Intents

Inspiration = Ailey made the work “to say something about the huge influence that black women have had in my life. I am trying to express something that I feel about, life, the human spirit, the beauty of things…”

Overall Intent -

A 16 minute 3-part plot less solo tells of life, work and spiritual rebirth as experienced by an everyday women - the experience of living black in America. Ailey explores the struggle from sorrow and pain to joy and freedom. It depicts the struggles of different generations of Black American women.

Section 1 Intent -

She represents those women before her who came from the hardships of slavery. The defiantly shifting images of identity. A depiction of contemporary African American identity.

Section 2 Intent -

The pain of losing loved ones, through overcoming extraordinary depressions and tribulations.

Section 3 Intent -

Coming out of a world of pain and trouble she has found her way and triumphed. A joyful release and the sensation of survival. It depicts an expression of belief and happiness.

Quotes by Ailey =

Dedicated to ‘all black women everywhere - especially our mothers.’

‘I believe dance is from the people and should be delivered back to the people.’

‘Show the tapestry of richness of the black experiences of the country.’

‘I am trying to show the world that we are all human beings and that colour is not important. What is important is the quality of our work.’

Skills of Analysis Components

Movement, spatial elements, dynamic elements, aural elements, dancers and setting and environment

- In descriptions talk about where, what and how - movement gestures, spatial, emotional dynamics- Say what it is and then how and where it is done

Section 1 -

The overall section is about the roles women had to undertake during slavery.

It is in a way a façade; we don’t see the dancer’s true emotion until section 2. She replicates a woman of strength and pride but underneath she is broken.

Nearly every phrase shows her true identity and culture or her bound by slavery, this fluctuates in every phrase.

Towards the end of the phrase her culture is reflected more but it ends in slavery as she slowly lowers to the ground - succumbing to slavery and accepting her role.

Example of defiance - the beginning phrase - the circular sway portrays internal thinking and struggle and then as the

dancer opens up her arms and the scarf lowers from above her head she shows determination against the white material that surrounds her.

- the second last phrase - 2 significant pauses show pride and confidence; fighting back and being defiant; she looks at the scarf - acknowledging her role as a slave

Example of being controlled by white people - the zigzag walks - the material is laid across her arms and is guiding where she walks; controls

where she goes - she walks tentatively and cautiously, her head glancing from side to side - worried- the scarf is a physical symbol of a barrier as she dancers behind it - when she first gets off the floor

she spins, appearing free but she is heading backwards - she then percussively contracts her torso and with an angular arm line, reaches toward the material, as if longing to get past it

- many of the phrases incorporate some sort of gesture to the scarf - a longing or pleading - the struggle in the scarf - stands on ends of scarf and portrays being bound and shackled showing

restriction and burden - end of section - hands crossed at wrists above head - inferiority, turns sharply and stares at scarf as

if knows her place, then runs and lunges at scarf, repeats hand position but sitting on ground facing back, slowly lowers to the floor - surrendering to suppression

Example of being frustrated at work - material across the front phrase - the repetitious movement of aggressively throwing the material

and then tenderly straightening out, then contracting her torso shows frustration at white control but also care for her duties

- this phrase is repeated twice more in the phrase to show no sense of progression - scrubbing of the floor - her head and body are erratically thrown around as she concentrates all of

her efforts into cleaning

Example of hardships - run and grab phrase - running and reaching upwards and then contracting with fisted grabs and

shuffling backwards, doubled over shows desperation and struggle but repetition to other side shows resilience - whole phrase repeated at the end of the section

- crawling on knees and convulsing body phrase - the hard labour and suppression of everyday life

Example of culture and pride - head scarf - the dancer runs with the head scarf draped off her head representing strength from her

culture and pride - projection from sternum and sense of dominance in composure - fluttering of hands towards the end of the section - organic movement - pulls skirt up and does

dominant walks, chest held high, determination, repeated in a few phrases- attitude derriere turns with skirt - dynamics and weight portray freedom - wafting and wavering of arms and open arm shapes, deep plies and contractions - polyrhythms and percussive dynamics

Section 2 -

Repetition of movement shows that she has the same lifestyle day in and day out - no progression

The movement evokes sympathy through always closing in and shutting off the audience

