The brilliant, critically acclaimed Moonlight is a piece of virtuosic filmmaking (hence its eight Oscar nominations)—and now it's inspired a work of dance virtuosity.
Moonlight x Ailey, a collaboration between Alvin Ailey American Dance Theater artistic director Robert Battle and composer Nicholas Britell, who created the score for the feature film, is two minutes of pure, powerful dance drama. It distills the movie's plot into a trio for Ailey's Jamar Roberts and Ailey School students Christopher Taylor and Jeremy T. Villas, who perform Battle's fluid choreography while bathed in blue light.
It's raw and beautiful and absolutely compelling. Watch:
Looking for some dance inspiration? Alvin Ailey American Dance Theater is beaming no fewer than FOUR works, including the beloved classic Revelations, to a movie theater near you this Thursday, October 22!
Alvin Ailey American Dance Theater's Linda Celeste Sims in Wayne McGregor's Chroma. Photo by Paul Kolnik
In addition to Revelations, theatergoers and dance lovers alike will also get the chance to view Chroma by Wayne McGregor, Grace by Ronald K. Brown and Takeademe by Robert Battle, AAADT's artistic director.
This screening is part of the Lincoln Center for the Performing Arts’ exciting new cinema series, Lincoln Center at the Movies: Great American Dance, which also includes performances from San Francisco Ballet, Ballet Hispanico and New York City Ballet. Check out the news section of our November issue for more info.
To purchase tickets, visit fathomevents.com or participating theater box offices.
What happens when one of the greatest pop artists of all time meets some of the greatest dancers of all time? A sweet mutual lovefest that's the happiest thing you've seen in a looong while.
Yes, none other than Beyoncé attended a performance by the Alvin Ailey American Dance Theater in L.A. on Saturday. It was a special occasion, too: Bey was there to support her mom Tina's mentorship group for young girls, Tina's Angels. Your heart's starting to melt already, right?
But the real magic happened when the whole crew came backstage to congratulate the Ailey dancers. Because even the superhuman rockstars of Ailey have a hard time holding it together when Beyoncé is in the house—and B seemed equally awed by the dancers' talent:
To cap it all off, the group had a photo session that was just epic—in terms of both the level of talent involved (so much amazingness on that one stage!) and the level of adorable mugging involved:
Please, for the love of all things fantabulous, let there be some kind of Ailey/Beyoncé collaboration in the works. PRETTY PRETTY PLEASE.
Late night goofball Conan O'Brien has brought his "Conan" hijinks to NYC this week, to the delight of all New Yawk peeps. Though he's in town a tad too early to enjoy Alvin Ailey American Dance Theater's fall season (it kicks off November 30 at New York City Center), O'Brien decided to get his Ailey on anyway. And we mean that rather literally: He donned a dance belt (props for that, Coco) and took class with a bunch of advanced students at The Ailey School.
We're not going to say O'Brien has ZERO dance skills—we'll admit to being fans of his weirdly mesmerizing "string dance"—but it's close. Which makes his attempts to execute a lateral T alongside Ailey's best and brightest pretty, pretty, pretty funny. Ailey School co-director Tracy Inman serves as Coco's ever-patient guide to the world of modern dance, and the perpetually good-natured AAADT artistic director Robert Battle even stops by to, um, evaluate O'Brien's skills.
It's all very cute and endearing—and it shows a mainstream audience just how fiercely talented Ailey dancers are. Also, can we talk about the fact that O'Brien seems to have a bit of a Fosse fetish? You go, Coco!
After all that silliness, O'Brien invited AAADT dancers Solomon Dumas, Sean Aaron Carmon and Kanji Segawa to show the world how Ailey is really done: The trio performed the showstopping "Sinner Man" from Revelations onstage at the Apollo Theater. Take a look at Conan's class capers, and the Ailey dancers' performance, below.
