A New Dawn Performance Program

Total Page:16

File Type:pdf, Size:1020Kb

A New Dawn Performance Program Board of Trustees President/Chair, Shall We Dance Jim Anthony Bobbi K. Samples Anthony Team Realty/FC Tucker, Realtor The Safety Firm LLC, Owner, Principal Consultant Jeff Berman Treasurer Bazbeaux Pizza, Owner Michael A. Potter, CPA Peachin Schwartz & Weingardt P.C., Geovani Bonilla Managing Principal IU Health Plans, VP of Medical Operations Secretary/Co-Chair, Marketing Dr. Katasha S. Butler Kim Donahue Eskenazi Health, Medication Use/Regulatory Indiana University Kelley School of Business, Compliance Coordinator Senior Lecturer of Marketing Doug Dilling Co-Chair, Education/Chair, Succession Michelle Jarvis United Real Estate Indianapolis, Broker Jordan College of Fine Arts, Butler University, Jeremy Ecenbarger Associate Provost & Professor of Dance Eli Lilly and Company, Consultant, US Migraine Co-Chair, Finance Portfolio Integration Richard Kissel Todd Foushee Taft Stettinius & Hollister LLP, Partner On Target Health, President/CEO Co-Chair, Finance/Past President H. Eugene Hunt Anne Scheele Community Volunteer Retired, Community Volunteer Freddie Kelvin Chair, Investment George Korinek Retired Physician, Community Volunteer Retired, Community Volunteer Sherrie Knighton Co-Chair, Governance/Past President Retired, Community Volunteer Carolyn Mosby Ralph Reiff Mid-States Minority Supplier Development Council, Butler University, Sr. Associate Athletic Director/ President Student-Athlete Health, Co-Chair, Governance Performance and Well-Being Ethan Craig Curtis Spaulding Barnes & Thornburg LLP, Litigation Associate Saks Fifth Avenue, General Manager Co-Chair, Development Mariel Greenlee Jayne Moynahan Thorne Freelance Choreographer/Teacher Community Volunteer Co-Chair, Development Marianne W. Tobias Jessica Reckamp Indianapolis Symphony Orchestra, Musicologist Indiana University Health, Butler University, Jordan College of the Arts, Director of Member Experience Musicology Professor Eskenazi Hospital, Marianne Tobias Music Program, Chair, Kaleidoscope of Dance Founder Melissa E. Warriner The National Bank of Indianapolis, Vice President/Banking Center Manager Young Professionals Board Emi Grinwalds Rachel Newbrough Hope WIlliams Eileen Miller Erica Tsypin Cody Wilson DK’s Mission: to Inspire, Educate and Entertain through the experience of outstanding Contemporary Dance 4 Filmed December 18, 2020 on the IRT OneAmerica Stage Streaming January 8-24, 2021 Dancers Aleksa Lukasiewicz, Emily Dyson, Missy Thompson, Stuart Coleman, Paige Robinson, Cody Miley, Marie Kuhns, Manuel Valdes, Aaron Steinberg, Kieran King, Emily Franks Apprentices: Sarah Taylor, Natalie Clevenger Artistic Director Executive Director David Hochoy Jan Virgin Lighting Designer/ Director of Education Production Manager Lynn Webster Laura E. Glover Office/Ticketing Manager Rehearsal Director/ Janie Halteman Education Coordinator Liberty Harris Marketing Director Paul Hansen Artistic Associate Stuart Coleman Webmaster/Technical Support Shawn Jones Sound Designer Development Officer Mike Lamirand Sara Landrum Costumer/Wardrobe Manager Michele Hankins Cover photo by Drew Endicott This production is presented in association with the Indiana Repertory Theatre Janet Allen, Executive Artistic Director • Suzanne Sweeney, Managing Director DK is proud to be the Resident Dance Company at IRT. 4603 Clarendon Rd., Ste. 32, Indianapolis, IN 46208 • 317.940.6555 • website: DanceKal.org Reviews Share your review on Facebook, tagging @dance kaleidoscope, on Instagram, tagging dance_kaleidoscope_Indy, or on Yelp. 5 Program Belly of the Whale (World Premiere) Choreographed by André Mergerdichian Music by 11 Acorn Lane, Jed Kurzel, Antonio Vivaldi, Max Richter, Dead Can Dance, Eivør