Academic Master


renowned features of Alvin Ailey’s Choreography

Modern dance is a name that denotes the vast form of non-balletic dances. Alvin was born in 1931in Rogers, Texas (DeFrantz 304). The primary goal of a choreographer was to eliminate the perception of color. Ailey is a pioneer of modern dance and started his own dance company. The combination of people that he found while on the Broadway stage made it reveal his dreams. Referring to the reason behind the company’s start, Alvin claimed that he wanted to celebrate the differences in people. Alvin did want people to feel like an essential part of society.

The choreographer can be regarded as having been at the peak of his creative power at the time of his death. Unlike other people of his generation, he died having accomplished most of his dreams. These accomplishments are celebrated in modern dance due to their resounding impact.

It is possible to claim Alvin was a great friend and loved dance. His work has had a huge impact on American culture. Separating Ailey from his work is impossible. He is a shy man in his conversations. Soon, he evolved into a man of extraordinary warmth and an extraordinary sense of humor. Ailey’s warmth is reflected in his dance (Dunning 364).

In his dance, ‘Revelations,’ 1960, Mr. Ailey seems to give the audience an immediate dance experience at its best and worst. Perhaps the life explored in the song movements is Ailey’s. The song is an exploration of the holiest joy and deepest grief in the soul. The song is not just a popular work of dance but a cultural treasure. Ailey claimed that part of the richest treasures in America is the African-American cultural heritage, which the choreographer denotes as being at times jubilant, sometimes sorrowful but always hopeful (DeFrantz115). The dance is characterized by movements that try to depict the preparation for death by a devout man (the actions of a young man being baptized which are later followed by a solo (meditative), ‘I Wanna Be Ready (DeFrantz 45). “the last part tends to show the liberating power of the gospel music (20th-century). The section is a compilation of propulsive men’s trio which is followed by a yellow section. The dancers can be seen dancing as a show of embracing the joy of faith; they are in complex stepping patterns that are worked in unity. The dance seems to be a reflection of social organizations and a form of preservation of people’s social-cultural values. Viewing the song as an art, it symbolizes a human being’s quest for excellence and achievement.

Mr. Ailey was a great believer in dance; he had the perspective that dance had the ability to reach everyone. Despite criticism, he is celebrated for standing firm in supporting his belief (DeFrantz 109); Ailey believes in dance. Ailey continues to possess the attributes of a skilled modern choreographer. Also, a large and dance-loving audience is part of Ailey’s contributions to modern dance. Although the choreographer does not have a unique dance technique, he is remembered for his contribution to preserving the Horton and Dunham techniques. He would teach Ailey selflessness is also celebrated through his contributions to preserving other choreographers’ work. Some of them include McKayle and Dunham; he also invited choreographers to come and contribute to his company (Alvin Ailey Company). Ailey is a source of inspiration for many choreographic possibilities (Judy 20). The Company is also a recognized contribution to the dance fraternity, and the works of Ailey remain historical since no other choreographers or company has proven to copy the work.

Works Cited

DeFrantz, Thomas. Dancing Revelations: Alvin Ailey’s Embodiment of African American Culture. New York: Oxford University Press, 2004. Internet resource.

Dunning, Jennifer. Alvin Ailey: A Life in Dance. New York: Da Capo Press, 1998. Print.

Dunning, Jennifer (1996). Alvin Ailey: A Life In Dance. New York: Addison-Wesley Publishing Company, INC. ISBN 0-201-62607-1.

Gitenstein, Judy. Alvin Ailey, New York: The Rosen Publishing Group, 2006, p. 20.



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