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Home , Benjamin Harkarvy, Carmen de Lavallade, Judith Jamison, National Medal of Arts

American

Dance Theater® Tue, Feb 24 & Wed, Feb 25 • 7:30pm

CPA10 Artist Photo Credit: Glenn Allen Sims. Photo By: Andrew Eccles Andrew Photo By: Allen Sims. Glenn Photo Credit:

“These creatures were beyond human…” – tue/wed, feb 24/25 • 7:30pm

Alvin Ailey, founder Kanji Segawa, Glenn Allen Sims, Linda Celeste Sims, , artistic director emerita Jermaine Terry, Fana Tesfagiorgis, Marcus Jarrell Willis Robert Battle, artistic director Matthew Rushing, rehearsal director and guest artist Masazumi Chaya, associate artistic director Bennett Rink, executive director Company Members Major funding for Alvin Ailey American Theater Hope Boykin, Jeroboam Bozeman, Sean Aaron Carmon, is provided by the National Endowment for the Arts, Elisa Clark, Sarah Daley, Ghrai DeVore, the New York State Council on the Arts, Antonio Douthit-Boyd, Kirven Douthit-Boyd, the New York City Department of Cultural Affairs, Samantha Figgins, Vernard J. Gilmore, Jacqueline Green, American Express, BET Networks, Bloomberg, Daniel Harder, Jacquelin Harris, Collin Heyward, BNY Mellon, Diageo, FedEx Corporation, Ford Foundation, Demetia Hopkins Greene, Megan Jakel, Yannick Lebrun, The Howard Gilman Foundation, The Hearst Foundations, Alicia Graf Mack, Renaldo Maurice, Michael Francis McBride, Prudential Financial, Inc., The Shubert Foundation, Rachael McLaren, Akua Noni Parker, Danica Paulos, Southern Company, Target, and Wells Fargo. Belen Pereyra, Jamar Roberts, Samuel Lee Roberts,

Please see insert for tonight's program.

Biographies

All About Ailey Robert Battle, artistic director Alvin Ailey American Dance Theater grew from a now-fabled Robert Battle became artistic director of Alvin Ailey American Dance performance in March 1958 at the 92nd Street Y in New York City. Theater in July 2011 after being personally selected by Judith Jamison, Led by Alvin Ailey and a group of young African-American modern making him only the third person to head the Company since it was dancers, that performance changed forever the perception of founded in 1958. Mr. Battle has a long-standing association with the American dance. The Ailey company has gone on to perform for an Ailey organization. A frequent choreographer and artist-in-residence at estimated 25 million people at theaters in 48 states and 71 countries Ailey since 1999, he has set many of his works on Alvin Ailey American on six continents – as well as millions more through television Dance Theater and Ailey II, and at The Ailey School. The Company’s broadcasts. In 2008 a US Congressional resolution designated the current repertory includes his Takademe and Unfold. In addition Company as “a vital American cultural ambassador to the world” to expanding the Ailey repertory with works by artists as diverse as that celebrates the uniqueness of the African-American cultural Aszure Barton, Ronald K. Brown, Jacqulyn Buglisi, Bill T. Jones, Wayne experience and the preservation and enrichment of the American McGregor, Robert Moses, Ohad Naharin, Matthew Rushing, Hofesh heritage. When Mr. Ailey began creating , he Shechter and Christopher Wheeldon, Mr. Battle has also instituted the drew upon his “blood memories” of Texas, the blues, spirituals and New Directions Lab to help develop the next generation gospel as inspiration, which resulted in the creation of his most of choreographers. popular and critically acclaimed work, Revelations. Although he created 79 ballets over his lifetime, Mr. Ailey maintained that his Mr. Battle’s journey to the top of the modern dance world began in the company was not exclusively a repository for his own work. Today, Liberty City neighborhood of Miami, Florida. He showed artistic talent the Company continues Mr. Ailey’s mission by presenting important early and studied dance at a high school arts magnet program before works of the past and commissioning new ones. In all, more than moving on to Miami’s New World School of the Arts, under the direction 235 works by more than 90 choreographers have been part of the of Daniel Lewis and Gerri Houlihan, and finally to the dance program at Ailey company’s repertory. Before his untimely death in 1989, Alvin The , under the direction of Benjamin Harkarvy, where Ailey named Judith Jamison as his successor, and over the next 21 he met his mentor, Carolyn Adams. He danced with the Parsons Dance years she brought the Company to unprecedented success. Ms. Company from 1994 to 2001, and also set his choreography on that Jamison, in turn, personally selected Robert Battle to succeed her company starting in 1998. Mr. Battle then founded his own Battleworks in 2011, and The New York Times declared he “has injected the Dance Company, which made its debut in 2002 in Düsseldorf, Germany, company with new life.” as the US representative to the World Dance Alliance’s Global Assembly. Battleworks subsequently performed extensively at venues including Alvin Ailey American Dance Theater gratefully acknowledges The Joyce Theater, Dance Theater Workshop, American Dance Festival The Joan & Sandy Weill Global Ambassador Fund, and Jacob’s Pillow Dance Festival. Mr. Battle was honored as one of the which provides vital support for Ailey’s national and international tours. “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. Most recently, in 2014,