She is sure in what she wants but can’t get it

The dimensions of her shapes grow as the severity of her situation does

Internal pain and struggle are shown through - contractions - squirming - slow with moments of fast movements/ percussive and sustained dynamics - upheld back shows strength but the physical burden of slavery too - being beaten down with a slow motion stabbing action - being pulled by the arms in opposite directions - not going anywhere, there’s a glimpse of hope but it’s

then shut down

Hardships and pleading shown through - reaching upwards - the quick refraction of her arm shows she has hope but there is no one there to help- ponches and leg extensions - suspended and elongated longing and then withdrawal and breaking of

the shape shows didn’t achieve it- uncontrollable turns - even though she has progression in the space her situation never progresses no

matter how hard she tries - frantically kicking and reaching towards diagonal but gets no where, repeats whole thing again to other side - so much determination and resilience yet not achievement

- venturing - the coming and going in the space - moment of stillness after intense turns and kicks - convulsing torso and weeping connotations, uses

dress to wipe/hide face- when she screams and her inner emotions are shown the audience sees that she is weak and vulnerable

underneath her cultural pride- turning and leaping in a circle sequence shows strength and power - fight to overcome - stops - looks off

stage - as if she knows it was all for nothing - wilts to the floor - dramatic reach towards scarf - pleading and exasperated - wants to overcome

- end phrase - reaches towards front - longing and pleading - collapse into a deep plies in second with hand hitting floor - failed

Bound by slavery shown through - always having an arm or leg line with one part bent and one part straight to show the restrictions of

slavery, she almost gets freedom but never quite reaches it; can’t move past it- The turns that locomote but turn back on herself show progression but that leads to no where- oppositional pulls reflect her uncertainty - percussive reaches and kicks show determination to get through her hardships - she repeats the same

sequence to two different corners showing willpower and resilience - In the second last phrase her arms are thrown behind her back - an image of being tied up and punished

for her actions Helplessness shown through

- phrases at the end where she is exhausted from trying so hard, she wilts to the floor as the lethargy from trying over and over again sets in - she repeats the shape from the end of section one with her arms crossed above her head

- The last phrase is a summary phrase where she repeats various movements from throughout the section - there is no progression, all the emotion, pain and trying was for nothing, she has a voice but isn’t heard

Section 3 -

Does the same movements as section 2 but with energy and a quality completely different

Very afro orientated - connection to culture in dance

Looking out at the audience shows her confidence through her culture

Splayed hands reaching up no longer mean pleading but a celebration

Arm and chest releases and isolations = freedom

Spirited in nature - movement going in different direction showing a celebration everywhere

She is still behind the scarf though showing still no progression

Polyrhythms and syncopated rhythms also reflect her culture

Intricate foot work - not grounded any more but constantly moving even if not travelling

Attitude turns, spins and kicks show high energy and big use of space

Hitch kick and then kicks to second on both legs and then repeat is a celebration - massive use of kinaesphere - broken free from shackles of slavery

The contractions show more a sense of pushing away and release rather than bound and sorrowful

Use of skirt gives a wafting/flapping quality to the movement = free spirited like a bird

Even though the focus is inward it is more of a celebration of self and not of sorrow

Her expression changes to a smile

Lots of turns going outwards rather than inwards = release

Only uses medium and high levels except for one time when she gets down to pray, not out of pleading but thankfulness

Ends in a fade out = never see it end, it keeps going, the story hasn’t ended, we are left to question

Music (Aural Elements) -

Movement works closely with music - accents, stillness (dancer continues to move - represents pain continuing), lyrics, rhythms, duration of movement, contrast (juxtaposition to tempo)As music climaxes and rises in energy - movement compliments Long duration of notes = sustained and held shapes As verses repeat, movement repeats - reinforces pain and turmoil through movement and messages in the music

Section 1 - Alice Coltrane’s electronic score, Something About John Coltrane

- spiritual, majestic and atmospheric sounds flow out of the harp and piano and the soprano of the saxophone

- in the jazzy section - fluttering of arms - moment of cultural strength and freedom, very organic, but after each phrase she collapses forward from the torso - this freedom is only momentary - she gets knocked back to her role as slave

Section 2 - Laura Nyro’s, Been on a Train

- emotion and heartache of the lyrics reflected in the dance

- distinct and loud piano chords used for holding shapes and emphasising dynamic force - energy of movement coincides with the percussive nature of the music

- flux of rhythmical actions - acceleration leads to a sudden pause or stop - accent

Section 3 - The Voices of Harlem’s, Right on be Free

- strongly righteous

- chorus work = testament to the power of the people

- gives deep soulful feel

- firmly grounded in the lyrics

- reminds us that little is more powerful than the human spirit, and with focus and determination, anything is possible

