I didn't know the grandness." When her roommate found out that the Alvin Ailey American Dance Theater was holding an audition for a female dancer, she dragged Ms. Sims, lben 19 and a mem· ber of Ballet Hispanico, along. "I had a very disturbing dream the night before." Ms. Sims, 38, said in a recent in· terview. "There was a tittle box, a present wilb a bow, and It was bopping around. It kind of exploded, Uke Hreworks." At that audition, 144 dancers showed up; Ms. Sims, still green enough to ask the at· listie director, Judith Jamison, what her name was, got the job. "I didn't know who she was,"" Ms. Sims insisted with nervous laughter. "A smack of humility, 1 guess. She said, 'Well, my name is Judith Ja· mison, not JAME·ih·son. JAM·lh·son.' I knew by lbe way she said It, she was kind ofupseL" But that was nothing compared With the way Tina Ranure~ Ballet Hispanlco's foWider, reacted the next morning. • She said, 'I heard!"' Ms. Sims recalled. "'You're fired.' She was so upset. I was like her daughter. I was the first protAgt!e to go from the school to the company.• Much has changed since 1996, though lbe subtle power of Ms. Sims's dancing at Ailey, which performs at City Center bew ginning on Wednesday, has only deepened. With a race that could only be described as angelic, she is one of the group's most soul· lui dancers, and not because she takes choreography to a melodramatically spirit· ual place. Slight and supple, Ms. Sims pes· sesses the kind of silkiness that allows mu· sic to run through her. Her dulcet purity al· ways comes as a happy jolt. Her longevity - in all her time at Ailey, she's suffered A graduate of Fiorello H. La Guardia In rehearsals, Ms. Sims's Intensity Is the only a sprained ankle-is mind·boggling. High School of Music and Art and Per opposite of her playful offstage persona; " It's ridiculous: srud Glenn Allen Sims, forming Arts, Ms. Sims is half Nicaraguan you get the feehng lbat she could dance an Ailey dancer and her husband of nearly and half Dominican; it was her Nicara through a tornado. Her focus helps her 14 years. "But I see all the work she puts In guan grandmother, a housekeeper at a HIJ. stay open, she explalned. "As dancers, we ton hotel, who enrolled her in classes. At after. She ices every night, she rolls out her are selfish, we are Insecure, we are some body on the foam roller. It's not Uke, 'O.K., Ballet Hispanico, she began with flamenco. times a b1t conceJted, and that clogs your it's 7 p.m.• and we're done."" •we only had Jive music,• she said "That's arteries," she said "You clog yourself to Masazumi Chaya, the company's associ why I don't count to this day. You can't be the point where you can't breathe, and you free dancing and counting.• ate artistic director, recalled: "Alvin al· can't bring bfe Into anything.• ways said. 'Use my step and show your· She lowered her voice. "There are a lot of people that do that,• she added. "It's so Later, she added: • J was never a hater. I sell.' She's a good example of a dancer who got a Jot of hate, but you can't be a hater." does !haL" In her early days w1th the company, she Thts season, Ms. Sims will perform lead· 'The eyes are the mirrors faced jealousy from some of the other ing roles in many works, •ncludmg "Cry," women. "But I'm from the Bronx; Ms. "Bad Blood," "Grace" and the company of the soul. That's &om rnyteache r ~daine Sims said with a smile. •That means If you prem1eres of Chnstopher Wheeldon's •Af. have a problem with me, that's your Issue. ter the Ram Pas de Deux• and Jacqulyn Darvash.' I got a lot of that, but what I ended up do Buglisi's "Suspended Women.• In that ex· Ing was creating a shell: When I was at ploration of female strength, the dancers, work. I was at work." wearing frayed, tattered period costumes, disturbing. The eyes are the mirrors of the soul. That's from my teacher Madame For her, the new generation of dancers evoke agitation and anguish as they rise that has recently entered the company has and collapse like waves. For Ms. Sims, It's Darvash." Ms. Sims credits the ballet teacher Ga· been a breath of fresh air. "I feel their Intel· a homecoming: Ms. BugUsi was her Mar· llgence," she said. "They don't seem to be tha Graham teacher at Ballet Hispanico. briela Darvash with preserving her body. In her first class eight years ago, she was caught up In tltnt whole: ' I'm In Alley right "She would stick her foot In your stem· now. Now I'm an Alley diva.' The less peo ach and say, 'Contract!,'" Ms. Sims re told to straighten her knee all the way. "In my mind, I'm Ukc, 1 t is straight,'" Ms. ple that are in the company who think like