You already know that taking on a new role requires lots of homework, from perfecting the steps to figuring out spacing. But while it’s easy to become wrapped up in technical demands, a little extra research can make all the difference in your performance—because each piece of choreography is inspired by something, whether it’s a person, a time in history or simply an abstract harmony created by a composer.
Hope Boykin (center) in Matthew Rushing's Odetta (photo by Christopher Duggan, courtesy AAADT)
“No matter how exquisite her facility may be, an uninformed dancer will never perform a more compelling Juliet than one who can use her knowledge, empathy and emotion to imbue the role with realism and create a deep connection with the audience,” says Pittsburgh Ballet Theatre principal Julia Erickson. We all might replay a dancer’s tricks over and over on YouTube, but the performances that leave us in tears contain so much more than technique. By researching your subject, watching the experts and honing your acting chops, you can transition from being a pretty dancer to a true artist.
Start with “Why”
When Ephraim Sykes landed a place in the ensemble for the Broadway hit Hamilton, he wanted to understand the context of the stories he’d portray. That meant trying to answer one question: Why? “There are moments in our lives that change our minds and hearts and make us live a certain way,” he says. “For instance, there was a moment in my life when I decided to start dancing. Finding out the character’s motives is the most critical thing in terms of exploring a role. All their actions will be justified, because you know the baseline of their lives.”
San Francisco Ballet principal Vitor Luiz agrees. As he prepares to take on the iconic role of The Creature in Liam Scarlett’s Frankenstein this upcoming February, Luiz aims to understand why The Creature behaves the way he does. “He just arrived in this world and his creator rejected him. He’s bitter about it,” Luiz says. “There’s a sense that he wants to be loved above all, but he doesn’t fit into this world. That’s why he becomes angry. He had a pure soul.”
Do Your Research
To understand his role in Frankenstein, Luiz began by hitting the books. “There are a bunch of movie versions,” he points out, “but studying Mary Shelley’s classic novel helps me really know what my character is going through. If you see someone else playing a role, you only imagine the character that way.” Once he’s studied the book, Luiz will turn to the movies to add to his own conclusions.
Yuan Yuan Tan and Vitor Luiz in John Cranko's Onegin (photo by Erik Tomasson, courtesy SFB)
While many of Hamilton’s ensemble members read the biography on which the show was based, Sykes also loves the visual aspect of films and documentaries, because, he says, he can see more of the character’s world and pick up on his movement and mannerisms. For both Hamilton and Sykes’ recent role as Marvin on the HBO series “Vinyl,” that meant seeking out political documentaries to create a broader understanding of what his characters lived through, which informed his movement quality.
Trips to museums can also be beneficial. In 2009, PBT performed Stephen Mills’ abstract work Light/The Holocaust and Humanity Project, a piece that requires dancers to embody the emotional weight of the subject matter with every movement. “Stephen led us through a long educational process before we started rehearsing to help us become more informed, aware artists," Erickson recalls. The dancers spoke with Holocaust survivors and even took a trip to the United States Holocaust Memorial Museum in Washington, DC.
As the title character in Matthew Rushing’s Odetta, Alvin Ailey American Dance Theater’s Hope Boykin was tasked with representing singer Odetta Holmes, known as the voice of the Civil Rights movement. Though it wasn’t required of her, she learned all Holmes’ lyrics. “I wanted to make sure you could hear her voice through the movement and my understanding of each song—not just through the counts or the choreography,” she says.
Learn From Other Dancers—but Leave Room for You
It’s important to stay open to advice from your choreographer, director or teacher, and don’t be afraid to seek out more experienced dancers who may also have information that will help you. If you’re performing in a recently created ballet, you might have the opportunity to speak to those who were close with the choreographer, or to the role’s originator. The first time Boykin was cast in Alvin Ailey’s 1974 work Night Creature, she sought out former company member Sarita Allen to coach her. “She was known for doing the lead,” Boykin says. “One day in rehearsal, she turned on the music and told me everything that Mr. Ailey had told her. She started doing the movement, and I had to chase her around the room—she was so full of information. As dancers, we often get caught up in our lines, but there’s so much more to a work.”