Lighting by Laura E. Glover Costumes by Guy Clark Dancers: Natalie Clevenger, Stuart Coleman, Emily Dyson, Emily Franks, Kieran King, Marie Kuhns, Aleksa Lukasiewicz, Cody Miley, Paige Robinson, Aaron Steinberg, Sarah Taylor, Missy Thompson, Manuel Valdes Photo by Crowe’s Eye Photography Choreographer’s Notes Belly of the Whale represents the moment when our hero or heroine is swallowed by the unknown. It’s thought of as a singular experience, the self encountering the self, remembering, reliving, and enduring trials simultaneously interior and exterior. Moments of extreme isolation and uncertainty can force us down that transformative path. While it appears lonely and forsaken, what if we knew we do not walk alone? —André Megerdichian Hindsight/Blindsight (World Premiere) Choreographed by Stuart Coleman Music by John Psathas Lighting by Laura E. Glover Costumes by Cheryl Sparks Dancers: Aleksa Lukasiewicz, Emily Dyson, Missy Thompson, Stuart Coleman, Paige Robinson, Cody Miley, Marie Kuhns, Manuel Valdes, Emily Franks, Aaron Steinberg, Kieran King, Sarah Taylor, Natalie Clevenger What We Thought Would Happen Three Psalms, I. Aria…………………………………..…………...……………...Company What Actually Happened Abhisheka………………………………….…………………….………………….Company Fragment………………………………………..……………….…………...Stuart Coleman What Happens Next? View From Olympus, III. Maenads……………………………..………...……….Company Photo by Crowe’s Eye Photography Choreographer’s Notes Hindsight/Blindsight is inspired by the cultural events that transpired in the year 2020, specifically regarding the devastating effects of the COVID-19 pandemic and my personal enlightenment about the systemic racial injustices that plague our society to this day. Hindsight is a nod to the old adage “Hindsight is 20/20.” This piece is my reflection (or hindsight) on all we thought this past year would bring contrasted with what actually occurred. “Blindsight” is defined as a phenomenon in which people with damage in the primary visual cortex of the brain can tell where an object is, although they cannot consciously see it. Throughout 2020, my metaphorically blind eyes were opened to harsh realities, to the ugly truth of a world only some of us live in. This dance explores where we thought we were headed, where we ended up, and poses the question: where do we go from here? —Stuart Coleman Advisory Council Janet Allen Burns Gutzwiller Michele Rogers Libby Appel Joseph Hale, Jr. Dennis Ryerson Jeffrey B. Baker Steve Hamilton Joan Schneider Sarah Cannon, CFP Lisa Hendrickson Marc Sciscoe Robert Paul Chan Joann M. Ingulli-Fattic Jennifer Shoup Virgil Chan, MD Jeff Kinney Malcolm Smith Molly Chavers Henry Kurkowski SaraLyn Smith, JD Shannon Cochran Margaret Krauss Liz Snyder Meg Coyle Stephan Laurent Cheryl H. Sparks Carole Darst Heather McPherson Don Steffy Christel DeHaan Clay Miller Steven Stolen Chris Douglas Tina Mollis Cheryl Strain Billie Dragoo Timothy J. Murphy, CAE Michael Strapulos David Drashil David Nijhawan Mark A. Varnau David Dreyfoos Deena Nystrom Thomas Wade, MD John Fischer Nancy Pitt Emily A. West Bernadette Fletcher Sandy Reiberg Anna S. White Ron Gibson Miriam Resnick Norma L. Winkler J. Kirby Goble Peter Ritz Wayne Zink 8 David Hochoy, Artistic Director Now celebrating his 30th season with DK, Artistic Director David Hochoy is truly an international ambassador. David Hochoy was born in Trinidad, West Indies. After receiving a B.Sc. at McGill University in Montreal, where he began studying for a career as a doctor, he pursued his graduate work in theatre earning an M.A. in directing from Penn State. It was there, at age 20, David took his first dance class and discovered his true love of dance. In New York, he studied at the Alvin Ailey and Martha Graham schools and danced with numerous national