Corrections or additions?

Alvin Ailey: Take Them to Church

This article by Nicole Plett was published in U.S. 1 Newspaper on April 7, 1999. All rights reserved.

In the bright early light of the 20th century,

American

artists turned their backs on the aristocratic elitism of classical

ballet to forge a new, humanistic and democratic art form they called

"modern dance." Now, in the century’s twilight, few modern

dance visionaries have succeeded in fulfilling the form’s founding

promises as completely as Alvin Ailey, celebrating its 40th

anniversary

year. Ten years after Ailey’s death, huge audiences around the world

continue to be thrilled by the company that bears his name.

The Alvin Ailey American Dance Theater, now led by Judith Jamison,

returns to McCarter Theater for its 17th appearance Monday through

Wednesday, April 12 to 14. The three-day engagement in the 1,000-seat

house is itself evidence of the company’s enduring popularity. Its

signature and rapturous work, "Revelations," an Ailey

composition

that dates back to 1960, two years after its founding in 1958, is

promised on all three programs.

Monday and Tuesday’s programs include Ailey’s 1970 work

"Streams,"

set to the music of Miloslav Kabelac, and "Ascension" by Troy

O’Neil Powell, to music by Michael Wimberly. Also on the Monday and

Tuesday programs is "Letters d’Amour" or "Love

Letters,"

a brand new work by the North African-French choreographer who goes

by the single name, Redha. The dance that premiered in December has

been described as the company’s most striking, and perhaps most lurid,

acquisition of the decade, a moving tableau that "comprises

eroticism

with a hefty element of S&M, mysticism . . . and a ceaseless stream

of images that might be provocative photos for the glossies given

the fluid continuity of film."

Wednesday night’s program features the now-classic "Night

Creature"

(1974), from "Ailey Celebrates Duke Ellington," and

"Cry"

(1971), a solo dedicated to the strength and fortitude of black women.

Also featured on Wednesday is Jamison’s latest composition, "Echo:

Far From Home," a 1998 episodic and autobiographical work that

traces the charismatic Judith Jamison’s life in dance from her

difficult

childhood days to her status as celebrated star. Her story is both

an individual’s unique experience and a metaphor for the many ways

women of African ancestry have found their way in dance.

Solange Sandy Groves, an member of the Ailey company since 1994,

shares

Jamison’s career path fraught with pitfalls. Yet this artist has been

single minded in her educational and professional path. Born and

raised

in Port-of-Spain, Trinidad, the dancer went by her maiden name of

Solange Sandy until her marriage last year to Michael Groves. With

a new name as picturesque as her voice, she and her husband, who

operates

a security systems company, live in Arlington, Virginia. Her father,

a colonel in the Trinidad & Tobago regiment, is currently assigned

to Washington, D.C., as military attache to the U.S. government. Her

mother is also a long-time government employee. At 27, Solange is

the eldest of their four children.

"At six I was dancing around the house a lot and both my parents

decided to send me to dance school," says Groves, who began her

dance training at the Caribbean School of Dancing. "My brother

was four and my first sister was two at that time — and my parents

would be trekking me back and forth three days a week. I cannot tell

you the amount of time and the patience and the amount of love that

took. Some parents would say, `I need a life, and besides, I have

three other kids!’ But their quiet perseverance and support was so

important. They told me I could do anything I wanted to do."

By 12 Groves was "serious" about dance, although

she had plenty of other interests, including art and singing, which

she still enjoys. Her high school art teacher encouraged her to keep

dancing. Her dance teacher, Patricia Roe, counseled her that she would

have to go to London or New York to work professionally, "but

to get an education first."

The summer after her high school graduation Groves traveled to New

York with her mother for one single purpose: to audition for and gain

admission to Juilliard, arguably the most prestigious dance and music

school in the U.S. Here her experience was significantly different

from the other young dancers she met there.

"The other dancers kept talking about all the other places they

were auditioning. But I had never even thought of auditioning anywhere

else. I packed all my things up to audition in August for the academic

year that began in September. I never went back to Trinidad."

Groves was 16 years old and her mother went back to Trinidad without

her. "The city seemed so much bigger than me. I was very cautious.

And I was so focused on dance. It was a very maturing process,"

she recalls. "At Juilliard we studied ballet and modern equally,

as well as tap, Spanish, Indian, jazz, and improvisation. But the

more I became exposed to modern dance the more I discovered how

expressive

it was. It suited my personality — and it suited my body."

Groves’ first look at the Alvin Ailey company came by way of a

videotape.

But it was a transforming experience. "That’s it, that’s the

company,

that’s the one," was her response. And when the company performed

"The Stack-Up" by Talley Beatty, she even identified her role.

"And that’s me right there, I said. That’s the part I want to

do."

By the time she attended her first Ailey concert, which include Lar

Lubovitch’s "North Star" and "Escargot" by Louis

Falco,

"It was like a dream," she says. "I felt like it wasn’t

real. I was totally transported by it."

Audiences agree that Ailey’s work has the ability to transport them.

Born in Rogers, Texas, in 1931, Alvin Ailey was introduced to dance

by performances of the Katherine Dunham Company and the Ballet Russe.