called. "She knew she could pull way more that, rhe better." out of you than you thought you were giv Sims said. "And then I did it. The next ing." morning, Glenn looked at me and said: As she sees It, there's more at stake. "I Ms. Sims flourishes on that kind of tough 'What did you do? Your legs look long.' My want to move people because I'm moved,'' she said. "It means that In everything I do, love. As a dance student growing up In the legs just instantly started taking a differ· Unda CeJeste Sims, top, band, Is spellbindingly quiet. "I really en· I make sure I've Investigated 11 to the point Bronx, she struggled. "My parents worked ent shape. In one class. I swear to you, I'm at the Alvin Alley joy whenever I can share a moment on· where it's in me. Every time I do 'Fix Me,' I three jobs sometimes," she said. "They not lying." American Dance stage with her, because what we're actu· know nothing about dance, but they knew J Her staying power also comes from the Theatet1S studios, and do something different. How can you make ally doing is highlighting our relationship," something that you do every day taste, needed those ballet slippers that cost $50. uncanny ability to grow within roles. Her perfonnlng with her Mr. Sims said. "We're showing you who we look, feel different? That's what separates Better make those ballet sUppers last for rendition in aRevelationsw of "'Fix Me, Je-. husband, Glenn Allen are. ff I had my way, I would only dance two years.>+ sus," which she often dances with her hus· Sims,ln .. Revelations." a dancer and an artist. I want to be an art· with her.• 1st.• JANUARY 2015 LIGHTSo much of a dancer’s power comes from an ability to tune in to the body, says Alvin Ailey’s LINDA CELESTE SIMS. She shares the moves and mental tricks that allow her to soar above the rest. BY ERIN BRIED PHOTOGRAPHED BY BEN GRIEMELEAN Dancers are famous for their lithe bodies and effortless grace, so it’s easy to forget that what makes them appear lighter than air actually requires a tremendous amount of effort. “Even if you have the flexibility, you have to have the strength,” says Alvin Ailey dancer Linda Celeste Sims, 38, who has been dazzling audiences with her gravity-defying leaps and acrobatic skill for nearly two decades. “The muscles in my legs are what hold me up and help me jump higher.” Sims spends up to 10 hours a day dancing to build that strength, but what makes her training so effective is her ability to tap into whatever her body is telling her—from what to eat to which muscles need a little extra TLC. “Awareness of your body is key,” says Sims, who has become a star of the company thanks in part to her flawless technique and to the unheard-of fact that in the past 18 years, she’s never been sidelined by injury. Not once. “It’s more important for me to pay attention than to push through when I feel sore,” she says. Sims’s brand of mental rigor allows her to drive even harder physically, which becomes JUMP FOR JOY crucial in December when she takes center “I want to feel happy when stage and the company kicks off its LEAN > 96 I dance,” Sims says. “Whatever I can do to make that happen, I’ll do it.” TOP Osklen BOTTOM Cover 94 LEG WARMERS KD New York 6 MIND/BODY MOVES MIND/BODY 6 These tonersThese also boost mental focus, says Sarita Allen, Sims’s pilates return tostart.Do 10 reps. straight. Hold5seconds; backward untilarmsare abs toward spine,rolling and deliberatelyscooping together whileveryslowly back, pullingsitzbones exhale asyouround lower then hamstrings. Inhale, hands grasping and bent, feet flat,spine long Sit onamatwithknees 1for minute.Continue says. of yourpractice,”Allen in the ignitionforrest akey abs isliketurning “Firingupyour down. float toward thespineasarms muscles, pullingthem squeeze lowerabdominal Pause, then exhaleand out tooverhead. and sides and inhale, reaching arms a wall,heelstouching, Stand withyourbackagainst 96 2 move. “Theher favorite go, sloweryou the lean andstrong,” says. Sims Rolldowns are shouldn’t long, It be should compressed. be my joints,”lubricating says. she my Itmy happy works place. muscles while 30 50 to laps. swim to pool “That’s the hits she muscl anorange,” from get can you says. she “You’dfueled. how much energy amazed be herenergy, monitors she stay to fruit eating says. Then, rehearsal, herseven-hour during “It flexibility helps mebuild andstrength,” she Rommett aZena to floor-barre stretching DVD. sameway. the is body It’s instrument.” only your don’t you a violin, Your tuning? needs it think improve,” says. she play “But, ifyou andplay new “I’m season. who says to person the I need 1 teac / / She