companies. In 1980, he was invited to join the Martha Graham Dance Company. Made a soloist in 1982 and rehearsal director in 1986, David toured the world with Graham until 1989. He has given master classes in Graham technique throughout the U.S. and Europe, and in 1990, was invited to Guangzhou, China, to teach the experimental troupe of the Guangdong Dance Academy for ten weeks. David has been on the faculty of the Martha Graham School since 1982. In addition, he has taught at the American Dance Festival (ADF) held at Duke University, as well as ADF West in Salt Lake City and ADF Seoul in Korea. In 1991, he was invited to teach and choreograph at the Vienna International Dance Festival. He has given workshops in Quebec City, Tokyo, Oslo, Dublin and Rio de Janeiro. David spent two years as a full-time faculty member at Texas Christian University. Since becoming DK’s Artistic Director in 1991, he has choreographed over 70 dances including Scheherazade, Carmina Burana, COLE!, The Planets, The Four Elements, El Salón México, Magical Mystery Tour, Rite of Spring and Les Noces. He has choreographed Daphnis et Chloe for a collaboration with the Indianapolis Symphony Orchestra as well as their New Year’s Eve and Discovery Series concerts. He also has choreographed numerous productions at the IRT, including A Christmas Carol, the Civic Theatre, Phoenix Theatre, Edyvean Repertory Theatre, Salome for the Arizona Opera and Miss Evers’ Boys for Cincinnati Playhouse in the Park and for Santa Fe Stages, and recently Mother Goose Suite for the Carmel Symphony Orchestra. David co-directed As You Like It at the Indiana Repertory Theatre with IRT’s Artistic Director Janet Allen. He also was Artistic Director of The Green Shows at the Oregon Shakespeare Festival (OSF) for ten seasons. He has choreographed The Beat on the Ball State University Student Dance Company. In 2009, he re-set sections of Fascinatin’ Rhythm on Tiler Peck and Joaquin De Luz of the New York City Ballet and Sarah Lane of American Ballet Theatre for the inaugural gala performance of Indianapolis City Ballet. He is
Recommended publications
  • Thesis Turned Broadway
    The Library of America • Story of the Week From Dance in America: A Reader’s Anthology (Library of America, 2018), pages 258–61. Originally published in California Arts and Architecture, August 1941 and reprinted in Kaiso!: Writings by and about Katherine Dunham (2005). Copyright © 2005 by Katherine Dunham. Used by permission of the Estate of Katherine Dunham. Katherine Dunham (1909–2006) What a life! Katherine Dunham was a formidable dancer, an irre- pressible choreographer, a driven social activist, a groundbreaking ethnologist and anthropologist, a serial autobiographer, an interna- tional star, an inspiration, a scandal (banned in Boston!), and a model for generations of African American performers. It’s surprising that she found time to die, even if it was at the age of ninety- six. She starred as Georgia Brown in George Balanchine’s Broadway musical Cabin in the Sky, the show that Ethel Waters stopped with “Taking a Chance on Love.” (Lena Horne played Georgia in the movie.) She went on a forty- seven-day hunger strike to protest American policies toward Haitian refugees. (Speaking of Haiti, she became a priestess of the Vaudon reli- gion there.) She choreographed a new production of Aïda at the Met, featuring Leontyne Price. For decades, she toured the world with her Katherine Dunham Dance Company, mostly performing revues she created with names like Bal Nègre and Caribbean Rhapsody. (Danc- ers affiliated with Dunham’s company include Eartha Kitt, Janet Col- lins, and Talley Beatty.) She married the artist and scenic designer John Pratt, her collaborator on her shows as well, and they adopted a French baby.
