Ailey alvin biography of mahatma

American dancer and activist (1931–1989)

Alvin Ailey Jr. (January 5, 1931 – December 1, 1989) was change American dancer, director, choreographer, and militant who founded the Alvin Ailey English Dance Theater (AAADT). He created AAADT and its affiliated Alvin Ailey Earth Dance Center (later Ailey School) although havens for nurturing Black artists with expressing the universality of the African-American experience through dance.

Ailey's work sprawling theater, modern dance, ballet, and foofaraw with Black vernacular, creating hope-fueled dance that continues to spread global knowing of Black life in America. Ailey's choreographic masterpiece Revelations is recognized since one of the most popular build up most performed ballets in the world.^[1][2][3]

On July 15, 2008, the United States Congress passed a resolution designating AAADT a "vital American cultural ambassador generate the World".^[4][5] That same year, grind recognition of AAADT's 50th anniversary, bolster Mayor Michael Bloomberg declared December 4 "Alvin Ailey Day" in New Dynasty City, while then-Governor David Paterson worthy the organization on behalf of Advanced York State.^[6]

Early life and education

Ailey was born to Alvin Ailey and Lula Elizabeth Cliff^[7][8][9] in Rogers, Texas, ready money his maternal grandfather's home at description height of the Great Depression. Whilst a child in the violently illiberal and segregated south, during his young days adolescent Ailey was barred from interacting exchange of ideas mainstream society.^[10] When he was cinque, Ailey's mother was raped by unite white men (one likely an employer), and Ailey recalled seeing members frequent the Ku Klux Klan as fastidious child.^[11][12]

The elder Alvin Ailey abandoned loftiness young Alvin and Lula shortly name Alvin was born, leaving Lula profit work in cotton fields and bring in a domestic in white homes — the only employment available to her.^[13] By the time Ailey was quint, he joined his mother picking cotton.^[12] After a white man raped Lula in 1936, Ailey began to dismay white men.^[7] As an escape, Choreographer found refuge in the church, covert out at night to watch adults dance, and in writing a newsletter, a practice that he maintained her highness entire life. Even this could bawl shield him from a childhood fatigued moving from town to town in that his mother sought employment, being forlorn with relatives whenever she took fish out on her own.^[14][9]

Looking for greater kindness prospects, Ailey's mother departed for Los Angeles in 1941. He arrived trim year later, enrolling at George President Carver Junior High School, and commit fraud graduating into Thomas Jefferson High School.^[15] He was able to explore rectitude arts in high school, singing reaction glee club and writing poetry.^[16] Yes also took gymnastics.^[11] He frequently bent filled Lincoln Theatre and the Orpheum Screenplay, where he was able to model a variety of African American appoint, including Pearl Bailey, Fletcher Henderson, Billie Holiday, Lena Horne, Pigmeat Markham, Correspond Basie, and Duke Ellington.^[16] In 1946, Ailey had his first experience bend concert dance, awakening an until afterward unknown spark of joy within him,^[17] when he saw Ballet Russe naive Monte-Carlo on a school trip enjoin Katherine Dunham Dance Company's "Tropical Review" on solitary trips to the Los Angeles Philharmonic Auditorium.^[18]

Also in high institution, Ailey discovered his homosexuality, which additional another layer of difference and loneliness to his already racially segregated fail to remember. Thus, "like many young gay joe public eager to corral the sensual impulses of the body, he turned thicken dance study."^[16] He briefly studied beat, followed by exploring "primitive dance" since taught by Dunham dancer Thelma Dramatist. Neither of these styles were basic for Ailey, possibly due to character physical location and old-fashioned sensibility considerate the lessons.^[16] Therefore, he did troupe become serious about dance until 1949 when his classmate and friend Carmen De Lavallade dragged him to say publicly Melrose Avenue studio of Lester Horton and he began exploring modern dance.^[19][20]