- songs are a source of strength and encouragement - Partay! Vibrancy and energy from music shown through movement

Dancers -

- Solo dancer is more personal and is able to portray a variety of roles and show the full range of experiences black women endured

Skills of Analysis

Organising the Movement

Motif, phrase, motif into phrase

- Motifs help communicate the emotions and themes within Cry - They connect real emotions to real issues that were present in Ailey’s life, and of all the African

Americans before and after him - racial discrimination

Section 1

- initiation of circular pathways by percussive jolt - sustained lunges - contractions with angular arm shape - combination of sustained slow release of tension and forceful contractions (different qualities portray

different aspects of the intent) - vibratory actions - scrubbing and twisting/wrapping of scarf - reaching - not much - locomotes through running and turning - reflect freedom - not bound - pride - carriage of torso - elevated posture - her culture - emphasised through projection - varying roles and actions due to her shifting images as she can’t find her identity in her supressed

society - she fluctuates between different emotions - vibratory fluttering of her hands - traditional afro culture - see freedom and enjoyment - flourishing in

the culture she presents- circular arms and gestures around her head and torso in a sustained manner - femininity and pride as a

female and mother

Section 2

- contractions - vigorous - quick and rapid- collapse- circular motif done on a large dimension - extensions of arms and legs - oppositional pull - limbs follow and move along contours of the body (touching gesture) - reaches - but always something holding her back - contractions turn into weeping - angular arm shape - repetition of phrases with varying time or dynamic - stabbing action unique to this section

Section 3

- splayed shape - polyrhythm - extensions and circular actions still there but timing is different (isn’t tense or bound but free) - flapping/wafting - very prominent and characteristic of this section - how she moves her torso changes the look of the motifs used in previous sections - isolation - extensions - repetitions representative of what she has endured and now achieved - reinforcement!

Skills of Analysis Organising the Dance

Sequencing, transition, repetition, variation and contrast, formal structure, unity

- Cry is structured to show the progression of black people throughout history, in particular, women.

- Each section develops a new experience and layer to the journey they have endured.

- Variation and contrast = many ways material is used - representing many roles and themes = use of motifs - reaching means help in first 2 sections but thankyou in last= movement is often the same throughout the sections but the way it is performed

changes its meaning i.e. time and dynamics

- Unity = use of motifs throughout dance, transitions

- Transitions - in silence and we see her transform from section to section = end of section 1 - hands crossed at wrists above head (abstraction of opening shape) -

inferiority, turns sharply and stares at scarf as if knows her place, then runs and lunges at scarf, repeats hand position but sitting on ground facing back, slowly lowers to the floor - surrendering to suppression

= end of section 2 - reaches towards front - longing and pleading - collapse into a deep plies in second with hand hitting floor - failed - the last phrase is a summary phrase where she repeats various movements from throughout the section - there is no progression, all the emotion, pain and trying was for nothing, she has a voice but isn’t heard

- Ending = The ending of Cry suggests that that journey continues on, as we see the dancer continue to dance while the music and lights fade out and the curtain drops. We don’t see a definite end; the story will continue and develop for the future generations.

- Phrases = gradually reveal intent to audience that develops over the duration of the dance = help to reveal the various identities

Section one is structured to portray an array of shifting images of identity; it gives an overview of the many roles black women had to fulfil and the hardships of slavery and black oppression. The phrases fluctuates between the dancer being in pain, working hard to fulfil the demands placed upon her, pleading for help and a way out of her circumstance, and showing the dancer as determined, strong willed and proud of her cultural heritage and identity. However, every phrase that she stands up proud and tall is followed by a phrase where she is knocked back. She never full achieves progression.

Ailey’s use of repetition throughout this section highlights the constant battle fought to be equal and gain freedom from the suppression black people endured. (phrase on floor with material repeated 3 times) (phrase running and grab on diagonals repeated on right then left, then whole phrase towards end of section)

Section two is structured to evoke deep sympathy from the audience, achieved by always closing in and shutting off the audience. The dancer is sure in what she wants but can’t get it and the dimensions of her shapes grow as the severity of her situation does. (examples)

Repetition of movement shows that she has the same lifestyle day in and day out - no progression

Section three is structured to express a joyful release and the sensation of survival. Many of the phrases have movement in them from previous sections but the change in dynamics and timing makes them unique to this section.