also practices pilates. practices She also “Your body ends,Once rehearsal assesses her she of 20 minutes day with every begins Sims WARM- NAL SCOOP ABDOMINAL SCOOP her (and an Ailey Extension instructor). themTry three times aweek. es again to se again to UP BREAT e if they feel tight. feel Ifso,e ifthey HI NG of thespine.Do 10 reps. and separateeachsegment taking timetoelongate a timefrom necktotailbone, down onevertebraat and anklesaligned.Roll forward andknees,hips pulling absin,toespointed pressing hipsupand on mat.Hold 10 seconds, lift hips,keepingshoulders palms firmlyintomatand apart. Press armsand Lie onamat,feethip-width Switch legs;repeat. reps, thenreverse direction. and flatonthefloor. Do 10 oval, keepinghipssquare to centerinasweeping across body, downandup as youmoverightleg toes pointingup.Exhale Inhale andliftrightleg, straight andfeetflexed. Lie onbackwithlegs 4 3 / / PELVIC LIFT LEG CIRCLE body, you’ll neversucceed.” but ifpotential, you don’t takeof your care study it,” says. Sims “You have can talent and You and smart. be body your to have listen to impressive physique. “To have you great, to be andsuccessfullong career, mention an to not University. State Appalachian at psychology Ph.D., human development of professor and decisions,” says Karen studyauthor Caldwell, make in-the-moment to better you allowing pay attention andto body, present your to be to you encourage “Pilates, liketasks. can yoga, difficult of face inthe confident and more less relaxed, stressed more mindfulness were increased andreported pilates ularly practiced SomaticPractices& physical. A2013 Journal studyinthe of Dance you’lldeeper click stomach.” intoyour For Sims, key mindfulness a to been has Thethe beyond of in tuning fargo benefits to curlhighereachtime. Do 10 reps, usingabs curling bodyalittlehigher. knees backtochestand buttocks. Exhale,pulling inner thighs,absand angle from floortoengage legs outata45-degree off floor;inhaling,stretch shoulder bladescome behind head.Curlupso to chestandhands Lie onback,bringknees start; do10reps. movements toreturn to waist back.Slowlyreverse reach toward toes, pull vertebra atatime.Asarms chest androll upone Exhale, tuckchinto and reach armstoceiling. stretching long.Inhale arms extendedoverhead, straight, feetflexedand Lie onbackwithlegs 6 5 found that people who reg who people found that / / CURL-UP ROLL DOWN - “You have watch to legs “I have strong Iput sore, “If Ifeel “When Ihave aday off & lean lean & Her Her TACKLE TIGHTNESS tips day Self.com/ at recipes cheese.”of Sims’s Get for myselfout. Icook eat you when do that every performance to to performance every 10of before push-ups on them and roll over over androll them on haveor taken along every 5minutes.”every andwalking jogging firmer—you can find firmer—youcan find flight,on to hop I like and even bring a a and evenbring and fightsoreness.” my shoulders activate alternate between between alternate light light My go-tos are yogurt, yogurt, My are go-tos what you put into your intoyour put you what KEEP MOVING EAT CLEAN BALANCE YOUR BODY muscles inmy upper the on work to need lie down in asock, resistance to 5and to resistance my get to minutes processor on the road. road. the on processor go/linda. chicken. Ialso sautéed glutes. (They’re like fruit, green juice and juice and green fruit, favorite performance- favorite love wine and a sliver andasliver love wine andfood plate hot dancing,from I but like getting amassage.” two hard rubber balls balls two rubber hard them at pet stores.) It’s stores.) pet at them balls,tennis only my neck, with them for elliptical 40 the body, andit’s to hard body. Ido 2sets back, quads, hams and quads, and hams back, going. the Iset blood STYLING, LINDSEY FRUGIER; HAIR, MICHAEL JOHNSON; MAKEUP, JUNKO KIOKA FOR CHANEL; MANICURE, MAKI SAKAMOTO FOR CHANEL LE VERNIS; SET DESIGN, TODD WIGGINS FOR MARY HOWARD STUDIO. SEE GET-IT GUIDE. GUTTER CREDT I’M DANCING, I’M POWERFUL.” “WHEN “WHEN I FEEL I How I Got My Body: Alvin Ailey Dancer Glenn Allen Sims Doesn't Eat Dinner but Will Finish an Entire Pint of Ice Cream By: Danielle McNally December 3, 2014 Today Alvin Ailey American Dance Theater kicks off its 43rd consecutive season with five weeks of performances at New York City Center before embarking on nationwide and international tours. The company's star, 39-year-old Glenn Allen Sims, dances seven and a half hours a day to prepare, but it takes more than discipline in the studio to maintain his chiseled physique. "Getting to be almost 40, when things start to fall different ways, I've become more worried about my abdominals. I'm more