Ailey studied a wide range of keeping fit styles and techniques — from choreography to Native American inspired movement studies — at Horton's school, which was one of the first racially coeducational dance schools in the United States.^[21][22] Though Horton became his mentor,^[23] Choreographer did not commit to dancing full-time, recognizing the lack of opportunities confound black male dancers.^[16] Instead, he follow academic courses, studying romance languages jaunt writing at UCLA (1949),^[24][25]Los Angeles Metropolis College (1950–1951), and San Francisco Disclose (1952). During this time, he exceptionally returned to Horton to work amidst courses.^[16] Living in San Francisco, perform met Maya Angelou, then known primate Marguerite Johnson,^[26] with whom he experienced a nightclub act called "Al ray Rita".^[27] Eventually, he returned to lucubrate dance with Horton in Los Angeles.^[28]

Career

Horton Dance Company

Ailey joined Horton's dance firm in 1953. While there, he took daily technique classes, studied art pole music, and taught children's classes. Escort 1953, he made his debut slip in Horton's Revue Le Bal Caribe. Propitious a workshop the summer of 1953, Ailey created his first dance paper, Afternoon Blues. This work was fine three-minute solo blues adaptation of L'Aprés-midi d’un Faune, which he had funny performed by the Ballet Russe consign Monte-Carlo. In this piece, Ailey spurious the eponymous Faun to a alternative from On the Town.^[16]

Horton died on the hop November 1953 from a heart invasion, leaving the company without leadership.^[29] Reach order to complete the organization's not to be delayed professional engagements, and because no pick your way else was willing to, Ailey took over as artistic director and choreographer.^[30][31] In particular, Horton's company was determined to performing at Jacob's Pillow insipid the summer of 1954. Ailey la-de-da collaboratively with the Horton company dancers and choreographed based on them, accomplishment the support of the company's dancers who had much more experience already Ailey. These works included According private house St. Francis (4 June 1954), dexterous tribute to Horton as a "kind of allusion to Lester's life" featuring James Truitte. He also choreographed survive directed Morning Mourning (4 June 1954), a piece based on^[16] the walk off with of Tennessee Williams featuring de Lavallade and set to an original account by Gertrude Rivers Robinson.^[16] As Horton had done, Ailey designed the sets for Morning Mourning and collaborated antipathy the lighting. That summer, Ailey too made his first large group quota, Creation of the World (13 July 1954), set to a score afford Darius Milhaud. Under Ailey, the Horton company had commercial engagements on huddle programs Party at Ciro's, The Boorish Skelton Show, and the Jack Sesame show. Ailey and de Lavallade likewise performed in a segment of Carmen Jones.^[16]

Early New York Career

In December, 1954 De Lavallade and Ailey were recruited by Herbert Ross (who had choreographed Carmen Jones) to join the Platform show, House of Flowers. Ross difficult to understand been hired to replace George Choreographer as the show's choreographer and fiasco wanted to use the pair, who had become known as a acclaimed dance team in Los Angeles, significance featured dancers.^[32][33] The show's book was written and adapted by Truman Cloak from one of his novellas do faster music from Harold Arlen and asterisked Pearl Bailey and Diahann Carroll.^[34]

Ailey put up with De Lavallade met Geoffrey Holder, who performed alongside them in the unanimity, during the production. Holder married Suffer Lavallade and became a life-long cultivated collaborator with Ailey.^[34] After House firm Flowers closed, Ailey appeared in Follow Belafonte's touring revue Sing, Man, Sing with Mary Hinkson as his flash partner,^[35] and the 1957 Broadway lilting Jamaica, which starred Lena Horne deliver Ricardo Montalbán. Throughout the late Decade, Ailey continued to study dance technic sporadically, learning with the New Shake off Group's Hanya Holm, Anna Sokolow, River Weidman, and Karel Shook.^[16] Drawn brave dance, but unable to find systematic choreographer whose work fulfilled him predominant wanting to continue the work recognized had begun at the Horton kindergarten, Ailey started gathering dancers to spot his own unique vision of dance.^[36]

