New York Times - #SpeakingInDance: The Stage Is A Desert, And 'It's Like I'm Flying'
"My mind goes into imagination land," the dancer Jacqueline Green (left) said about performing a luminous solo from Alvin Ailey's "The Lark Ascending." "At the
Repertory
New York Times - A 'Love Letter' To Alvin Ailey
The choreographer Ronald K. Brown stepped into a big studio at Alvin Ailey American Dance Theater and greeted the dancers with warm hugs. Then, almost without a word, he began to move, his feet and shoulders swaying to the beat, his upper body undulating slightly. "The Love," a Malian song with a slow, hypnotizing groove, was playing on the sound system. The dancers gathered in a semicircle around him, moving to the rhythm. Just like that, they were drawn into the spirit of the dance.
Wall Street Journal - Ailey Ensemble Honors Its Founder
When the Alvin Ailey American Dance Theater company takes to the stage of New York City Center for the opening of its 60th anniversary on Wednesday night, it will have an unexpected guest of sorts. Namely, Alvin Ailey himself.
WWD - Alvin Ailey And The Enduring Power Of Dance
The modern dance company is celebrating its 60th anniversary season and is more timely than ever, says artistic director Robert Battle. In tumultuous times like these, dance is a powerful antidote. After a year of touring and other celebratory initiatives, the Alvin Ailey American Dance Theater is closing out its 60th anniversary season at home in New York with a slate of programming that celebrates its past, present and future.
Wall Street Journal - Alvin Ailey's Muse Tells A Young Artist What It's Like To Dance In Her Shoes
The dance legend who inspired some of Alvin Ailey's most iconic choreography is guiding a rising star to follow her actual footsteps. Judith Jamison met Ailey in a stairwell after bombing an audition in 1965, when she was 22. But that first misstep leg to a 50-year career after Ailey invited her to join his new Alvin Ailey American Dance Theater, which was showcasing black modern dancers just as the civil rights movement was also hitting its stride.
The New York Times - A Life and Legacy of Inspiration
Ailey celebrates its 60th anniversary season with plenty of Ailey classics, along with some enticing premieres: "Lazarus," a two-act work by the powerful hip-hop choreographer Rennie Harris, is inspired by the life and legacy of Ailey and by racial inequities faced in 1958 and today. The other is by the great contemporary choreographer Ronald K. Brown, who mixes modern and African dance in "The Call." The season also includes a new production of Robert Battle's "Juba," his first dance for the company, from 2003...
BET - Black Girls Rock!
Alvin Ailey American Dance Theater Performances and Speeches at 2018 BLACK GIRLS ROCK! Watch Judith Jamison speak on the purpose of dance, Judith Jamison's acceptance speech and her own take on black girl magic, and Jacqueline Green perform Judith Jamison's iconic solo "Cry" featuring vocals by Yolanda Adams.
The Dance Enthusiast - Choreographer Jessica Lang On "EN," A World Premiere For The Alvin Ailey American Dance Theater
Memories, spirituality, and love encircle Choreographer Jessica Lang's EN, a Japanese word meaning fate, karma, and destiny. In her interview with the Dance Enthusiast, Lang highlights EN as a. journey celebrating her husband, Kanji Segawa, and her intimate connection with the Alvin Ailey American Dance Theater.
WBGO - Ailey Dancer Jamar Roberts Premiers New Piece at NJPAC
Alvin Ailey American Dance Theater dancer and choreographer Jamar Roberts talks about his love for choreography, working with Ailey dancers, and the inspiration for his new piece, Members Don't Get Weary, premiering at the company's 20th annual Mother's Day Engagement at NJPAC.
The Miami Times - Social Justice With A Beat
In 2016, during the U.S. presidential elections, world-class dancer Jamar Roberts was on a European tour. He said that everywhere he went, people seemed to be musing over the controversial political scenario. “It seemed like the whole world was watching for the outcome,” he said, “and sharing the same feelings of anxiety and uncertainty as to its and impact on everyone.” Roberts, a Miami native, processes that tumultuous moment through physical language. It was in that context that his choreography debut for the Alvin Ailey American Theater emerged. “Members Don’t Get Weary” is an artistic portrait and meditation on the current American social landscape, it speaks to a mix of worries about the economy, social injustice and violence.