On the other hand, it’s a good idea to avoid studying others in the same role until you have a strong handle on it yourself. SFB’s Luiz explains: “You start to copy the dancer, and a copy is never as good as the original.” That doesn’t mean Luiz shuts out all other interpretations—watching other dancers, either in videos or in person, can offer new perspectives on a role he’s performed many times.
Whether you hit the library, visit a museum or talk to experts, doing your research to fully create a character will be doubly worthwhile come performance time: Not only will you be able to be in the moment onstage, you’ll also transport the audience emotionally. “Learn to be an artist first and a dancer second,” Sykes says. “You’ll go much farther in your career if you think deeper than aesthetics.”
While Alvin Ailey American Dance Theater dancers were on tour in Saratoga a few weeks ago, company member Sean Aaron Carmon noticed his fellow dancers were hurting. Spurred by the recent violence plaguing our nation (and our world), Carmon and other Ailey dancers (like Jacqueline Green, Yannick Lebrun, Daniel Harder, Samantha Figgins and Jacquelin Harris) decided to hit the studio to work through their emotions in the best way they know how: dance.
The result is a powerful performance to Beyoncé's "Freedom" featuring Kendrick Lamar. Originally created for his students, Carmon choreographed the piece and told The New York Times that "As the dance progressed, it allowed me to release a lot of my emotions, so I proposed it to the company: If anyone wants to come and dance whatever you're feeling out, we have 30 minutes—let's have that moment so we can leave it in the studio and take our fresh selves to the stage."
As for the ending improv section, Carmon simply told the dancers "I'm going to put the music on. Give me everything you have." And that's exactly what they did.
It's a great example of how dance, and its healing power, can bring people together in strength and unity. Watch the full video below, it's seriously #flawless.
Have a fabulously motivated Monday—and keep dancing for what you believe in!
FREEDOM, FREEDOM, I CAN'T MOVE. FREEDOM, CUT ME LOOSE! FREEDOM, FREEDOM, WHERE ARE YOU?! CAUSE [WE] NEED FREEDOM, TOO! ・・・ Choreography by #ALVINAILEY dancer Sean Aaron Carmon @hookedonsean; featuring Ailey dancers @collintheshots2 @courtesy_ofhtwn @jagreen711 @yannicklebrun @constancestamatiou @thedanielharder @sfigg_udigg @jacquelinh @danfreaka @chlvrmntro @jerms83 @cherrysunblush Elisa Clark, Belen Pererya, Kanji Segawa and Fana Tesfagiorgis ・・・ Music by @beyonce feat. @kendricklamar
A video posted by Alvin Ailey (@alvinailey) on
Jacqueline Green in Ronald K. Brown's Grace (photo by Pierre Wachholder, courtesy AAADT)
Alvin Ailey American Dance Theater’s Jacqueline Green is a classically elegant dancer who moves with a deep soulfulness—and her quick rise through the ranks has cemented her place in the spotlight. An Ailey/Fordham BFA Program graduate, and a former Ailey II dancer, she’s been an Ailey company member since 2011. In 2014, she received a dance fellowship from the Princess Grace Foundation-USA and last year she was a Clive Barnes Award nominee. Catch her this spring in Ailey’s 20-city North American tour before she heads back to NYC, where she’ll perform lead roles in the company’s Lincoln Center season, June 8–19. And read on for The Dirt! —Courtney Bowers
Who's your dance role model?
ALL of my coworkers! I admire them for many different reasons. I've seen how hard they work and what they deliver on stage. I'm proud to say I dance with them.
Is there anything that makes you nervous?
I can perform in front of thousands comfortably, but a flight to Europe can make me anxious.
What's your favorite dance movie?
I love the classics so... 1987's Dirty Dancing. I've actually been 'Baby' practicing salsa on the subway platform.
Who can always make you laugh?
My family! No matter what. My grandmother is the funniest of them all.
Do you have any nicknames?