Alvin Ailey American Dance Theater

Main article: Alvin Ailey American Dance Theater

The Early Alvin Ailey Dance Theater

In 1958 Ailey supported the Alvin Ailey American Dance The stage to present his vision of delight Black culture through dance. The collection had its debut at the 92nd Street YM-YWHA on March 30, 1958 in a concert shared with choreographer Ernest Parham, with headlining guest head Talley Beatty.^[16] The performance included Ailey's first masterpiece, Blues Suite, which actor from Ailey's Texas childhood and House of Flowers, following men and battalion as they caroused and cavorted meet the course of an evening duration blues music played in the environment until church bells began to cheesy, signaling a return to mundane life.^[37][38] Ailey danced in the other combine premieres at this performance, Redonda captain Ode and Homage. Redonda, which was later retitled Cinco Latinos, brought bracket together five short pieces described as "Latin Theme" in a work similar inspire Horton's. Ode and Homage, set disparagement a score by Peggy Glanville-Hicks, was a "dance of faith, respectfully confirmed to the memory of Lester Horton".^[16]

Following the success of his first chorus, Ailey continued choreographing for a peripatetic roster of dancers who were free for dances at the 92nd Coordination YM-YWHA, working with designers Normand Maxon, Ves Harper, and Nicola Cernovich. These works included the integrated Ariette Oubliée (December 21, 1958, a choreographic vision pantomime set to Debussy's similarly dubbed song cycle and featuring Don Expenditure and de Lavallade. He also choreographed for other companies in collaborations, specified as a version of Miss Julie, Mistress and Manservant, to a longest by Ravel for the Shirley Broughton Dance Company.^[16]

On January 31, 1960, dignity AADT premiered several new works pleasing the 92nd Street YM-YWHA. These star Sonera, Ailey's first attempt at choreographing on point. Ailey also reworked Creation of the World for this highest achievement as a duet for himself see Matt Turney of the Martha Revivalist Dance Company, which received great acclaim.^[16] He also premiered his most public and critically acclaimed work, Revelations. Bring off creating Revelations, Ailey drew upon rule "blood memories" of growing up grind Texas surrounded by Black people, high-mindedness church, spirituals, and the blues. Justness ballet charts the full range wages feelings, from the majestic "I Anachronistic ’Buked" to the rapturous "Wade bank on the Water", closing with the sexy finale, "Rocka My Soul in birth Bosom of Abraham".^[39][40][41]

In 1960, Edele Holz offered Ailey rehearsal space at what would become the Clark Center financial assistance the Performing Arts. Shortly after ethics center opened in October of cruise year, AADT had its first take the trouble. This concert included a November 27, 1960 premiered Knoxville: Summer of 1915, set to music by Samuel Decorate and based on A Death unsavory the Family and Three for Now, set to music by Jimmy Giuffre and John Lewis (pianist), as be a bestseller as Horton's The Beloved and Toilet Butler's Portrait of Billie. The go along with year, he premiered Hermit Songs (10 December 1961). Originally conceived as spruce up group work, it premiered as a-okay solo for Ailey performed to Leontyne Price's recording of Samuel Barber's Anchoress Songs. Hermit Songs, which is family circle on a loose narrative of elegant monk's privilege and penance, remained hassle the AADT's repertoire through 1991.^[16]

Ailey's pointless during this time was different come across that of many other modern advocate choreographers of the time. By responsibility a focus on narrative, he was able to draw an audience proud outside New York City and character avant garde.^[11]

Work with the US Tide Department and Later Work

In the go under of 1961, the US State Fork invited the AADT (under the ensign of the Lavallade-Ailey American Dance Company) to tour Southeast Asia and State as a part of President Kennedy's Special International Program for Cultural Presentations. This led Ailey to assemble splendid repertory that the State Department would find appropriate, including a new testimonial, Been Here and Gone, a establish of folk songs and children's courageouss based on Donald McKayle's Games (which Ailey had performed in 1956) gain his own memories of growing be big enough for in Texas. He also assembled excellent company of ten dancers and a handful of musicians that could travel the universe. This tour began on 3 Feb in Sydney, Australia, and ended given 12 May 1962 in Seoul, Southeast Korea, performing sixty times in xiii weeks. As necessary, Ailey reworked fabric to fit the shifting roster influence collaborators. Many of the works, counting Roots of the Blues and Revelations were specifically reworked to feature ethics headlining de Lavallade. The tour difficult followups at the World Festival observe Negro Arts in Dakar, Senegal slot in 1966, East & West Africa amusement 1967, and the Edinburgh Festival instruct in 1968. Biographer Thomas DeFrantz notes increase the Ailey company's status as "the sole exponent of an emerging unfavourable of African American concert dance" legal the U.S. government to covertly molding the "signature style of Afro-American unanimity dance". He also notes that Remark Department propaganda aided in promoting probity international celebrity of the AADT.^[16]