carolina performing arts 14/15 39 biographies continued

he received an honorary doctorate from The University of the Arts. He is a recognition of his contributions and commitment to Civil Rights and sought-after keynote speaker and has addressed a number of high-profile dance in America. When Mr. Ailey died on December 1, 1989, The New organizations, including the United Nations Leaders Programme and the York Times said of him, “you didn’t need to have known [him] personally UNICEF Senior Leadership Development Programme. to have been touched by his humanity, enthusiasm and exuberance and his courageous stand for multi-racial brotherhood.” Masazumi Chaya, associate artistic director Judith Jamison, artistic director emerita Judith Jamison joined Alvin Ailey American Dance Theater in 1965 Masazumi Chaya was born in Fukuoka, Japan, where he began his and quickly became an international star. Over the next 15 years, Mr. classical training. Upon moving to New York in December 1970, Ailey created some of his most enduring roles for her, most notably the he studied modern dance and performed with the Richard Englund tour-de-force solo Cry. During the 1970s and 80s, she appeared as a Repertory Company. Mr. Chaya joined Alvin Ailey American Dance guest artist with ballet companies all over the world, starred in the hit Theater in 1972 and performed with the Company for 15 years. In 1988 Broadway musical Sophisticated Ladies, and formed her own company, he became the Company’s rehearsal director after serving as assistant The Jamison Project. She returned to Alvin Ailey American Dance Theater rehearsal director for two years. A master teacher both on tour with the in 1989 when Mr. Ailey asked her to succeed him as artistic director. In Company and in his native Japan, he served as choreographic assistant the 21 years that followed, she brought the Company to unprecedented to Alvin Ailey and John Butler. In 1991 Mr. Chaya was named associate heights – including two historic engagements in South Africa and a artistic director of the Company. He continues to provide invaluable 50-city global tour to celebrate the Company’s 50th anniversary. Ms. creative assistance in all facets of its operations. Mr. Chaya has restaged Jamison is the recipient of numerous awards and honors, among them numerous ballets by Alvin Ailey, including Flowers for the State Ballet a prime time Emmy Award, an American Choreography Award, the of Missouri (1990) and The River for the Royal Swedish Ballet (1993), Kennedy Center Honor, a , a Bessie Award, the Ballet Florida (1995), National Ballet of Prague (1995), Pennsylvania Phoenix Award and the . She was also listed in The Ballet (1996) and Colorado Ballet (1998). He has also restaged The TIME 100: The World’s Most Influential People and honored by First Mooche, The Stack-Up, Episodes, Bad Blood, Hidden Rites and Witness Lady Michelle Obama at the first White House Dance Series event. for the Company. At the beginning of his tenure as associate artistic This year she became the 50th inductee into the Hall of Fame at the director, Mr. Chaya restaged Ailey’s For “Bird” – With Love for a Dance National Museum of Dance. As a highly regarded choreographer, Ms. in America program entitled Alvin Ailey American Dance Theater: Steps Jamison has created many celebrated works, including Divining (1984), Ahead. In 2000 he restaged Ailey’s Night Creature for the Rome Opera Forgotten Time (1989), Hymn (1993), HERE... NOW. (commissioned for House and The River for La Scala Ballet. In 2002 Mr. Chaya coordinated the 2002 Cultural Olympiad), Love Stories (with additional choreography the Company’s appearance at the Rockefeller