    [Show full text]
  • Welcome Letter 2013 Samuel H. Scripps American Dance Festival
    Welcome Letter 2013 Samuel H. Scripps American Dance Festival Award Lin Hwai-min The ADF wishes to thank the late Samuel H. Scripps, whose generosity made possible the annual $50,000 Samuel H. Scripps American Dance Festival Award. The Award was established in 1981 as the first of its kind and honors chorographers who have dedicated their lives and talent to the creation of modern dance. The continuation of the award is made possible through the SHS Foundation and its President, Richard E. Feldman. Celebrated choreographer, director, and educator Lin Hwai-min will be presented with the 2013 Award by Joseph V. Melillo in a special ceremony on Saturday, July 27th at 8:00 pm, prior to the Forces of Dance performance at the Durham Performing Arts Center. The program will also include a performance of the solo from Lin Hwai-min’s 1998 work Moon Water, performed by Cloud Gate Dance Theatre dancer Chou Chang-ning. Mr. Lin’s fearless zeal for the art form has established him as one of the most dynamic and innovative choreographers today. His illustrious career as a choreographer has spanned over four decades and has earned him international praise for his impact on Chinese modern dance. He is the founder, choreographer, and artistic director of both Cloud Gate Dance Theatre of Taiwan (founded in 1973) and Cloud Gate 2 (founded in 1992), and his choreography continues to be presented throughout the United States, Europe, and Asia. While his works often draw inspiration from traditional elements of Asian culture and aesthetics, his choreographic brilliance continues to push boundaries and redefine the art form.
    [Show full text]
  • Into the Eye of the Storm Destruction
    tain” overwhelmed by a storm, who eventually dis - covers that “to oppose the storm meant preeminent Into the Eye of the Storm destruction. So he took the opposite course and headed the vessel right into the storm and finally reached the center where it was still and peaceful.” Collins equates this tranquil center with what she calls the “Eye of God”—but it serves just as well as a symbol of her intuitive professional strategy. In an interview in the Seattle Times not included in this book, Collins said of her family, “We didn’t consider ourselves black. … We were well-aware of how black people were treated, but we didn’t bow to that treatment. We didn’t have to overcome inferiority. We had to overcome arrogance.” Desirous of education and stability, committed to excellence in every pursuit, the extended Collins-de Lavallade family paired a remarkable self- confidence with a conviction that dates back at least as far as Anna Julia Cooper’s assertion in 1892 that a woman’s “quiet undisputed dignity…without suing or special patronage” could, by dint of example, elevate the “Negro race.” anet Collins was born in New Orleans in 1917 and brought up in southern California in a Jclose-knit extended family in which, she writes, “We were all encouraged to follow our natural endowments.” Her first ballet teacher was a neighbor, Louise Beverly, who seems to have had some association with Ruth St. Denis and Ted Shawn’s Denishawn modern dance company, indicated in part by the fact that the young Collins was taught a version of the company’s “exotic” East Indian “nautch” dance.
    [Show full text]
  • Chamber Dance Company FALLING
    Contact: Lila Hurwitz/Doolittle+Bird [email protected] | 206.650.3305 FOR IMMEDIATE RELEASE UW DANCE PRESENTS Chamber Dance Company Presenting modern dance works of artistic and historic significance. FALLING Thursday–Saturday, October 10–12, 2019, 7:30pm Sunday, October 13, 2019, 2pm Meany Hall—Katharyn Alvord Gerlich Theater, UW Campus Pre-performance lectures 30 minutes before curtain with Sheila Farr, arts writer and UW alumna. Tickets: $12–22 / ArtsUW Ticket Office / ArtsUW.org / 206-543-4880 Info: dance.uw.edu / UW Department of Dance Facebook Chamber Dance Company’s 29th season explores the despair, thrill and humor intrinsic in the act of falling, with choreography by José Limón (1945), Brian Brooks (2012), Talley Beatty (1947) and Mark Morris (1982). Highlights include Brian Brooks’ First Fall (2012), a duet he created for acclaimed New York City Ballet ballerina Wendy Whelan. For the first time since exclusively performing and touring First Fall with Whelan, Brooks is sharing this work with Chamber Dance Company––the only company to perform the work since its premiere. With a mission of restaging and archiving significant works from the modern dance canon, Chamber Dance Company is one of the only companies in the country ensuring that these seminal masterworks are kept alive and accessible. About the Program & Choreographers: Concerto Grosso (1945) by José Limón. Staged by Brenna Monroe-Cook. An ebullient trio to music by Vivaldi, showcasing the suspension and fall on which Limón technique is based. Monroe-Cook received her MFA from the UW in 2011 and re-joined the José Limón Dance Company after graduation.