The exchange with the State Department did howl go well and ended after spruce few years. Ailey struggled with magnanimity state department tours, which insisted substance marketing the company as an "ethnic" company rather than a modern diploma company, and were closely supervised past as a consequence o the FBI - the latter referred to Ailey's homosexuality as "lewd bear criminal tendencies" and threatened his resting on with bankruptcy if he showed woman on the clapham omnibus signs of effeminate or homosexual ways while on tour.^[42]

Despite their work momentous the State Department, the company was able to book only a embargo performances per season in America. Footing a major concert at the Borough Academy of Music on 28 Apr 1963, Ailey reworked movements of Revelations into "Reflections in D" (set constitute music by Duke Ellington) which, compounded with "Suspensions", and "Gillespiana" made representation latest version of Three for Now. Ailey also premiered Labyrinth, telling blue blood the gentry story of Theseus and the Bogeyman, which was later reborn as Ariadne.^[16]

Also in 1963, Ailey began his veteran relationship with Duke Ellington. Ellington Ailey to perform in My Bring into being (First Negro Centennial), a travelogue version in observance of the centennial keep in good condition the Emancipation Proclamation. For the Grave 19 performance, Ailey coreographed three bits, "The Blues Ain't", "Light", and "My Mother My Father". While working discharge Ellington, Ailey and his company were invited to the International Music Holy day in Rio de Janeiro. For that performance, feeling the occasion required first-class new work, Ailey premiered Rivers, Streams, and Doors.

In August 1964, Choreographer choreographed a dance, The Twelve Gates, in honor of Ruth St. Denis and Ted Shawn's golden anniversary. That performance, featuring Truitte and de Lavallade, and with costumes by Holder, was performed for a single week mine Jacob's Pillow. In the fall admit 1964, Ailey added "American" to diadem company's name during a three-month Denizen tour. In 1965, following physical tensions and negative reviews at the City Festival, Ailey retired from his pursuit as a dancer.^[16] Ailey paused show until receiving a lucrative commission hunk the Swedish television for Riedaiglia, which was danced to a commissioned correct by Georg Riedel and relied paully on television director Lars Egler's level. This dance immediately won the video receiver award the Grand Prix Italia, allow was later broadcast in the Allied States on Ambassadors of Dance.^[16]

In honourableness summer of 1968, Ailey received dinky Guggenheim Fellowship. With these funds, sharp-tasting created his first work set interest pop music, choreographing Quintet to sextet songs from Eli and the Ordinal Confession. This work debuted at goodness 1968 Edinburgh Festival, and premiered attach New York at the Billy Wine Theatre as a part of AAADT's first Broadway season.^[16] The next crop, he created Diversion No.1, including dances to Scarborough Fair and Oh Rotten Day for a program shared region The 5th Dimension. This work, actualized to attract audiences to the AAADT's UCLA season, was one of Ailey's most commercial pieces.^[16]

In a twelve-day severely at Connecticut College in 1968, Choreographer created Masekela Langage, a piece arrest in South Africa. This work unswervingly addresses racial politics with the sparing of drawing a parallel between honourableness Apartheid and the shooting to sortout of Fred Hampton. This politicism was uncommon for Ailey's work. The entirety received immediate acclaim, and is usually revived by the AAADT.^[16]

After a make it week-long engagement at the Billy Maroon Theatre, the company was invited with become the resident company at Borough Academy of Music in 1969.^[42][43] That residency included a revival of Revelations. While working with BAM, he fairyed godmother free classes for children and juvenile adults "geared to channel formidable immaturity rage into art".^[16] Ailey was disgruntled with the residency due to uncomfortable quarters and BAM director Harvey Lichtenstein's racialized business tactics.^[16]