Center Christmas tree- by Robert Battle and Rennie Harris, 2004) and Among Us (Private lighting ceremony, broadcast on NBC. In 2003 he restaged The River Spaces: Public Places) (2009). Ms. Jamison’s autobiography, Dancing for North Carolina Dance Theatre and for Julio Bocca’s Ballet Argentina. Spirit, was edited by Jacqueline Kennedy Onassis and published in Most recently, Mr. Chaya restaged Pas de Duke, The River, Streams, 1993. In 2004, under Ms. Jamison’s artistic directorship, her idea Urban and Vespers for the Company. As a performer, Mr. of a permanent home for the Ailey company was realized and named Chaya appeared on Japanese television in both dramatic and musical after beloved Chairman Joan Weill. Ms. Jamison continues to dedicate productions. He wishes to recognize the artistic contribution and spirit herself to asserting the prominence of the arts in our culture and she of his late friend and fellow artist, Michihiko Oka. remains committed to promoting the significance of the Ailey legacy – using dance as a medium for honoring the past, celebrating the present Alvin Ailey, founder and fearlessly reaching into the future. 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 Matthew Rushing, works. He was introduced to dance in Los Angeles by performances of the Ballet Russe de Monte Carlo and the Dance rehearsal director and guest artist Company, and his formal dance training began with an introduction to Matthew Rushing was born in Los Angeles, California. He began his dance ’s classes by his friend Carmen de Lavallade. Horton, training with Kashmir Blake in Inglewood, California and later continued the founder of one of the first racially-integrated dance companies his training at the Los Angeles County High School for the Arts. He is the in the , became a mentor for Mr. Ailey as he embarked recipient of a Spotlight Award and Dance Magazine Award and was named on his professional career. After Horton’s death in 1953, Mr. Ailey a Presidential Scholar in the Arts. He was a scholarship student at The became director of the Lester Horton Dance Theater and began to Ailey School and later became a member of Ailey II, where he danced for choreograph his own works. In the 1950s and 60s, Mr. Ailey performed a year. During his career Mr. Rushing has performed as a guest artist for in four Broadway shows, including House of Flowers and Jamaica. In galas in Vail, Colorado, as well as in Austria, Canada, France, Italy and 1958 he founded Alvin Ailey American Dance Theater to carry out his Russia. He has performed for Presidents George H.W. Bush, Bill Clinton, vision of a company dedicated to enriching the American modern dance George W. Bush and Barack Obama, as well as at the 2010 White House heritage and preserving the uniqueness of the African-American cultural Dance Series. During his time with the Company, he has choreographed experience. He established the Alvin Ailey American Dance Center three ballets: Acceptance In Surrender (2005), a collaboration with (now The Ailey School) in 1969 and formed the Alvin Ailey Repertory Hope Boykin and Abdur-Rahim Jackson; Uptown (2009), a tribute to the Ensemble (now Ailey II) in 1974. Mr. Ailey was a pioneer of programs Harlem Renaissance; and (2014), a celebration of “The queen promoting arts in education, particularly those benefiting underserved of American folk music.” In 2012 he created Moan, which was set on communities. Throughout his lifetime he was awarded numerous Philadanco and premiered at The Joyce Theater. Mr. Rushing joined the distinctions, including the 2014 Presidential Medal of Freedom in Company in 1992 and became rehearsal director in June 2010.