Skills of Analysis Interpretation of the Work

Context –

- Is what is used to create intent - Context is the meaning of the work and Ailey’s influences affected the context of Cry. - It is the cultural, historical, personal and social background and gives the basis of the movement Ailey uses for his idea.

Cultural = religion and Africa

Cultural relates to his religious faith and the morals Ailey experienced growing up throughout his life - the African heritage embedded into him through going to church Symbolism - heavenly, Christian connections Poised projected carriage of the body - priestess Fabric offering at the beginning could be seen as a religious practice - ritualistic nature of lunges and carriage of body with cloth draped carefully over her arms - a totem to God White cloth = purity White costume = purity Dancer uses circular motions of the upper body with high releases – showing cyclical nature of their life and ongoing nature of faith - projection upward to God Also shown through the physical representations of prayer and kneeling Could have given up but continued to show strength throughout - faith provides internal strength and resilience Section 3 highlights cultural celebrations and energy found in community - praise and worship - lots of gestures heavenward and open Risen up from adversary and is strong - rejoicing for changes that occurred Also when she uses cloth as a head dress – pride in culture/priestess

Historical = segregation/slavery/discrimination

Historical relates the era in which Ailey worked – segregation, civil rights, struggles etc but also the hope found from activists such as MLK and RPAn example of this hope is in section 3. The movement consists of elevated jumps, leaps etc showing pride and joyFreedom from past American policies Segregation is shown through cloth - stands below it at start; inferior - is controlled by it as it leads her forward - lays it out at front of stage and never advances beyond it; a barrier, symbolic of historical situationSlavery and anguish shown through bound movement and contorted/twisted shapes

Personal = mother

The personal context was derived from a variety of life experiences faced by Ailey; the main focus being his mother and her struggles - Ailey’s connection to his mother from childhood Her spiritual background and inner strength are represented physically by the dancer with high releases of upper body and circular motions of the arms Also shown through the physical representations of prayerMaternal job to keep the family together and strong - nurturing of scarf on the floorThe sorrowful connotations used by the dancer show the hardships of motherhood – scrubbing the floor, working to put food on the table

Social = trapped and beneath

Social relates to societies views on African Americans during the time – inferior, cyclical nature of their troubles, they felt weighed down, trapped etc. An example of this in the movement is when the dancer uses the white cloth as a symbol for being trapped- wraps it around herself and struggles inside its hold; shackles

Ideas and meaning communicated – is like intent in composition

- The expressive meaning of the work is to portray the cultural identity of African American experiences- It is an expression of emotion, a celebration of culture and motherhood- The work incites empathy in audiences through their understanding of Universal themes explored in the work

Hardship – scrubbing floor, utilitarian movement, facial expression Frustration – isolation of torso, clenched fists, flexed feet, percussive movement, inward and outward, scream, fists, shackled squirm, cleaning of the floorPain and suffering – contractions, isolations, non-locomotor, complementary shapes, scream Trauma – rapid, sharp, quick brush flicks of bodyStruggle – constant reaching and searchingFreedom – circular movements, use of high spaceDespair – reaching out, sustained, high release followed by collapse dynamic, open shape, contraction, Pride – elevation, high releaseCulture – traditional African American movement, groundedFemininity – role as both a sexual partner and a mother shown through contrast in movement and dynamics

- Identities in Cry = Mother, slave, cleaner/labourer, priestess/African, female, Neo-African

Subject matter – is like concept in composition

- The themes that run throughout Cry are the relationship with his mother, entrapment, discrimination and cultural influences - Pretty much the same as above

Genre –

- Genre is the type, style and classification of the movement

Incorporates Afro-American style - high release, flexed fingersContemporary/modern - contractions, abstract lines and shapes, arabesque Third section incorporates jazzRepresentational/literal movements used - reaching, pleading, praying, screaming (reinforce pain), banging floor, scrubbing/cleaning, punching, grabbing

Significance –

- Is always relevant to intent and what the choreographer wanted to portray - The expressive meaning of the work is to portray the cultural identity of African American experiences- It is an expression of emotion, a celebration of culture and motherhood - reflection of his mother - The work incites empathy in audiences through their understanding of Universal themes explored in the work

Shows audience the experiences of black people, in particularly, women An outlet for public to see in an artistic way the treatment and consequences of this treatment, has on black Americans An appreciation for all they endured and the strength they showed throughout their life and the adversity they faced

Skills of Analysis Evaluation

Concepts under which evaluation is made

- Personal response - how did I feel when I watched the Work? What emotions, images, ideas and physical feelings are stimulated by the Work?