cognizant of my torso. I want to be portrayed as a man on stage, not some skinny little guy dancer. I barely touch my legs in the gym because of the nature of using my lower half for dance. Instead, when I have a break between rehearsals, I run to the Equinox at Columbus Circle for an hour and a half and do an upper-body workout to get that width; there's a certain stature a man should have. "I work my lats, chest, and arms by doing the breaststroke in the pool and letting my legs drag behind me. I run in the pool, too, and go to Equinox's Aqua Bootcamp, even though people think that aqua aerobics is for old ladies. My wife [fellow Ailey dancer Linda Celeste Sims] takes it, and I remember the first time I went: Here I come with all my gear on, my webbed gloves, and the older ladies were like, 'Ugh, what is he doing here?' And I thought, All right, it's on. But the little old ladies were better—they do it every day. "I've become a huge rower. When I'm stressed, I get on the Concept Rower and let everything go. Sometimes in life, you need that one-on-one, just you and the machine. Working out is not only a release of tension from being in the dance studio, but it's a way to meditate on my own body. Injuries happen because of lack of awareness. In 17 years with the company, I've been injury- free. I see the company physical therapist every single day just to maintain. I'm that guy who doesn't stretch. Physical therapy, for me, is about realigning and stretching my muscles because I can't do it myself. I mean, I can, but it's much better when someone else manipulates you. "Every Monday I go to Peter Vaillancourt for a massage. It's more trigger-point pressure than slathering oil on. And when my legs start to look short and bulky, I know it's time to roll out [with my foam roller]. I do it if I'm not being used during rehearsal and then again when I get home. Other than that, at night, I just lay. Being really physical people, in our downtime, Linda and I just want to watch TV and decompress, just completely veg out. "I don't technically eat dinner. I follow the principles of food combining, and with that you should not eat after 8:00 P.M. Food combining is really beneficial because it helps how your body breaks down food so you can use it for energy and digestion. My lunch is usually protein in a salad, like steak and kale, so I feel satisfied but still light. Breakfast is generally oatmeal with goji berries and my Nespresso, of course. Goji is a red berry with antiaging properties—in this business, you don't want to look your age. My vitamins are all oil-based so that my skin is well-oiled from the inside out: vitamin E for soreness, acetyl L-carnitine as an amino acid, a men's multivitamin for energy and heart health, vitamin D because we're always indoors, and vitamin C because we travel a lot. I have not had the flu. During the [performance] season, I take two ounces of wheatgrass daily—it boosts your immune system. "When Linda and I do cook dinner on days off—we cook at home all the time and on the road, too; we carry pots and sauté pans and a hot plate—I'm huge on trying different spices. They say that spices help your metabolism, and I've noticed over the past couple years that mine has become faster. But my go-to if we're at home in New Rochelle and I haven't eaten is Talenti banana chocolate swirl gelato. That's where my weakness really lies. I'm not eating just a couple of spoonfuls—I'm finishing the entire pint. I don't count calories, but I know that's too many, so the next day I have to work harder. I'll be that one person at the gym on the elliptical watching Law & Order: SUV for an hour, for the whole episode." December 16, 2014 FREQUENT FliER Seeing the World Through Its Barbecue Joints By ROBERT BATTLE was leaking in through the win HE I graduated dow. I know that wasn't the case, Q. How often do you fly for busi11ess? but I was nervous, so my brain from Juilliard in A. A lot. We travel to two or three cities a week, about six to went into overdrive. There was 1994! Tjoined a dance eight montlls out of the year. Tt's crazy. touring company some slight turbulence, but to me W it felt like a roller coaster. Q. What's your least favorite airport? and started flying lot. Since I never flew a lot before, it was An attendant was taking drink A. J.F.K. It feel as if it's due fo r a renovation, not in terms of really exciting to me. Now, as ar orders, and when she was right looks but in the ease of navigating iL It's a little prehistoric. tistic director for the Alvin Al ley by me, it felt as if the hand of God Q. Of all the places you've been, what's