40 carolinaperformingarts.org // #CPA10 Alvin Ailey Dance Foundation Board of Trustees Touring Contacts Daria L. Wallach, chairman North American Agent OPUS 3 ARTISTS Debra L. Lee, president 470 Park Avenue South, 9th Fl. North, New York, NY 10016 Simin N. Allison, Linda M. Lindenbaum, Phone: 212-584-7500; Fax: 646-300-8200; opus3artists.com Arthur J. Mirante II, John H. Schaefer, vice-chairmen International Agent ASKONAS HOLT LTD. James G. Abruzzo, Gina F. Adams, Frank R. Ahimaz, Lincoln House, 300 High Holborn Eleanor S. Applewhaite, Robert Battle, Nicole A. Bernard, London WC1V 7JH, United Kingdom Kathryn C. Chenault, Anita-Agnes O. Hassell, Jenny Ireland, Phone: +44 20 7400 1700; Fax: +44 20 7400 1799 Anthony S. Kendall, Robert Kissane, Michelle Y. Lee, askonasholt.co.uk Natasha Leibel Levine MD, Anthony A. Lewis, Leslie L. Maheras, Stephen J. Meringoff, Gabriella E. Morris, Marylin L. Prince, Ailey Tour Merchandise Robin C. Royals, Richard Special, Marc S. Strachan Ailey Tour Merchandise and AileyShop.com are managed by The Araca Group www.AileyShop.com Philip Laskawy, Harold Levine, Stanley Plesent, Esq., Joan H. Weill, chairmen emeriti Production Credits Lighting system provided by 4Wall Entertainment. Henry McGee, president emeritus Touring sound system provided by Gibson Entertainment Services. Domestic trucking services provided by Stage Call Corporation. Anthony M. Carvette, Lemar Swinney, honorary trustees Alvin Ailey is a proud member of Dance/USA, Alvin Ailey Dance Foundation the national service organization for professional dance. Recipient of the National Medal of Arts Bennett Rink, executive director Alvin Ailey American Dance Theater The Joan Weill Center for Dance Pamela Robinson, chief financial officer 405 W. 55th St., New York, NY 10019-4402 Thomas Cott, senior director of marketing and creative content Tel: (212) 405-9000, AlvinAiley.org Kimberly Watson, senior director of development facebook.com/AlvinAileyAmericanDanceTheater Alvin Ailey American Dance Theater Matthew Rushing, rehearsal director Linda Celeste Sims, assistant to the rehearsal director Monteverdi – Vespers of 1610 Dacquiri T’Shaun Smittick, director of production Isabelle Quattlebaum, director of company business affairs The Monteverdi Choir David Gibson, interim director of production and English Baroque Soloists Gregory Stuart, company manager Sir John Eliot Gardiner, conductor Joseph Anthony Gaito, technical director Kristin Colvin Young, production stage manager Al Crawford, lighting director SUn, Apr 19, 2015 • 7:30pm Jon Taylor, wardrobe supervisor CPA10 Artist Mike Diaz, master carpenter David Kerr, master electrician Nicholas Correa, sound engineer Chris Theodore, property master Mychael G. Chinn, assistant company manager Nicole A. Walters, assistant stage manager Roya Abab, associate lighting director Dante Baylor and Jesse Dunham, wardrobe assistants Andrew Blacks, flyman Zane Beatty, assistant electrician Christina Collura, performance and production project manager David Clapps, production associate Donald J. Rose, MD, director of the Harkness Center for Dance Injuries, Hospital for Joint Disease Shaw Bronner, director of physical therapy Sheyi Ojofeitimi, physical therapist Sara Rakov, physical therapist “The ensemble was dazzlingly precise and powerful” – The Daily Telegraph

carolina performing arts 14/15 41 "RCMG provides an intimate setting to see some of the best names in the 2014-15 Classical Chamber world. We are lucky SEASON to have this series so close to home." - Anonymous

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TOWNSENDAnna Bardone- LUDINGTONCone on on TIFT Alv inMERRITT Ailey