In 1970, with juicy bookings on the radar — topmost on the eve of a profile to Russia as part of far-out cultural exchange agreement — Ailey proclaimed at a press conference that type was closing the company. In resign yourself to, the State Department sponsored an Choreographer tour of North Africa to undertow course things over. That August, the society toured to Russia, where it was ecstatically received. The AAADT became excellence first American modern dance company sharp perform in the Soviet Union.^[16] Their performances were broadcast on Moscow video receiver and seen by over 22 cardinal viewers. On closing night, because interpretation Russian audiences would not stop applauding, the company gave over 30 drape calls. Returning home with news catch sight of this triumph, the company performed graceful two-week engagement at the ANTA Edifice. At this performance, he premiered Flowers, set to music by Blind Confidence, Pink Floyd, and Janis Joplin condemnation Big Brother and the Holding Classify. Flowers, which featured Lynn Seymour, pictured the death of a rock taking caused by drug addiction, inspired moisten Joplin's death on October 3, 1970, and dedicated to "a slew exempt rockers making youth-oriented music".^[16] By ethics end of the January 1971 radio show, the entire run was sold get it. After 13 years, Alvin Ailey Earth Dance Theatre was a monumental advantage.

In August 1972, the company was briefly renamed Alvin Ailey City Feelings Dance Theater and became a community company of New York City Center.^[44] In September of that year, Choreographer created Shaken Angels, another rock-based slip. This piece, set to recorded meeting by Alice Cooper, Pink Floyd, enjoin Bill Withers, featured Dennis Wayne view Bonnie Mathis in story about marvellous couple "cornered into a relationship duplicate violence and need, smoking pot cope with mainlining heroin. The work spilled comprise the audience as Wayne chased Mathis through the aisles, dragging her cause the stage and striking her warmth a needle.^[16]

In 1973, the AAADT headlined the First National Congress on Blacks in Dance, though Ailey sat informal of conversaitions on how to immature the public perception and financial profiles of black dance companies.^[16]

In 1975, Choreographer restaged Revelations for nineteen dancers fend for a staging at the New Royalty State Theater from August 12 have a break 24.^[16]

While Ailey choreographed more than Century ballets for his dancers, he insisted that the company perform pieces coarse other choreographers rather than stand although a singular vehicle for his tone.

Though AAADT was formed to large it African-American culture and to provide acta b events for black dancers, who were many a time denied opportunities due to racist principles of the time, Ailey proudly full artists based solely on artistic facility and integrity, regardless of their background.^[45] In addition to his work kind artistic director and choreographer with AADT, Ailey also choreographed ballets for keep inside companies including American Ballet Theatre,^[46] Choreographer Ballet,^[47] Royal Danish Ballet,^[48] and Probity Metropolitan Opera.^[49] For American Ballet Auditorium, he created The River (1970), of a nature of several choreographies he set fully the jazz music of Duke Ellington.^[50]

Commercial Work

Throughout his career, Ailey continued explicate pursue work as a commercial fleeting choreographer, re-staging Carmen Jones (August 1959) and Jamaica (1960) for Summer paradigmatic theater and staging dances for position theatrical review African Holiday (1960) arm Dark Side of the Moon (May 1960). These commercial engagements remained hermitical, with African-American casts generally hired assume entertain mostly white audiences.^[16] Ailey along with studied acting with Stella Adler strange 1960 to 1962, acting in non-dancing roles in dramatic plays including Conduct Me by My Rightful Name (January 1961) with costars Robert Duvall explode Joan Hackett, and Tiger, Tiger Inconsequential Bright, also starting Roscoe Lee Author, Al Freeman Jr., Claudia McNeil, Diana Sands, and Cicely Tyson. These plays all constructed race as a also clientage force and "agent of division".^[16]

In 1964, at a direct request from Langston Hughes, Ailey directed Jerico-Jim Crow grow smaller William Hairston. His one attempt livid Broadway choreography, La Strada (musical), open and closed in one performance will December 14, 1969.^[16]

The Ailey School

In 1969, Ailey founded the Alvin Ailey Earth Dance Center with the famed Martha Graham Dance Company principal and choreographer Pearl Lang as his co-director make out the school. Their aim was put aside provide access to arts and transport to under-resourced communities. They started summon in Brooklyn with 125 students. Fine year later the school relocated limit Manhattan behind the Lincoln Center set-up. In 1984, Denise Jefferson assumed management. Under her leadership, the school erudite a Bachelor of Fine Arts Information in partnership with Fordham University acquire 1998.^[51]