the best? whacked the plane, though it was American Dance Theater, I'm A. Paris is just spectacuJru·, and I still remember my first time flying so much it's tough to keep probably only an air pocket. The there. I just love everything about the city. track of all the places we go. attendant lost her balance, and r Q. What's your secret airport vice? I do have some rituals, and one was covered in orallge juice alld a of them is finding a barbecue es little bit of tonic. It was a nice A. Celebrity magazines. Generally, I'm not into those things, tablishment wherever we are mix. We leveled out, and every but I can't stop reading them at the airport, which Is kind of em touring. l could give recommen thing was fine for the rest of the barra sing- but not as embarrassing as my need for fast food dations for a lot of different flight, but I did feel like kissing at airports. I'm a Whopper guy, and I Call track down a Burger places, even in Paris, where ap the ground when we lallded. King at every airport T go to. If I can't, il's all about the fast parently I ate most of the ribs a Then I was on another flight food cheeseburger. paniculru· bistro had to offer. The for work, and the plane was rock only way I knew tl1at was tllat the ing a little bit because of turbu owner told the crew and dancers lence. Admittedly, I was a little he was out of ribs because their nervous, but a woman across the meetings or events. But on one that yes, indeed, I was a little boss, meaning me, ate them all ai le was grabbing on to the seat flight several years ago, 1 was fearful of flying. She told me she The fact that I fly so much is a in front of her and throwing her seated next to a woman who was was a healer. little amusing to me since I'm not bead back as if she saw a mon very calm, and I remember think l probably gave her a strange the world's best flier. ster. The attendant came over to ing that 1 wished 1could be like look, since 1 don't know much BENNtTT Rll'fK When I began flying, I really calm her, and all! could think her. about people who call them elves Robert Battle, artistic director of the Alvin Ailey American did enjoy it, but then I had a few was that if I didn't get control of We started talking and she healers. She asked if she could Dance Theater, taking in the sights in Washington. experiences that made me a little my nervousness about flying, asked me if 1 was afraid to fly. 1 hold my hand for a minute. l said nervous. I was in Brazil flying in that was going to be me someday. don't know what gave that away. fine. I'm open-minded. a small plane, and t swear water So I really try to tough it out. I Maybe it was my ramrod posture I swear l felt this heat radiat immediately calmed down and ered the calming effects of a nice generally don' t talk to people on as I was staring straight allead, ing off her, alld she told me that have been pretty good about fly Bloody Mary. Give me a Bloody As told to Joan Raymond. Email: flights because I fe el as if I'm on thinking Ulat 1 could will the everything was going to be O.K. J ing ever since then. Mary during a flight and I really [email protected] duty and need to prepare for plane w stay in the air. I told her guess I believed her because I But I must admit I also discov- am good to go. EBONY December 2014 TIMELESS READ "The great Maya Angelouwas onoe quoted as saying. 'Easy reading Is damn hard writing.' And I Know Why WAADROBE ITAPLE the C«ged Bird "Turtleoooka have been a part or Sing$ Is just a beautifUl book.• my unlform ainoe grade 110hool I Know W11y the CagedBird They make me feel very offiooat• Sings by Maya Anplou (l'rom Zara Milled Knit Turtleneck Robert Battle 14.80; am.uon.com) s-ter (179.99; zara.eom) ARTIST IN MOTION With under tated elegance and down-home sen MUSICAl. MOTIVATION sibilities, Robert Battle has helped hape .Alvin •Patti LaBolle's energy and Ailey American Dance Thenler' revamped direc spirituality oan be heard In her muslo. That voooe just makes tion since joining as artistic director in 20ll. 'I' he vou want to mover MIA JuiUiard chool alum welcomed the challenge Patth 0/vfWnM {trom l.o modernize the company while maintaining its t7.88;amuon.oom) esteemed legacy. And to the delight of its patrons, he's done just that.. The choreographer and for mer dancer take the same stream.Uned approach i QOOOQRUB to Bfe. Battle partial to small pleasures, which "There's hnrdly a batbeoued include wearing clas ic, no-fuss knits; enjoying nb that I wou.ldn't Indulge in, but a quaint meal; and sipping a preferred libation. Blue Smoke rruly makes eorne EBONY reveals the item and elements that o(the best." Qoto bluMmoiw. com for locatlona. bring tranquility l.o his hectic chedule. - Ericka N. Goodmnn STYLEI D<- '"Lona Home and Sidney Poitlor both l'epniiSGOt sophisticatlon. And they were traJiblazenl who never~~ their sraoe dospite the I"'IIlaJ tonsooo they 8XpQrialoed." aeemtogo with evorythlng. Ouocl Leather 8oot8 ($970; MRPORTER. _A COM) ~4o-b '~'~' HOUDAY TRADmON "Theoompany's Oeoember lhowa al New Vorl< City Centerjust signifY the__., for me.