    [Show full text]
  • HILBERT CIRCLE THEATRE KRZYSZTOF URBAŃSKI, MUSIC DIRECTOR | JACK EVERLY, PRINCIPAL POPS CONDUCTOR Music for the Royal Fireworks Leslie Odom, Jr
    HILBERT CIRCLE THEATRE KRZYSZTOF URBAŃSKI, MUSIC DIRECTOR | JACK EVERLY, PRINCIPAL POPS CONDUCTOR Music for the Royal Fireworks Leslie Odom, Jr. with the ISO Harry Potter and the Goblet of FireTM — In Concert Classic Hollywood Ohlsson Plays Tchaikovsky Beethoven’s “Pastoral” Saint-Saëns’ Violin Concerto No. 3 Audra McDonald Romantic Songs with Michael Cavanaugh Kirill Gerstein Plays Beethoven’s “Emperor” JANUARY & FEBRUARY | VOLUME 4 Jump in, IT’SJump PERFECT in, From diving into our heated pool to joining neighbors for a day trip From divingIT’S into our heated PERFECTpool to joining neighbors for a day trip Careful planning, talent and passion are on to taking a dance class, life feels amazingly good here. Add not-for- Fromto taking diving IT’Sa dance into our class, heated life feels PERFECTpool amazingly to joining goodneighbors here. for Add a day not-for- trip prof t ownership, a local board of directors, and CCAC accreditation, display at today’s performance. proFromtof t takingownership, diving a danceinto a our local class, heated board life feels pool of directors,amazingly to joining andgood neighbors CCAC here. forAddaccreditation, a daynot-for- trip and Marquet e truly is the place to be. protof ttaking ownership, a dance a local class, board lifeand feels ofMarque directors,amazinglyt e and trulygood CCAC ishere. the accreditation, Add place not-for- to be. prof t ownership, a local board of directors, and CCAC accreditation, At Citizens Energy Group, we understand the value of working hard and Marquet e truly is the place to be. behind the scenes to deliver quality on a daily basis.
    [Show full text]
  • Awareness Cultural
    CULTURAL AWARENESS Portrays the Emotional Struggles of Social Inequity REBROADCAST VIRTUAL February 26–28, 2021 VIRTUAL February 26, 2021, 7:00pm CST through February 28, 2021, 11:59pm CST Storytelling, one arabesque at a time Dance has captivated audiences for centuries. It tells our stories in ways that everyone understands, helping us connect with each other. Dallas Black Dance Theatre, we applaud your performance. wellsfargo.com © 2020 Wells Fargo Bank, N.A. All rights reserved. 6736206-4 MOD: 967 LEGACY SPONSOR SEASON SPONSORS SEASON SUPPORTERS COVID RESILIENCE SPONSORS Anonymous PNC LS Foundation Wells Fargo MidAmerica Arts Alliance United States Anonymous Regional Arts Resilience Fund Communities Foundation of Texas/ North Texas Giving Day Coronavirus Relief Fund Chase National Endowment for the Arts CARES Act Deedie Rose Oversee My IT, LLC TACA Emergency Arts Relief Fund Dallas Black Dance Theatre Board of Directors Sally Pian & Ira Silverman Henry C. Beck, Jr. Donor Advised Fund at Texas Lucy and Henry Billingsley Fund at Texas Women’s Foundation Women’s Foundation ate Wilson Davis Fund at Texas Women’s Ford Reynolds Fund of the Southwest Foundation Community Foundation The Eugene McDermott Foundation eron Wright PROMOTIONAL ADVOCATES Alpha appa Alpha Sorority, Inc. Fort Worth Assembly Hotel Concierge International Association of Blacks in Dance Outings & Innings, Harvard University VisitDallas CHOREOGRAPHERS TALLEY BEATTY Choreographer TALLEY BEATTY’s work is known for its energetic intensity, technical brilliance, and unapologetic passion. So demanding are his works that they sometimes seem to test dancer’s abilities to turn on a dime and leap into the abyss. Beatty’s career began on a high note when, at 14, he started studying with Katherine Dunham, later joining her company and dancing in the historic 1937 Negro Dance Evening at New York’s 92nd Street YMHA.