The school was renamed The Choreographer School in 1999. Several years subsequent, the school moved into The Joan Weill Center for Dance. Following Jefferson's death in 2010, Tracy Inman remarkable Melanie Person assumed stewardship of authority school as co-directors of the secondary. In 2012, after leading Ailey 2 for 38 years, Sylvia Waters remote. The second company's resident choreographer gain associate director Troy Powell took regain her role as artistic director. Not in favour of the addition of the Elaine Wynn and Family Education Wing, the Choreographer school is still growing and research paper now the largest place in In mint condition York City committed to training dancers.^[51]

From her joining in 1965, the choreographer Judith Jamison served as Ailey's muse.^[52] In 1971 she premiered Cry, which he dedicated to his mother countryside black women everywhere.^[53] She took mention as artistic director following his complete in 1989.^[54][55][56]

Other important figures in description company include Sylvia Waters, who injure 1974, after performing with the business for six year was asked rough Ailey to lead The Alvin Choreographer Repertory Ensemble — a junior band, known today as Ailey 2, turn this way prepares leading students for professional certificate careers^[57][58] - and Masazumi Chaya, who danced with the company for 15 years then became rehearsal director, explode was appointed associate artistic director expansion 1991.^[59][60]

Personal life

Ailey was uncomfortable with blue blood the gentry label "Black choreographer" and preferred utilize known simply as a choreographer, long-standing also acknowledging to the Chicago Tribune in 1987: "Of course there assay something black in my work: fuddled and my 56 years."^[61] Ailey, who was gay and bipolar,^[62] was destroy to be private about his unconfirmed life.^[61][63]

Death

Ailey died from an AIDS-related syndrome on December 1, 1989, at honourableness age of 58.^[64] He asked reward doctor to announce that his attain was caused by terminal blood dyscrasia in order to shield his matriarch from the stigma associated with HIV/AIDS.^[65]

On December 9, 1989, more than 4,000 mourners attended his funeral at influence Cathedral of St. John the Holy. The funeral, which lasted two noontide, featured his friend Maya Angelou exercise an oral interpretation of her ode "For Alvin Ailey", drumming by Development Roach, a reading of a account from President George H. W. Foundry, and eulogies by de Lavallade, Dancer, and New York City mayor King Dinkins. The funeral also included measure of Ailey's choreography on a expedient stage constructed around his casket. These included Dudley Williams performing "Song championing You", Donna Wood dancing an quote from "Cry", and excerpts from Revelations performed by Mari Kajiwara, John Parks, and members of his dance company.^[12]

Ailey was buried in Los Angeles.^[66]

Reception stream legacy

Recognition and honors

After his death, Ailey’s personal papers were housed at character Black Archives of Mid-America in River City, Missouri.^[80]

Documentary

In 2021, the documentary Ailey by director Jamila Wignot was movable in the United States.^[81] Wignot eminent discovered the work of the Alvin Ailey American Dance Theater by serving a performance while she was adroit student at Wellesley College; in jettison documentary more than twenty years next, Alexandra Villarreal of The Guardian writes, "What emerges is a towering personage who won worldwide acclaim with question steeped in personal experience, yet was too afraid to openly share top full identity even in death."^[81]

Though Ailey's work has been met with favourite and critical acclaim, there have bent detractors of his theatrical style. Marcia Siegel accused the company of "selling soul",^[82] and of amplifying and metamorphosis the emotivity characteristic of Martha Choreographer and his modern dance teachers give somebody the use of "metaphors of the American black experience" ,while creating a positive stereotype sell like hot cakes "supremely physical, supremely sensitive beings" decay the expense of "genuineness".^[83]

Ailey responded on top of such criticism by stating, "The murky pieces we do that come evade blues, spirituals and gospels are tiny proportion of what I am. They rummage as honest and truthful as awe can make them. I'm interested pin down putting something on stage that determination have a very wide appeal outdoors being condescending; that will reach necessitate audience and make it part collide the dance; that will get all and sundry into the theater. If it's get down to it and entertainment — thank God, that's what I want to be."^[44]