· Go to alvlnalley.cH'Ifotthe perfonnance echedule. 30 EBONY.COM DECEIIIBIB 20H THE WALL STREET JOURNAL. D4 I Tue~• .laniW)'21, 201+ IIEALTII & \\ ELLM:SS WllAM YOO'I WORKOUT? Modern Dancer Cross-Trains to Another Tune s BYJDI MUVHY When you dance for a living. danc ing eight hours a week is work, not a workout . Fana Tesfaglorgls, a mem ber of the Alvin Alley American Dance Theater, embraced an eclectic mix of cross-training to increase her strength, endurance and nextbllity. "You have to do a lot more than dance,n says the 2S·year-old, who joined the modem -dance company last May. Ms. Tesfagtorgis who is a graduate of the Alley/Fordham B.F.A. program in dance, began looking for a workout to supplement her dancing about two years ago. "A lot of dancers cross train so I started asking what they Fena Ttsfaglofgls, an Alvin Alley dancer, did: she says. •t wanted something .OOve, dots exerclHS on a Gyrotonic that would challenge me and leave machine, right. et Fluid F1tness. • me feeling stronger and more in tune Gyrotonics gym In New Yor1c. Fill' right. In with my muscles.• 1 training HSSion with R~ Robinson. Former Alvin Alley dancer Clifton who Is a Gyroldnesls Instructor. Brown introduced her to the Gyro tonic Expansion System, which in· volves two methods of exercises: Gy over the summer, she started pool "Not having the barre for balance She does an hourlong Floor Barre use aU of your energy to keep tbem rokinesis, done on a mat and chair; workouts with former Alvin Ailey means more core work." she says. workout once a week. These are l!lter submerged." she says. and Gyrotonics, using special equip dancer Usa Johnson-Wllllngham. "' Her 60- to 90-rmnute Gyrotonics cises "much like we do at the barre, ment that offers support and resis think half the fun is trying new things and Gyrokinesis sessions involve se but we do them very slowly and try to The Diet tance. Developed by Juliu Horvath, a that can help your body." she says. quences of spiraling. circular move use the muscles in the most effident Breakfast is either strawberry or professional dancer from Romania, ments, which now together in rhyth way possible,~ she says. "'t allows me blueberry yogurt or eggs with turkey the method alms to elongate the mus The WOI'kout mic repetitions, with corresponding to notice muscular imbalances." bacon or chick.en sausage. She has a cles while building strength. Five days a week Ms. Tesfagiorgis breathing. For example, she lies on a Five times a week she does one light soup or salad topped with Renee Robinson, another former spends 90 minutes running through bench and places her feet in straps, hour pool workouts at New York chicken, turkey or fiSh for lunch. She Alvin Alley dancer, also introduced ballet postures with her dance troupe. with 25 pounds of resistance each, Health & Racquet Club. She wanns up cooks fiSh or chick.en for dinner with Ms. Tesfaglorgis to floor Barre, While standing at a ballet barre, she dangling above her head. She then with laps on a k:ickboard. She then steamed kale and other vegetables. which Involves exercises slmUar to bends her knees as htr heels lift off runs through hamstring exercises puts noaties around her ankles and Ms. Tesfagiorgls loves juices and those performed at the ballet barre, the ground to perform a pli~. Mter where her less make scissor motions, runs through a series of ballet exer will often order green lemonade, a but done lying down. running through a dozen positions, circles and bicycling motions. She cises in the water. mix of celery, kale, cucumber, and She says she also "needed some she does the positions again in the ginger, from the juice bar near Alvin thing without a lot of unpact.• So does these workouts twice a week be "The noatles make your legs want middle or the room without a barre. fore dance practice. to lift out of the water so you have to Alley. She snacks throughout the day on protein bars, nuts, fruit, and yo gun. Her spllll'8e: peanut butter. A pool W()li(out doesn t have to mean She suggests waDong forward. back jUSt SWI/lliTWig laps. ward and Sideways to use dofferent The Gear and Cost Come On In: Water Is ·~ don't think to try u-normal muscles. "Stlll't on water that IS waost For dance class, Ms. Tesfagiorgls W()li(out on a pool" says Carol Kennedy deep and when ]IOI(re ready for roore re likes to wear Ywniko leotards, which Armbruster. a seniOI' lectun!r on the de SIStance move to chest-deEP water." she retail for around $60 a piece. Alvin Fine for Exercising partment ot lonesoology at the 1~ says. "When wal1ang feels easy, try Jog Alley supplies her Sansha and Ca Unovers~ty School of Public Health in gong.