In the early 1960s, the Alvin Ailey American Dance Theater was a small, multi-racial company of dancers that performed the works of its founding choreographer and other emerging artists. By the late 1960s, the company had become a well-known African American artistic group closely tied to the Civil Rights struggle. In Dancing Revelations, Thomas DeFrantz chronicles the troupe's journey from a small modern dance company to one of the premier institutions of African American culture. He not only charts this rise to national and international renown, but also contextualizes this progress within the civil rights, women's rights, and gay rights struggles of the late 20th century. DeFrantz examines the most celebrated Ailey dances, including Revelations, drawing on video recordings of Ailey's dances, published interviews, oral histories, and his own interviews with former Ailey company dancers. Through vivid descriptions and beautiful illustrations, DeFrantz reveals the relationship between Ailey's works and African American culture as a whole. He illuminates the dual achievement of Ailey as an artist and as an arts activist committed to developing an African American presence in dance. He also addresses concerns about how dance performance is documented, including issues around spectatorship and the display of sexuality, the relationship of Ailey's dances to civil rights activism, and the establishment and maintenance of a successful, large-scale Black Arts institution. Throughout Dancing Revelations, DeFrantz illustrates how Ailey combined elements of African dance with motifs adapted from blues, jazz, and Broadway to choreograph his dances. By re-interpreting these tropes of black culture in his original and well-received dances, DeFrantz argues that Ailey played a significant role in defining the African American cultural canon in the twentieth century. As the first book to examine the cultural sources and cultural impact of Ailey's work, Dancing Revelations is an important contribution to modern dance history and criticism as well as African-American studies.
This book charts the troupe's rise to national and international renown, and contextualizes its progress within the civil rights, women's rights, and gay rights struggles of the late 20th century.
Langston Hughes, ''The Negro Speaks of Rivers.'' From Collected Poems by Langston Hughes. Copyright © 1994 by the Estate of Langston Hughes. Reprintedbypermission ofAlfred A. Knopf, a Division of RandomHouse, Inc. 53.
Judith Jamison is, in every sense, a towering figure. Her commanding physical presence, elegant manner, and extraordinary technique have made her not only a true superstar of American dance and...
... 79–80, 156 Herskovits, Melville (1895–1963) 169–72, 187–8, 205 Hill, Martha 180–1 Hiller, Sussan 163, 189 Hodson, Millicent 38–9, 41, 166, 184, 197 Holm, Hanya (1893–1992) 123–4, 128–9 Honegger, Arthur (1892–1955) 38 hooks, bell 60, ...
American Studies 35 (Spring 1994): 25–45. Franko, Mark. ''Abstraction Has Many Faces: ... Friedman, Kim C. ''The Federal Dance Theatre in New York City: Legislative and Administrative Obstacles.'' M.A. thesis, American University, 1992.
He found the production to be a refreshingly unpretentious combination of dance and theater , and he had the highest praise for Salome , as portrayed by Sorel , and the rest of the cast - Harry Losee , Charles Laskey , and Dorothy Lee .
... an abundance of marvelous work has been doneonthe ways that thisplay,like no theatrical work before it, engages the racially and gender markedbody asasite of wounding and “national abjection,” as Karen Shimakawamight put it.
... will be treated to the biggest event of the season when Mrs. Essie Marie Potts presents her students in a dance recital at Ford's Theatre on Saturday evening, May 28th, 1932, at 8:30 p.m. Mrs. Potts is known throughout Philadelphia, ...
Dancing Women: Female Bodies Onstage is a spectacular and timely contribution to dance history, recasting canonical dance since the early nineteenth century in terms of a feminist perspective.
Hence, not being a dancer is, first, a self-disciplining move: the skills required of a historian are very different from those a dancer needs, and for dancers, the purpose of the history class is not to become historians but to ...