His formal dance training began after his family moved to Los Angeles

and he was introduced to Lester Horton’s classes by his friend, Carmen

de Lavallade. Horton headed the first racially integrated dance

company

in the nation, and after his death in 1953 Ailey became its director.

In 1954 Ailey and de Lavallade were invited to New York to dance in

a Broadway show. The Ailey company was born on a Sunday afternoon

in 1958 when Ailey presented his first dances, performed by friends

for friends, at the 92d Street Y in New York, a venue that still lives

as a magnet for emerging dance artists.

The company is led today by one of Ailey’s most brilliant dancers

and interpreters of his work, Judith Jamison. "Half earthy big

sister, half towering shaman" is the way New York Times dance

critic and Ailey biographer Jennifer Dunning described Jamison at

the company’s 40th anniversary gala concert last December at New

York’s

City Center. Alvin Ailey American Dance Theater is also the principal

resident affiliate of NJ-PAC, Newark’s glittering new performing arts

center.

Groves first auditioned for the Ailey company after her third year

at Juilliard and made it all the way to the last cut. Undeterred,

she finished her final college year, returned, and was accepted into

the Ailey Repertory Ensemble, the second company, directed by Sylvia

Waters, where she worked for two years. This transition, she says,

was invaluable.

"You have the wonderful experience of being in the Ailey family,

and the nurturing of Sylvia Waters, who is an exquisite artistic

director.

You’re becoming acquainted with the repertory and the versatility

necessary to become an Ailey dance. And she is such a nurturer, but

very real. She tells it like it is. And she wants the best for each

individual dancer. Sometimes the best isn’t the first Ailey company,

sometimes it’s Twyla Tharp, or Mark Morris, or even `Lion King’."

What Groves wanted after the repertory ensemble,

however,

was not Tharp, Morris, or "Lion King" — but Ailey. Just

as she had focused on Juilliard alone, she set her sights on that

single goal. "I had no doubts. It was like going to Juilliard.

I knew what I wanted. I never really have that much of a fallback

plan. My eye is on that prize."

After two years in the ensemble, Groves was accepted into the main

company with whom she has danced now for five years.

With a repertory that extends far beyond the choreography of Ailey

alone, Groves performs works based on ballet, Horton technique, Martha

Graham technique, jazz, and African dance. "The movement’s fast

and huge," she says, "and you have to be a jack of all

trades."

"We’re truly an Ailey family," she says. "We live

together,

we may tour anywhere from six to nine months a year. We share

early-morning

bus rides, we take the train together, then we’re in rehearsal and

performing."

"We’re in such demand all over the world. We may perform on a

46-week contract. And you are needed and you are cast in every city.

You are expected to be there 110 percent."

"Ailey believed dance is for everyone," says Groves. "He

did his best to share his dream and his artistry with as many people

he could. Now Judith Jamison is continuing that legacy. Those were

some big shoes to fill — and she has done so."

Although Groves jokes about her age — 27 — as being advanced

for a dancer ("These bones are creaking!" she says), she

recognizes

the artistic power that comes with maturity. "I feel really

wonderful

artistically," she says. "I feel I can take many more risks

than I could before. Miss Jamison and [Masazumi] Chaya allow us to

be who we are. We interpret the choreography at every performance.

Nothing is ever the same."

An invaluable member of the Ailey "family" is Masazumi Chaya,

a native of Japan who joined the company in 1972. He spent 15 years

as a dancer in the predominantly African-American ensemble. In 1986

he became assistant to the rehearsal director and was named associate

artistic director of the company in 1991.

"He’s a very vibrant, wonderful positive human being, and his

job is endless," says Groves. "He was there when some of these

ballets were being made and he has a mind like a calculator. He

remembers

steps from way back, he remembers some of the things Mr. Ailey would

say, and why he would change a step for a certain dancer." Chaya

still stores these choices in his memory, and offers them afresh to

today’s dancers. Groves thrives on the repertory, including the

controversial

new "Lettres D’Amour" by Redha. "It’s a wonderful

expression

of love — or lack of it — in different forms," she says.

"Certain ballets in the repertory allow you to live life through

them. They can be quite cathartic. This one allows you to be whoever

you want to be that night. Maybe you had a terrible bus ride."

"It’s a very, very tough life. It’s hard on the body and it’s

hard on the mind, especially when you tour a lot. You can’t do without

the support of your family and your loved ones. My husband, parents,

brothers, and sister support me. I couldn’t do this without them,"

says Groves.

"Revelations," the company’s signature work, remains timeless,

says Groves. "That is one ballet that I never get tired of. You

might be tired when you look up into the lights during the `I Been

‘Buked’ opening, but you’re lifted up and you forget all of that.

Alvin Ailey lives in that ballet, and you are energized to go on.

It’s a quiet, indescribable moment. Before the `Yellow Section’ Miss

Jamison always comes on stage and talks to us. She says, `Let’s take

these people to church.’"

"You transport these people, and you become transported also.

It’s magic really. Plain and simple."

— Nicole Plett

Alvin Ailey American Dance Theater, McCarter

Theater ,

609-683-8000. $37 and $40. Monday through Wednesday, April 12

through

14, 8 p.m.


Next Story


Corrections or additions?


This page is published by PrincetonInfo.com

— the web site for U.S. 1 Newspaper in Princeton, New Jersey.

Facebook Comments