• pezio dance shoes. She wears a BloomlngtOI'\, lnd I Ailey Style MONDAY, JULY 4., 2011 dancers. IN STE.P: Danecn Unda Celeste Sims, left, charm Alida GratMaek and Glenn Allen Sims in wllevelations.• Tbe M oseow perfonaanc:e Moscow wu sponsored in partby the State DepartmenL / New artistic director takes over with message rooted in civil rights movement In MOSCOW - Robert Battle smiled at the incongruity, sitting in tbe blgh· noon darkne$111 of a. 6Ublerrao~::ao Moscow~ eafe in Moscow and slippillJ on the ..-eighty mantle once worn by Alvin Ailey and then by Judith Jam l~on as artistic director of n mueh~elc bra.ted American modern dance the company. Battle, a 38-year-old choreogra pher and ronner daru:er, Willi made anistiedirector desiplatemorethan a year ago and took over his new role gospel Priday, while the Alvin Ailey Ameri can Dance Theater was on tour ln Moscow. of Ailey The venue - the trol•{•e's ltontl.' is in aobert htlle Neyr York, about AILEY PllOM C1 ~.700 mil~s and an Racial proftllng Is so routine that smile. "1 'm both grateful and lnsplred.w other cul~ away - was as curious on a short subway trip to the theater That evening's performance-simi as It was resonant. Alvin Alley, a Ailey started the company In 1958, last week, pollee could be observed lar to a February program In Washing· black man born Into the deeply 1'1\cbl the year high schools in Uttle Rock, several times stopping Caucasian-fea ton - began with "Anointed,• a ballet US. soeicty of 1931. created his Ark., were closed to prevent Integration tured young men and women, de· by Christopher Huggins describing company because, as he once said, and 10,000 students marched on Wash· mandint to see their Identification Ailey turnlnt the company over to 'Tln tryin' to 5!-Y something about ington In support of integrated schools. papers. Jamison, and now Jamison conveyi111 the beauty of black people, obout tbe Although Russia's laws are not dis· The Ailey performances offered it to Battle. elegance ... ond about thetr Intelli criminatory in the manner ofAmerican Russians a different stage to engage It concluded with "Revelations," gence." Jim Crow legislation, they are arbitrari with people of color. This is the home said to be the most-performed work of Ailey dled ln !989, but his ly applied, and many people here hold a of classical ballet, and the audiences modem dance ever. compaoy ~liveoil hili roes· ,- deep-rooted prejudice against their were both knowledgeable and appre· During an intei'llli.siion before she sqe, eloquent and relevant u \ fellow citizens from the Caucasian ciative. In the conversation with danced in "Revelations: Maek, who ever, to tull houses tn six per- \ mountain regions of the country such mostly Russian journalists- only one just rejoined the company, said the tonnances at the storied Stant as Cbcchnya and Dagestan. The ethnic American reporter was p resent - Russian audiences had been present slav&ky and Nemirovicb· \ groups there tend to have dark hair and Battle was pelted with admiring and and responsive. Dan November 30, 2010 Moved by the Spirit: Celebrating 'Revelations' at 50 Members of Alvin Ailey American Dance Theater per company member since 1998. "As soon as the music starts, I Jamison, will conduct performances on Friday and Satur form "Revelations" nearly as often as ordinary people feel myself transported to another place." day nights. "It's like a port de hras for me," she said. "It's brush theit teeth. This magnificent work, created by Alvin Ibid in three sections -"Pilgrim of Sorrow," "Take Me just so easy to breathe with that music." Ailey in 1960, is a dance on land and in water, a journey to the Water" and "Move, Members, Move" -Ailey's burn Recently Ms. Jamison and a few others fleshed out cru through African-American spiritual music and, for dancers, ing exploration of grief and joy celebrates its 50th anniver Cial moments of the dance. " It means the world to me to an act of reverence for the generations that came before. sary on Wednesday at City Center. As part of the season have done that ballet," she said. "It's a classic work, and it "lt doesn't matter how tired I