    [Show full text]
  • Graduate Students Upset at Loss of Housing Cortez Linked to Male
    THE CHRONICLE THURSDAY. JUNE 21. 1990 c DUKE UNIVERSITY DURHAM, NORTH CAROLINA CIRCULATION: 8.000 VOL. 86, NO. S6 Graduate students upset at loss of housing By ERIN SULLIVAN house freshmen in Aispaugh dor­ merly allotted a total of 273 a "very conservative estimate." As a massive freshman class mitory on East Campus, leading spaces on Central Campus. Ev­ "If it's a one-year thing and it's squeezes graduate students out to therelocation of up­ ery year there is a waiting list of 10 or 15 spaces then we could of campus housing, members of perclassmen. Some of these stu­ approximately 60 graduate stu­ swallow it and not make a big the Graduate and Professional dents will be placed in three- dents for those spaces, said Ann- deal out of it, but 40 spaces is a Student Council (GPSC) are con­ room suites on Central Campus, Marie Lynch, GPSC president. significant number," Lynch said. cerned about the lack of quality apartments usually reserved for At least 40 spaces will be reallo­ The University has a commit­ living spaces. graduate students. cated to undergraduates next ment to provide undergraduate fall. Lynch said that 40 spaces is See HOUSING on page 15 • STAFF PHOTO 'THE CHRONICLE The University has decided to Graduate students were for­ Ann-Marie Lynch Mandela receives Cortez linked to male grand welcoming upon U.S. arrival pornographic movie ByJUDIEGLAVE Associated Press By BEN PRATT Rothschild for two years until NEW YORK — Nelson Throughout his years of name- September, 1989. He is now in Mandela received a hero's dropping, identity-switching and custody in North Carolina on welcome Wednesday as he ar­ alleged money embezzling, charges of fraud and embezzle­ rived for his first visit to the Mauro Cortez most likely never ment stemming from his finan­ United States.
    [Show full text]
  • National Register of Historic Places Registration Form |J)
    NPS Form 10-900 OMB No. 10024-0018 (Oct. 1990) United States Department of the Interior National Park Service National Register of Historic Places Registration Form |j) This form is for use in nominating or requesting determinations for individual properties and districts. See instructions in How to Complete the National Register of Historic Places Registration Form (National Register Bulletin 16A). Complete each item by marking "x" in the appropriate box or by entering the information requested. If an item does not apply to the property being documented, enter "N/A" for "not applicable." For functions, architectural classification, materials, and areas of significance, enter only categories and subcategories from the instructions. Place additional entries and narrative items on continuation sheets (NPS Form 10-900a). Use a typewriter, word processor, or computer, to complete all items. 1. Name of Property historic name Indianapolis Fire Headquarters & Municipal Garage other names/site number ._. ._._._.. .__._ _ . ............. ..... ._...._..._ _._.. _098-296-_Q1553JJD1554 2. Location street & number 3.0.1 East New York Street & 235 North Alabama Street N/A not for publication city or town Indianapolis N/A vicinity state Indiana............... ........ code IN county Marion code 097 zip code 46201 3. State/Federal Agency Certification As the designated authority under the National Historic Preservation Act, as amended, I hereby certify that this x nomination request for determination of eligibility meets the documentation standards for registering properties in the National Register of Historic Places and meets the procedural and professional requirements set forth in 36CFR Part 60. In my opinion, the property meets » does not meet the National Register criteria.