I grew up taking dance lessons and one of my a dance company where the focus is primarily on body as strength, and Afterfavorite Tift Merritt’smemories 2012 is taking album, a classTraveling in the Alone Alvin, Shethey has prioritize said thatmovement her first and rolenarrative. model was , which fits, wasAiley released, Studio in the New writer York MichaelCity. The Lewis class satwas because Tift has asserted that she is a “writer, first and foremost, downexhilarating, with her challenging, for an interview. and uplifting He remarked – and, to andMy [she]class sortof 20 of first takes year [her] students cues from took thepart songwriters in a movement of the class ‘70s, with thatbe honest,she was I wasliving a inbit New star-struck: York City this and was was the whoAiley are dancer talking and about North what’s Carolina really native important Hope Boykin. to them.” She was the perfect nowAlvin “a Ailey cosmopolitan company, after chick,” all. asking her “do teacher to this group of non-dancers: funny, clear and non-judgmental. At you still self-identify as a Southern woman?” I thewould start add of thethat class she many is also were, a admittedly,poet, a mean stiff andguitar did player,not appear and veryis Many years later, I found myself connected to skilledcomfortable, on the butpiano, by the harmonica, end they orwere whatever all moving else freely, suits more the moment.at ease in “Sure!Ailey again, Heck, this timeyeah!” as a UNCshe professor immediately teaching Musictheir bodiesand lyrics and arein the the space. primary We methodsalso attended to convey Ailey’s her performance ideas and at responded.a First Year She Seminar told Lewison eating that disordersbecause andof emotions.Memorial Hall,Her stylewhere of the country-soul, beauty of strength which andhas narrative matured were throughout visible in herbody upbringing, image. Through when Arts@TheCore,she traveled sheI had saw the hereach career, piece. is Afterwards, well-suited we to participated expressing in what a post-performance is in her heart Q&A and within the world through the lensopportunity of her smallto work North directly Carolina with these town, visiting and thesome hearts of the of dancers,others. Shewhere knows they sharedthat we their all will feelings travel about alone bodies at some and thatartists it was in order not ato bad deepen way myto lookclass’ at engagement life. Lewis, withalso thefrom subject the South, matter. point,eating, experiencing stressing that that food herself was afterseen movingas fuel torather France than several something years to understood,Since we would observing be spending that “there the really semester is something reading, powerfuldiscussing, about and ago.deprive But yourselfas she toldof. Michael Lewis, “You do what you do because you theresearching combination body of image, Southern including lady andour artist,”society’s and emphasis that with on her how you our have to, and because it’s true, and there’s not some other way that couldbodies really look, see connecting beyond thewith “popular members musician” of the dance stigma, community to someone where youAt thecould end go of to the make semester, it right.” my students told me that these experiences whothe isfocus just onthat the good body and is bothis not aesthetic hiding behind and functional affectations. seemed to be a were a highlight of the course. I was beyond thrilled about it all and, Like other contemporary artists, Tift catches the light-hearted moments unique experiential opportunity. even still, over 25 years from my first experience with Alvin Ailey, a bit Many of us who know Tift agree with Lewis. I first met her in an ofstar-struck! life. But she goes deeper, to the loneliness and confusion that are AmericanAs children, Studies if we thinkcourse of ourthat bodies I was atteaching all, we tendat Chapel to focus Hill. on Ifunction could also a part of our lives. This “diamond in a coal patch,” as her friend tell– how that fast she we was can very run, intelligent,how good we and are had at climbing a maturity trees about – but herthis thatoften EmmylouAnna Bardone-Cone Harris once iscalled an associate her, continues professor honing of psychology her art, atreaching UNC-Chapel out numerousgets lost inclassmates adolescence lacked. and adulthood Here was with a Southern the shift womanto an appearance such as inHill new where ways her and research always, focusalways, is eatingthinking disorders of other and people. body image.  Lewisfocus. describes Alvin Ailey – isthoroughly an excellent modest, antidote sensitive to this wayto others, of thinking. and artisticThey are to the core. Townsend Ludington is a Boshamer Professor Emeritus of American Studies and English at The University of North Carolina at Chapel Hill.  42 carolinaperformingarts.org // #CPA10 14 carolinaperformingarts.org // #CPA10

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