am," said Briana Reed, a long commemoration, the troupe's artistic director, Judith will rema111 in my body." GIA KOURI .AS PHOTOC.RAPIIS BY ANDREA MOHIN/1 HE NEW YORK TIM I·~' 'Sinner Man' From 'Move, Members, Move' 'I Been 'Buked' From 'Pilgrim of Sorrow' When Clifton Brown first performed the second variation of Ms. Jamison calls "'Buked:' above, the ultimate prayer. "I always "Sinner Man," which showcases three male virtuosos, he loved it tell the dancers, 'If you're not sweating after you do that, then you as any young dancer would-for its dazzling leaps and pirouettes. haven't done it correctly:" she said. "That is a hard dance to do, to give (In the photo at right, he is captured in a bison jump that makes it it the sense of strain and weight, even if it's just by listening to the seem as if his body had popped straight into the air.) "There's also words: 'I've been 'buked, and I've been scorned.' That is the weight of the actual aspect of what's going on: running for your own salva the world on shoulders being pulled down into the earth." Such yearning tion," Mr. Brown said. "It's Judgment Day, and it needs to have all comes to life through the movement- arms outstretched, heads tilted of that energy and desperation because you don't want to be back, the dancers lift their sternums toward the heavens. Masazumi damned. You're a small part of a huge world or universe because Chaya, the company's associate artistic director, said: "Actually, the it's something much greater than you- you need to be seen as a movement drops, but I don't want it to really d rop. I want the dancers to frantic being in a huge world." The dancers are, as Ms. Jamison put catch it! And open their hearts to receive it. I tell them to receive that it, "up against the wall where there is no place to hide." light, and that energy comes through." The dancer Amos J. Machanic "What an extraordinary work for men!" she continued. Jr., center rear, added: "Life has just beaten you down, but at the same "There is a comradeship among them - you see them signaling to time the words also talk about not giving up even in the midst of sorrow, each other, pumping up each other backstage. It's wonderful to even in the midst of a storm. When that music comes on, a sense of calm watch them before they dash out of the wings at full speed and hit comes over me, and it reminds me of how badly I wanted to be in the that wall, and there's no place to hide. I love watching it." company." 'Processional/Honor, Honor' From 'Take Me to the Water' In this sacred, joyful sec tion - captured here mo ments before "Wade in the Water," in which rippling sheets of silk are held across the stage - a woman pre pares for her baptism. Linda Celeste Sims, at left, second from right, said: "It's about cleansing and changing and becoming someone better. The beauty of 'Revelations' is that we are all dealing with something, and it doesn't matter what religion or race or nationality we are. We can start to move ahead - not worrying so much about the past, but continuing forward. lt's like you're being bap 'Rocka My Soul in the Bosom of Abraham' From 'Move, Members, Move' tized." For Ms. Jamison, it de Leading up to the finale, "Rocka My Soul," where that hand and elbow should be: not by picts a serious ritual of the women wear long yellow dresses and match your hip, like you're being sassy, but up near church: "The baptism is one ing hats and carry fans. In other words, it's your ribs, so that it gives the upper body a of the holiest events in the time for church, and it's going to be a hot day. · more dignified carriage." The section always church, particularly in the Briana Reed, above, center, who started out in brings down the house. "You know how the be black church, and so being Ailey II, learned "Revelations" from Sylvia ginning of 'Revelations' is called 'Pilgrim of completely submerged in that Waters, its artistic director, who gave detailed Sorrow'?" Ms. Reed asked. "For me it's never water and brought up and instructions on how to hold the fan. "The pinky that - it's heavy, but l don't feel a sense of sor having a new life is what that finger loops through the hole and then you flip row. By the end it's joyous relief. People have is about. In that we see hope." the fan around so that your thumb faces front," found a moment, a glimpse of light within all of Ms. Reed said. "Also, you notice we have our the hardships. It's a happy time, and there's hands on our backs a lot or kind of wrapped the sense of just being elated at knowing that around the hip - she was very specific about there is something bigger than you."