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THE ALVIN AILEY AMERICAN DANCE THEATER a Repertory Compa Ny of American Dance

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THE ALVIN AILEY AMERICAN DANCE THEATER a Repertory Compa Ny of American Dance 2 I BROOKLYN ACADEMY OF MUSIC I APRIL 1969 ABRAHAM ct .."' ,.Jl c "' i I I I I Over-all ••• I' i the I 1umper• dress Take in every going shirt look from stock tie to see­ thru with '69's number one over-it-all ... the jumper dress . .. now at A&S. BROOKLYN ACAOEMY OF MUSIC I APRIL 1969 I 3 pte­ Main Office - Atlantic Ave. rnsT at Pennsylvania Other offices in Brooklyn, ~EWYORK Manhattan, Queens and -5AVI~GS Nassau County. For office nearest you B.ANK phone: (212) 270-6000 CHARTERED 1868 MEMBER FEDERAL DEPOSIT INSURANCE CORPORATION PFIZER SALUTES OUR FRIENDS AND NEIGHBORS We began in Brooklyn 119 years ago. From modest beginnings in a red brick building - still in use - generations of Pfizer people have found Brooklyn a fine community in which to live and to work. Today, Pfizer is a worldwide organiza­ tion doing business in over 100 countries. In Brooklyn, more than 2,000 of us produce ethical pharmaceuticals, consumer health products, veterinary medicines and chemi­ cals for better living. We also ccr1duct research to formulate new pharmaceuticals. For more than a century, Pfizer roots have run deep in Brooklyn. We take great pride in our contributions to its past, pres­ ent and future. -Science for the world's well-being ® 4 I BROOKLYN ACADEMY OF MUSIC I APRIL 1969 DINE BY GASLIGHT Monday and Tuesday evenings. It's pleasa nt, nostalgic. Don't miss it. Winner of 16 annual HOLIDAY GAGE AND T<O>ILJLNER Magannc Awards BROOKLYN'S LANDMARK RESTAURANT ..UT ,. ac"'!.....,..~ 372 FULTON ST., BROOKLYN • 2 Blocks from Boro Hall • TRiangle 5-5181 OPEN 11:30 AM TO 9 PM, SAT. til 9:30 • Closed Sundays MICHEL'S RESTAURANT Established 1910 Founded and Operated by The MICHEL Family Complete Banquet Facilities 346 FLA TBUSH A VENUE BROOKLYN, N. Y. Free Parkmg NEvms 8-4552 BROO KLYN ACADEMY OF MUSI C I APRIL 1!l69 I 5 Festival of Dance 68-69 THE BROOKLYN ACADEMY OF MU SIC presents THE ALVIN AILEY AMERICAN DANCE THEATER a repertory compa ny of American dance DUDL EY WILLIAM S I JU DI TH JAM ISON / KELVIN ROTARD IER CONSUELO ATLAS I GEORGE FAISON I MICHELE MURRAY ALMA ROBINSON I ERN EST PAGNANO I LINDA KENT I REN EE ROSE DANNY STRAYHORN I SYLV IA WATERS I JOHN MEDEIROS w ith MIRIAM BURTON, so prano Artistic Director, ALVIN AI LEY Light ing Designer, NICOLA CERNOVITCH Musica l Direction, COLERIDGE-TAYLOR PERKINSON Prog ram su bject to c hange Festival of Dance 63-69 w ishes to t han k t he Ford Foundat ion and the N::!w York State Council on the Art s for their generous support. 6 BROOKLYN ACADEMY OF MUSIC APRIL 19:>9 TUESDAY EVENING, APRIL 22, 1969, AT 7:30 P.M. FRIDAY EVENING, APRIL 25, 1969, AT 8:30P.M. THE ALVIN AILEY AMERI CAN DANCE THEATER PROGRAM BLUES SUITE Choreography: Alvin Ailey Music: Traditional Decor and Costumes: George Faison " Been down so long Getting up don't cross my mind ... When you see me laughing I'm laughing to keep from crying ... " From the fields and barrelhouses of the sou thern Negro sprang the blues - songs of lost love, despair, protest and anger-hymns to the secular regions of his soul. Good Morning Bl ues _ ...................... ___________ ..................... __ _.. The Company Long Time .. ....... ......... ... .. .. Kelvin Rotardier 1 The Company Mean 01' Frisco ........ _ __ _ _ _____ Dudley Williams I George Faison 1 Ernest Pagnano I Danny Strayhorn 1 John Medeiros House of the Rising Sun _ ... Judith Jamison I Renee Rose I Alma Robinson or Linda Kent Backwater Blues _ ................ __ .............. .Michele Murray I George Faison In the Evening _ Danny Strayhorn I John Medeiro3 1 Ernest Pagnano I Kelvin Rotardier Yancey Special .................. ...................................................... .......... .The Company SloN Drag- Going to Chicago .. ... .. .The Company Sham ................................... Dudley Williams 1 The Company Good Morning Blues ..................................................................Th e Company INTERMISSION BROO KLYN ACADEMY OF MUSIC I A PRI L 1969 I 7 JOURNEY Music: Cha rles lves (The Unanswered Question) Choreography: Joyce Trisler Costumes: Malcolm McCormick The Dancer: CONSUELO ATLAS A solo dance originally choreographed in 1958, later inco rporated into a rev ised version of a larger work by Joyce Tri sler called Th ea ter Pi ece (1 960). Journey is set to The Unanswered Question by Charles lves (1874-1954) , composed sometime before 1908 - a short, intense ly evocative orchestral mood-poe m co mpri sing a steady, so ft background of muted strings, a