    [Show full text]
  • JACOB's PILLOW THEMES | ESSAYS​- INDEX to CONTENT Dance of the African Diaspora​
    Jacob’s Pillow Dance Interactive - Themes | Essays - Index to Dance of the African Diaspora JACOB’S PILLOW THEMES | ESSAYS - INDEX TO CONTENT ​ Dance of the African Diaspora - Curated by John Perpener ​ ​ BLACK DANCERS IN THE BERKSHIRES Videos: ​ - Nuria Olive-Belles’ documentary about Joanna Haigood's Invisible Wings 1998 (4 ​ ​ ​ ​ excerpts) - Zaccho Dance Theatre in Joanna Haigood's Invisible Wings 1998 (2 excerpts) ​ ​ ​ ​ Images: ​ - Joanna Haigood's Invisible Wings, 2007 (5 photos) ​ ​ - Asadata Dafora - Jawole Willa Jo Zollar - Urban Bush Women in Jawole Willa Jo Zollar’s Shelter ​ - Charles Moore in Asadata Dafora’s Awassa Astrige ​ TRACING SOCIAL AND POLITICAL ACTIVISM Videos: ​ - Katherine Dunham teaching a Master Class to students of The School at Jacob's Pillow assisted by Walter Nicks and Theodore Jamison, 2002 (2 excerpts) - Ronald K. Brown’s In Gratitude, a tribute to Katherine Dunham, 2002 (excerpt) ​ ​ Images: ​ - Pearl Primus in African Ceremonial, ca. 1945 ​ ​ - Helen Tamiris at Jacob's Pillow, 1942 - Donald McKayle - Katherine Dunham - Katherine Dunham with students of The School at Jacob's Pillow, 2002 - Members of the Alvin Ailey American Dance Theater, 1961 - Alvin Ailey with Lester Horton Dance Theater in Horton’s Bal Caribe, 1954 ​ ​ - Carmen de Lavallade and Alvin Ailey in Ailey’s Blues Suite ​ - Alvin Ailey American Dance Theater in Ailey’s Blues Suite (2 photos) ​ ​ - Alvin Ailey and Myrna White in Ailey’s Revelations, 1961 ​ ​ - Alvin Ailey, Ella Thompson, and Myrna White in Ailey’s Revelations ​ - Alvin Ailey
    [Show full text]
  • Alvin Ailey's Embodiment of African American Culture
    DeFrantz.00 FM 10/20/03 2:50 PM Page ii Alvin Ailey’s Embodiment of African American Culture 1 2004 DeFrantz.00 FM 10/20/03 2:50 PM Page iii DANCING REVELATIONS THOMAS F. DEFRANTZ DeFrantz.00 FM 10/20/03 2:50 PM Page iv 1 Oxford New York Auckland Bangkok Bogotá Buenos Aires Cape Town Chennai Dar es Salaam Delhi Hong Kong Istanbul Karachi Kolkata Kuala Lumpur Madrid Melbourne Mexico City Mumbai Nairobi São Paulo Shanghai Singapore Taipei Tokyo Toronto Copyright © 2004 by Oxford University Press, Inc. Published by Oxford University Press, Inc. 198 Madison Avenue, New York, New York 10016 www.oup.com Oxford is a registered trademark of Oxford University Press All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of Oxford University Press. Library of Congress Cataloging-in-Publication Data DeFrantz, Thomas Dancing revelations : Alvin Ailey’s embodiment of African American culture / Thomas F. DeFrantz. p. cm. Includes bibliographical references and index. ISBN 0-19-515419-3 1.Ailey, Alivn. 2. Dancers—United States—Biography. 3.Choreographers— United States—Biography. 4.Alvin Ailey American Dance Theater. 5.African American dance. I. Title. GV1785.A38 D44 2003 792.8'028'092—dc21 2002156670 Credits: Photographs: frontispiece and pages 5, 8, 19, 47, 63, 95, 101 courtesy and copyright by Jack Mitchell; cover illustration and pages 11, 12,courtesy and copyright by J.
