Friday, February 26, 1999
Troupe leaps upon human expression
DANCE: Ailey’s African American tropes transcend to universal
level with group
By Vanessa VanderZanden
Daily Bruin Senior Staff
For most, a Haitian high priest, an American dance teacher and
an emotionally repressed couple in love would seem to have nothing
in common. Yet, for those watching the latest season of the Alvin
Ailey American Dance Theater, such a grouping of characters would
appear more than logical. In fact, it would seem almost
necessary.
"What connects the pieces is that they all touch on human
experiences," explains dancer Matthew Rushing. "They all involve
people, and that’s something which transcends even racial
boundaries."
Ailey’s ability to represent varying aspects of humanity has
placed his troupe at the foreground of international dance.
Although his reputation for making culture accessible has outlived
him, the upcoming run at the Ahmanson Theatre (March 3 to March 7)
will commemorate the contributions of his 40-year repertory. Now
headed by artistic director Judith Jamison, the company will
perform a mixture of old and new routines specially selected for
the limited time engagement.
"Echo: Far From Home," one of the two new projects from the
12-piece production, recreates Jamison as a character. The
autobiographical work, choreographed by Jamison, brings audiences
inside her community of family and loved ones. Carrying on the
legacy of Ailey’s lifework, the troupe reflects the African
American viewpoint within a predominantly white American
environment.
"I don’t think that Alvin Ailey set out to make any kind of
social commentary," notes dancer Renee Robinson. "I think rather
that whatever you create has to emerge from someplace, so that
inevitably, your finished product will reveal your personal
experience."
This perspective finds support from the other freshly conceived
effort, "Lettres d’Amour," from French born, North African raised
choreographer, Redha. His emotionally explorative piece examines
the aspects of alienation within modern society through the
relationship between two bashful lovers. Their inner battle to
embrace their true feelings and risk knowing themselves lies at the
heart of the dramatic work.
"Attempting to recreate what the choreographer intended is one
of the most trying aspects of being a dancer," shares Robinson.
"That, and coping with your body’s physical limitations," adds
Rushing.
Both agree, however, that being on the road for roughly eight
months out of the year for the internationally touring troupe
proves the most gruelling challenge of all. Separated from family
and friends, the seasoned dancers trade locational stability for
one of the most sought after ballet careers in the world. Working
with a variety of top- notch choreographers and dancers in a
plethora of styles in an ever changing environment, the performers
have exposure to a once in a lifetime opportunity.
"For me, it’s about intelligent dancing that seeks to educate,"
reasons 18-year Ailey repertory veteran Robinson. "It’s an
experience that incorporates everyone into the work."
Having begun her dance history within the group, like seven-year
member Rushing, Robinson has no other dance experience with which
to compare her time with Ailey’s troupe. Yet, some would say, no
other company compares with the unique, organic feel of the
inspirational company. From Japan to South Africa, audiences relate
on the same personal level.
"Although some of what Ailey wrote was intentionally from an
African American perspective, much of it was just a human
perspective," Rushing notes, remembering pieces such as "Cry."
Ailey wrote the piece and dedicated it to his mother for a birthday
gift instead of purchasing an item at Tiffany’s or Bloomingdale’s,
where people of his race were still barred entrance.
Forty years later, the group, built on the vision of a young
African American artist seeking expression, can bar its own doors
to anyone it chooses. Only, the requirements of entrance to this
club remain talent and an open heart rather than race. After
performing in 68 countries on six continents to an estimated 19
million people, the group shows that it does not depend on skin
color alone.
DANCE: Alvin Ailey American Dance Theater will perform from
March 3 through March 7. For more information, call (213)
365-3500.Black History Month
Andrew Eccles
(Left to right) Renee Robinson, Uri Sans and Linda Caceres are
dancers in the Alvin Ailey American Dance Theatre. (Bottom)
Robinson in "Lettres D’Amour." The Alvin Ailey American Dance
Theater will be at the Ahmanson Theatre from March 3 to March
7.
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