persistently repeated "question" by a so lo trumpet and an unsuccessful hunt for the "answer" undertaken with increas ing urgency by t he flutes. KNOXVILL E: Summer of 1915 Music: Samuel Barber (Knoxville: Summer of 1915) Choreography: Al vi n Ailey Costumes: Joop Stokvis " . .. We are talking now of summer eveni ngs in Knoxville Tennessee in the time t hat I lived there so successf ully disguised to myse lf as a child" - James Agee (A Dea th in the Family) The Boy __ Dudley Wi lliams His Mother _ __ Judith Jamison His Father __ __ Kelvin Rotardier Re latives, Ch ildren, Visions Michele Murray I George Faison I Alma Robinson I Renee Rose I Li nda Ke nt I Ernest Pagnano Samuel Ba rber composed Knoxville Summer of 191 5 in 1952 as a setting for soprano and orchestra of James Agee's autobiographica l prose-poe m t hat serves as a prologue to his novel , A Death in the Family, f rom which the quotation above is taken. The boy meditates to himse lf along the river of memory about peo ple and things, and events in a pa rt icular time and place, contrasting the tranquil security of home with the unknown "ignorant armies" of the world, and ending with the partly despairing, partly wistful cry for t hose who love him, will not, "not now, not ever, will not ever tell me wh o I am". Barber's voca l line is match ed in the verbal co ntours with effective simplicity, with the orchestra shading-in an eloquently illustrative background. Soprano _ ___ Miriam Bu rton Conductor _____ Co leri dge-Taylor Perkinson The first version of t his ballet wa s composed in 1959 and had one performance at that t ime at Clark Center for the Performi ng Art s. A rev ised version was prese nted at t he Edinburgh Festival in summer of 1968. INT E RM I SS I ON 8 BROOKLY N AC ADEMY OF MUS IC I APF:I L 1969 THE BLACK BELT Music: Duke Ell ington (A Tone Pa rallel to Harlem, Black, Brown and Beige) Choreography: Talley Beatty Costumes: Edward Burbridge In this ballet the choreographer is try1ng to point out some of the realit1es of the black belt which is another word for ghetto. A central reality of the ghetto is ferment parad::>x, confl1ct, and dilemma. It 1s hope and 1t IS despair. It 1s a.::.pirat1on for nob1l1ty, and it is apathy and stagnation. It IS courage, and 1t is defeatism. It is cooperative and concern, and it is suspicion, competitiveness and reject1on. It is the su rge toward mtegrat1on and rejection. It is the surge toward mtegration and assimilation 1nto the mainstream of American Life. Dudley Wi ll iams 1 Judith Jam ison I Kelvin Rota rdier I Michele Murray I George Faison I Ernest Pagnano 1 Dan ny Strayhorn I Al ma Robinson I Sylvia Waters I Renee Rose I Joh n Medeiros Thf" Black SPit was commiss1one;.d of fall( y Beatty by Dance Theatre FoundatiOn - thr. foundation which suprrvises thP act1vilies of the Ailey Dance Theater. H1r work was prcmiPrcd at the Holland Festival m late spring 1968. INT: i?MISSION BROOKLYN ACADEMY OF MUSIC I APRIL 1969 I 9 Alvin Ailey is the wel l-known Lester Horton-influenced, Texas-born dreamer. One of his most persistent and recurring dreams is that one day he may be able to find support for his company so that he may keep the same dancers over a period of time, growing artistically always and not having to teach again and again the old repertory before beginning the adventure of something new. Another favorite fantasy is that more and more of the American contem­ porary dance world wi II adopt the repertory system so that more and more fine dance works will remain alive. Another recurring dream has to do with the establishing, somewhere, of a fine school of dance theater for young peop le of all races - not so much to teach them to become professional performers but teach a deep self-respect and love and apprecia­ tion of their fellow man through the dance and its related arts. He dreams too, of producing for his company endless fine ballets by himse lf and other choreographers with music, decor and costumes by the finest artists of this time ... of producing in the fall an evening of works by Duke Ellington ... of founding what is now tentatively called Th e Black American Ballet - a large company of dancers, singers and musicians exclusively devoted to the cultural heritage of black America ... of a t hree act ballet based on the life of Malcolm X ... of a danced tnbute to Langston Hughes ... of reviving Lester Horton's Salome ... of developing a new se ries for younger choreographers called "Documentary Dance" ... of Debussy, Donald Byrd, Schoenberg and Nina Simone ... of a dance drama based on Genet's "Deathwatch" .. of the black American dancer's entering through the front door the mainstream of American dance.
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