    [Show full text]
  • Alvin Ailey American Dance Theater Brings New Works to Virginia Arts Festival March 2 – 4, 2018 Three Performances at Chrysler Hall; Tickets Are on Sale Now
    FOR IMMEDIATE RELEASE VAF PRESS CONTACT: Alli Focke [email protected] 757-282-2822 Alvin Ailey American Dance Theater Brings New Works To Virginia Arts Festival March 2 – 4, 2018 Three performances at Chrysler Hall; Tickets are on sale now Ailey’s 32 Extraordinary Dancers Will Inspire Audiences in Exciting Premieres, New Productions, and Alvin Ailey’s Must-See American Masterpiece, Revelations Tour Features New Production by Talley Beatty in Celebration of His Upcoming Centennial AAADT in Robert Battle’s Mass. Photo by Paul Kolnik AAADT’s Michael Jackson, Jr. Photo by Andrew Eccles; AAADT in Alvin Ailey’s Revelations. Photo by Paul Kolnik (Norfolk, VA) Alvin Ailey American Dance Theater will showcase their spectacular artistry, talent, diversity, and range for three performances March 2 – 4 at Chrysler Hall in Norfolk, Virginia, presented by the Virginia Arts Festival. Tickets can be purchased online at www.vafest.org, by phone at 757-282-2822 or by visiting the Virginia Arts Festival box office located at 440 Bank Street in Norfolk between 10 a.m. and 5 p.m., Monday- Friday. Artistic Director Robert Battle leads Ailey’s 32 extraordinary dancers as they continue the Company’s legacy of using the African-American cultural experience and the American modern dance tradition to uplift, unite, and enlighten. The company’s expansive repertory includes returning favorites, new productions, and world premieres by some of the freshest choreographic voices in modern dance. Of course, the Virginia Arts Festival engagement would be incomplete without Alvin Ailey’s American masterpiece Revelations. Since its creation in 1960, Revelations has been seen by more audiences around the world than any other modern work, inspiring generations through its powerful storytelling and soul-stirring spirituals.
    [Show full text]
  • FOR IMMEDIATE RELEASE October 13, 2020 Contact: Ramona Logan
    FOR IMMEDIATE RELEASE Contact: Ramona Logan October 13, 2020 (214) 871-2376 Ext. 411 (214) 882-2451 cell [email protected] Dallas Black Dance Theatre Celebrates African American Dance Masters In a Virtual Performance Featuring the Work of Matthew Rushing Associate Artistic Director of the Alvin Ailey American Dance Theater Dallas Black Dance Theatre in Tribute choreographed by Matthew Rushing. Photograph by Sharen Bradford - The Dancing Image. Dallas, TX – Dallas Black Dance Theatre (DBDT) celebrates African American dance masters in Tribute, an inspiring work for the ages. Matthew Rushing Associate Artistic Director for the Alvin Ailey American Dance Theater choreographed the work. Sponsored by the City of Dallas Office of Arts and Culture, the Legacy Series + Dancemaker’s Discussion is scheduled for Saturday, October 24, 2020, at 7:00 pm CDT. Tribute was originally developed/produced/premiered at Dallas Black Dance Theatre in November 2016 with support from the TACA Donna Wilhelm Family New Works Fund. DBDT dancers take you back in time through 100 years of African American dance masters like Talley Beatty, Pearl Primus, Donald McKayle, Katherine Dunham, and Alvin Ailey in Tribute. Set to an original music score, the work is a collective testimonial that pays homage to the decades of generosity and inspiration by these extraordinary dance legends and mentors. In developing the work, choreographer Matthew Rushing and DBDT dancers collaborated in conversation to develop their shared point of view through the historical reflection of nostalgic dance themes, text and connection. Mr. Rushing joined Alvin Ailey American Dance Theater in 1992, became rehearsal director in 2010, and was promoted to the associate artistic director in January 2020.
    [Show full text]