Alvin Ailey was a visionary artist who found salvation through dance. Told in his own words and through the creation of a dance inspired by his life, this immersive portrait follows a man who, when confronted by a world that refused to embrace him, determined to build one that would.
Josephs Legende, Opus 63, is an “opera without words” or “ballet-drama” composed by Richard Strauss (1864-1949) with libretto by Hugo von Hofmannsthal (1874-1929). The story attempts to reconstruct a particular biblical passage that was given prominence in the Old Testament (Genesis 37-50) centered around the first Joseph’s, parts of the so-called Egyptian episode and the incident in Potiphar’s house (Genesis 37: 36 and 39: 1-23). Although in the biblical story there are no great details about such episode they can be easily imagined, as Strauss and Hofmannsthal did in fact; please refer to Genesis 39: 11-19 for more specifics.
Dazzling, brash and dynamic, yet equally graceful and poetic. DIVINING was Judith Jamison's first major work as a choreographer for Ailey, evoking a strong feeling for African tribal ritual, is set to hauntingly rhythmic drum music. REVELATIONS, often describes as the company's signature tune, has become an American classic. It expresses Ailey's intense feelings for his roots, with Ailey's vivid "blood memories" of the blues, spirituals, gospel music, ragtime and folk songs as well as the hard life of the Southern black during the Depression. Set to Modern Jazz, THE STUCK-UP takes place in modern-day Harlem, about the cruel reality of urban street life as a young man is destroyed by drugs. CRY, choreographed by Alvin Ailey in 1971 for Judith Jamison, is one of his most famous pieces. Created as a birthday present for his mother, it is Ailey's tribute to black women and inspires moving emotions with its portrayal of struggle, anger and most importantly, its feeling of celebration.
Judith Ann Jamison (born May 10, 1943) is an American dancer and choreographer. She is the artistic director emerita of Alvin Ailey American Dance Theater. Judith Jamison was born in 1943 to Tessie Brown Jamison and John Jamison Sr. and grew up in Philadelphia, Pennsylvania, with her parents and older brother. Her father taught her to play the piano, and violin. She was exposed to the prominent art culture in Philadelphia from a very early age. At the age of six, she began her dance training at Judimar School of Dance. There she studied with Marion Cuyjet who became one of Jamison's early mentors. Under Cuyjet's tutelage, Jamison studied classical ballet, and modern dance. The Judimar studios were treated as a "holy place" and there was always a sense of performance and theatricality in Cuyjet's classes. By the age of eight, Jamison began dancing on pointe and started taking classes in tap, acrobatics, and Dunham technique (which was referred to as "primitive"). A few years later, Cuyjet began sending Jamison to other teachers to advance her dance education. She learned the Cechetti method from Antony Tudor, founder of the Philadelphia Ballet Guild, and studied with Delores Brown Abelson, a graduate of Judimar who pursued a performance career in New York City before returning to Philadelphia to teach. Throughout high school, Jamison was also member of numerous sports organizations, the Glee Club, and the Philadelphia String Ensemble. She studied Dalcroze Eurhythmics, a system that teaches rhythm through movement. At the age of 17, Jamison graduated from Judimar and began her collegiate studies at Fisk University. After three semesters there, she transferred to the Philadelphia Dance Academy (now the University of the Arts) where she studied dance with James Jamieson, Nadia Chilkovsky, and Yuri Gottschalk. In addition to her technique classes, she took courses in Labanotation, kinesiology, and other dance studies. During this time, she also learned the Horton technique from Joan Kerr, which required great strength, balance, and concentration. In 1992, Jamison was inducted into Delta Sigma Theta sorority as an honorary member. In 1964, after seeing Jamison in a master class, Agnes de Mille invited her to come to New York to perform in a new work that she was choreographing for American Ballet Theatre, The Four Marys. Jamison immediately accepted the offer and spent the next few months working with the company. When the performances ended and she found herself in New York without a job, Jamison attended an audition held by Donald McKayle. She felt that she performed very poorly in the audition and claimed, "I felt as if I had two left feet." However, a few days later, a friend of McKayle's, Alvin Ailey, called Jamison to offer her a place in his company – Alvin Ailey Dance Theater. ... Source: Article "Judith Jamison" from Wikipedia in English, licensed under CC-BY-SA 3.0.
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