Jackie, Jax, K, Jackie Green Day, Three :)
What's your advice for other young performers?
Always remember why you started and why you continue. It can get tough sometimes, but if you stay inspired, the tough part becomes smaller.
What's your biggest guilty pleasure?
A signature slice from Make My Cake!!!
Who's your dance crush?
Mr. Matthew Rushing! My company knows this for sure. He is simply amazing!
Do you have any pre-performance habits or superstitions?
I love to have a quiet moment and touch my hands to the marley before the curtain goes up.
What are your pet peeves?
Spatially unaware people…it’s the New York in me.
What one thing can’t you live without?
Coconut oil! It has so many uses: moisturizer, makeup remover, chapstick, cooking oil, lotion, etc.
What’s the most-played song on your playlist?
Right now it has to be Kendrick Lamar’s “Alright!”
What’s something no one knows about you?
I have recently become a huge fan of Korean TV dramas.
If you could work with any performer, past or present, who would it be?
Michael Jackson or Alvin Ailey
What do you love most about being an Ailey dancer?
Everything! But recently, I love how people react when you tell them you’re an Ailey dancer.
What’s your most-watched TV show?
I love love LOVE “Martin,” “Sex and the City,” “The Nanny” and all things Shonda Rhimes!
What did you want to be when you were a kid?
According to my middle school yearbook, a famous dancer, pediatrician or veterinarian.
Who would play you in a movie?
If I had a choice, Dorothy Dandridge or Angela Bassett
What’s something you’re most proud of?
I’m most proud of my relationships with my family and closest friends. I feel so fortunate and blessed to have them in my life.
It's time Alvin Ailey American Dance Theater's annual Lincoln Center season, and we couldn't be more excited. The company always delivers, thanks in large part to its roster of incredible dancers—including Jacquelin Harris, who is cast in Mauro Bigonzetti's Deep, set to premiere on June 10. (If you live in the NYC area, enter our giveaway for your chance to win a pair of tickets!) Harris spoke with DS about the new work, its music, the rehearsals and what she's learned along the way.
Alvin Ailey American Dance Theater's Jacquelin Harris (photo by Andrew Eccles, courtesy AAADT)
Dance Spirit: What has the process been like while rehearsing Deep? Have you worked with Mauro Bigonzetti before?
Jacquelin Harris: This was my first time working with Mauro since I've been in the company, but he has a long rapport with AAADT. Choreographers often will come into the studio with a work already created, to help speed up the process. But Mauro is very interested in the relationship between the dancer and choreographer—no movement was created prior to meeting the dancers. He wanted to see what he could bring out in us, and how we interacted with each other. It's really detailed and personalized, and if the dancers had their own visions, he was very open to listening.
DS: Did the way you rehearse change at all while working with him?
JH: Definitely. Working with Mauro has shown me that what I bring to the rehearsal is just as important is what the choreographer brings—it's okay for me to bring my creative intuition.
DS: What's your role in Deep?
JH: My character is balancing on the precipice. She's trying not to fall over the edge, into the "deep." She's trying to hang on to what everyone around her is hanging onto. There are a number of times where I almost go over the edge of the stage, then get pulled back by the other dancers.
DS: Can you talk a little bit about the music?
JH: It's beautiful. It's so soulful, sung by the duo Ibeyi. You can hear their emotions through the way they say their words, which really helps us with our movements.
DS: What have been some of the most enlightening moments of the whole experience?
JH: When we first ran the whole piece, there was something groundbreaking about the way it all fit together. With Mauro, you learn a piece or a section and practice it over and over, trying to make it seamless and figure out what needs to be done in order to make it work as a collective. There's a lot of partnering, and the piece is all about relationships with your partner and everyone else on the stage. And once you run it from top to bottom [after rehearsing all these sections], you understand how it all fits together. Everyone was clapping and cheering, and it was a great feeling.
Catch Alvin Ailey American Dance Theater at the David H. Koch Theater at Lincoln Center, June 8–19!
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