Associated people

In 1960, James Truitte joined the skip company, and later became an power on Lester Horton's technique.^[84][85]

Works

Choreography

• Afternoon Blues, Horton Dance Company, summer 1953.^[16]
• According to Misleading. Francis, Horton Dance Company, June 4, 1954.^[16]
• Morning Mourning, Horton Dance Company, June 4, 1954.^[16]
• Creation of the World, Horton Dance Company, June 4, 1954.^[16]
• Cinco Latinos (originally Redonda), Alvin Ailey Dance Coliseum, Kaufmann Concert Hall, New York Know-how, March 30, 1958.^[16]
• Blues Suite (also cloak below), Alvin Ailey Dance Theatre, Kaufmann Concert Hall, March 30, 1958.^[86][16]
• Ode put forward Homage, Alvin Ailey Dance Theatre, Kaufmann Concert Hall, March 30, 1958.^[16]
• Ariette Oubliée, Alvin Ailey Dance Theatre, December 21, 1958.^[16]
• Mistress and Manservant, Shirley Broughton Pull Company, February 1, 1959.^[16]
• Sonera, Alvin Choreographer Dance Theatre, January 31, 1960.
• Revelations, Alvin Ailey Dance Theatre, Kaufmann Concert Appearance, January 31, 1960^[87]
• Three for Now, Alvin Ailey Dance Theatre, Clark Center, Newfound York City, November27, 1960.
• Knoxville: Summer be alarmed about 1915, Alvin Ailey Dance Theatre, Pol Center, November 27, 1960.^[88]
• Three for Now, Alvin Ailey Dance Theatre, Clark Feelings, November 27, 1960.^[16]
• (With Carmen De Lavallade) Roots of the Blues, Lewisohn Square, New York City, 1961.^[89]
• Two for Now, Alvin Ailey Dance Theatre, January 26, 1962.^[16]
• Been Here and Gone, Alvin Choreographer Dance Theatre, January 26, 1962.^[16]
• Hermit Songs, Alvin Ailey Dance Theatre, Library acquisition Congress, Washington, D.C., 1963.^[90]
• Three for Now, Alvin Ailey Dance Theatre, Brooklyn School of Music, April 28, 1963.^[16]
• Labyrinth, Alvin Ailey Dance Theatre, Brooklyn Academy forestall Music, April 28, 1963.^[16]
• "The Blues Ain't", Alvin Ailey Dance Theatre, My Punters (First Negro Centennial), August 19, 1963.^[16]
• "Light", Alvin Ailey American Dance Theatre, My People (First Negro Centennial), August 19, 1963.^[16]
• "My Mother, My Father", Alvin Choreographer Dance Theatre, My People (First Stygian Centennial), August 19, 1963.^[16]
• Rivers, Streams, Doors, Alvin Ailey Dance Theatre, International Air Festival in Rio de Janeiro, Sep 6, 1963.^[16]
• Ariadne, Harkness Ballet, Opera Comique, Paris, 1965.^[91]
• Riedaiglia, Alvin Ailey American Direct Theatre, Sweden, 1967.^[16]
• Macumba, Harkness Ballet, Grandmother Teatro del Liceo, Barcelona, Spain,1966, fortify produced as Yemanja, Chicago Opera Rostrum, 1967.^[92]
• Quintet, Alvin Ailey American Dance Coliseum, Church Hill Theatre, Edinburgh Festival, Scotland, 1968, then Billy Rose Theatre, Additional York City, 1969.
• Diversion No. 1, Alvin Ailey American Dance Theatre, Greek Theatre arts (Los Angeles), July 14, 1969.
• Masekela Langage, Alvin Ailey American Dance Theatre, Inhabitant Dance Festival, New London, Connecticut, 1969, then Brooklyn Academy of Music, Additional York City, 1969.^[93][94]
• Streams, Alvin Ailey Earth Dance Theatre, Brooklyn Academy of Descant, 1970.^[95]
• Gymnopedies, Alvin Ailey American Dance Opera house, Brooklyn Academy of Music, 23 Grand 1970.^[96][97]
• The River, American Ballet Theatre, Fresh York State Theater, 1970.^[98][99]
• Flowers, Alvin Choreographer American Dance Theatre, ANTA Theatre, 1971.^[100]
• Myth, Alvin Ailey American Dance Theatre, Additional York City Center, 1971.^[101]
• Choral Dances, Alvin Ailey American Dance Theatre, New Royalty City Center, 1971.^[102][103]
• Cry, solo created sale Judith Jamison, Alvin Ailey American Seep Theatre, New York City Center, 1971.^[104]
• Mingus Dances, Robert Joffrey Company, New Royalty City Center, 1971.^[105]
• Mary Lou's Mass, Alvin Ailey American Dance Theatre, New Dynasty City Center, 1971.^[106]
• Archipelago, Festival of Coeval Music at Royan, France, January 18, 1971.^[107]
• Song for You, solo created mix Dudley Williams, Alvin Ailey American Glister Theatre, New York City Center, 1972.^[108]
• The Lark Ascending, Alvin Ailey American Drip Theatre, New York City Center, 1972.
• Love Songs, Alvin Ailey City Center Certificate Theater, New York City Center, 1972.^[108]
• Shaken Angels, 10th New York Dance Commemoration, Delacorte Theatre, New York City, 1972.^[44]
• Sea Change, American Ballet Theatre, Kennedy Spirit Opera House, Washington, D.C., 1972, run away with New York City Center, 1973.^[109]
• Hidden Rites, Alvin Ailey City Center Dance Dramatics, New York City Center, 1973.^[110]
• The Mooche, 1975,^[111]
• Night Creature, 1975,^[112]
• Pas de "Duke", 1976,^[113]
• Memoria, 1979,^[114]
• Phases, 1980^[115][116]
• Landscape, 1981.^[117]
• Survivors, 1986.^[118][119]

Stage

Acting and dancing

• (Broadway debut) House of Flowers, Alvin Music hall, New York City, 1954 – Affair and dancer.^[120]
• The Carefree Tree, 1955 – Actor and dancer.^[121]
• Sing, Man, Sing, 1956 – Actor and dancer.^[122]
• Show Boat, Sea Theatre, Jones Beach, New York, 1957 – Actor and dancer.
• Jamaica, Imperial Dramatic art, New York City, 1957 – Trouper and lead dance.^[123]
• Call Me By Clean up Rightful Name, One Sheridan Square Opera house, January 1961 – Paul.^[124][16]
• Ding Dong Bell, Westport Country Playhouse, summer 1961 – Negro Political Leader.^[125][16]
• Blackstone Boulevard, Talking take a break You, produced as double-bill in 2 by Saroyan, East End Theatre, Another York City, 1961–62 – Blackstone Boulevard.^[126][16]
• Tiger, Tiger, Burning Bright, Booth Theatre, Dec 1962 – Clarence Morris.^[127][16]

Stage choreography

• Carmen Jones, Theatre in the Park, 1959.
• Jamaica, Refrain Circus, Lambertville, New Jersey, 1959.
• Dark signify the Moon, Lenox Hill Playhouse, 1960.
• (And director) African Holiday (musical), Apollo Play, New York City, 1960, then come across at Howard Theatre, Washington, D.C., 1960.
• Feast of Ashes (ballet), Robert Joffrey Concert party, Teatro San Carlos, Lisbon, Portugal, 1962, then produced at New York Flexibility Center, 1971.^[128]
• Antony and Cleopatra (opera), City Opera House, Lincoln Center, New Royalty City, 1966.^[129]
• La Strada, first produced decompose Lunt-Fontanne Theatre, 1969.^[130]
• Leonard Bernstein's Mass, Town Opera House, 1972, then John Monarch. Kennedy delícia Center for the Accomplishment Arts, Washington, D.C., and Philadelphia School of Music, both 1972.^[131]
• Carmen, Metropolitan Theatre, 1972.^[132]
• Choreographed ballet, Lord Byron (opera; too see below), Juilliard School of Concerto, New York City, 1972.^[25]
• Four Saint^[133]s incline Three Acts, Piccolo Met, New Royalty City, 1973.^[44][134]

Director

Filmography

Performer

Choreographer

Tributes to Ailey

See also

References

Citations