- Your writing will be influenced by your own experience and background, and what you see and feel will be different to what others interpret

- To fully appreciate a Work we may need to look into background information on its context - the social, personal, historical and cultural events influencing the work

General values of society

- tolerance, openness, respect, teamwork, love, beauty, goodness, selflessness, self-givingness, gratitude, freedom, equality, human rights

- beliefs, a mission or philosophy that is meaningful

- values are psychological objects

- people dedicate their work or lives to pursue their values

- our values determine our decisions and guide our lives

- In society, we come to recognise that certain principles or guidelines are essential for the survival or vital growth of the individual and the community - learning by experience, essential principles are passed onto future generations as cultural guidelines for action

Specific values in the context of the work

- personal values guide people to make decisions in life - this is the same for the creation of dance - Ailey was motivated by his desire to portray the black American experience, leading to choreography related to that value.

- challenge, determination, freedom, government power, human rights, faith, spirituality, strength, tolerance,

Worth and merit, effectiveness/appropriateness of the work, effectiveness/appropriateness of the performance

Writing and Criticism

Reading and writing reviews - newspapers magazines journals, the role of the critic in dance, placing the criticism in context

- Personal response = subjective response to work - share your point of view with others = will focus on how reader viewed the work - the emotions, images and ideas and

physical feelings stimulated by the work = your writing will be influenced by your own experience and background

- Formal analysis = unpacks a dance from a structural point of view = reveals how the choreographer used elements of creation (movement, music, set,

costume etc.) to portray meaning to an audience and how it all relates and works as a whole

- Contextual analysis = describes and interprets the history and influences of the work = requires research about the work

= may include reference to social, historical and cultural influences on the work and the choreographer’s background, experiences and intentions

- Review = includes features from above texts = gives a personal opinion (based on extensive experience and knowledge) about a work

Prescribed Choreographer and Their Work

Era/period in which Alvin Ailey worked –

1950’s – 1970’s (Cry made 1971)

Civil Rights

Worldwide political movement for equality between 1950-1980Campaigns of civil resistance aimed at achieving change by non-violent forms of resistance1960’s – injustice could no longer be ignoredCivil rights legislation – 1968 civil rights act made it illegal to discriminate on the basis of race, religion, sex and national origin.Equal political and legal rights for African Americans – however, slower to accept their rights to social and economic equality. The average wage for an African American was half of a white person. Nearly three times as many African Americans lied under the poverty line.

Poverty

1950’s African American schools lacking in toilets, running water and even desks.Increased violence – 1960’s riots broke out causing povertyAfrican Americans during the 60’s had a lower life expectancy Less access to MedicareInferior accommodationProperty damage

Martin Luther King

February 1960 – a group of African American college students refused to leave their seats at a whites only Woolworth’s cafeteria – entire day forcing cafeteria business to a standstillMartin Luther King encouraged this non-violent initiative – he admired the work of non-violent protesters like Mohandas K GhandiHe led demonstrations that achieved some integration He encouraged children and teenagers to participateDuring his demonstrations he was arrested and imprisoned for eight daysIn 1960-61 70 000 people took part in sit-ins as eating areas and other public facilities

Background and training –

Background

Born in Roger, Texas on the 5th of January, 1931Father abandoned them when Ailey was 6 months old Raised by a single mother Lula who was 17 at birth Alvin feared and mistrusted white people after his mother was raped He and his mother moved often as she struggled to find work - ramifications of the Great Depression Coming from the South, strict segregation of white and black races was reinforced – church, homes, restaurants, bathrooms etcPolitical rights were taken away from blacks Lynchings, beatings etc of blacks He had feelings of rage but also pride, found in experiences with the Southern Baptist Church Black churches were lively in culture and encompassed an uplifting atmosphereEducation for white people was superior and they were given many more opportunities and resources – black schools did not receive funding/equipment

Training

Ailey’s interest in dance was sparked by a high school excursion to an all-white company dance performance – the Ballet RusseAiley did not become serious about dance until 1949 when his school friend, Carmen De Lavallade introduced him to the Hollywood studio of Lester Horton1949 – Alvin began classes as the Lester Horton School - major influence - became mentor - gave him a technique and a foundation from which to grow artistically Horton organized the first multi-racial modern dance company in the US One of the few teachers who would let Black dancers into his studio

He studied contemporary dance with Hanya Holm, Martha Graham, Doris Humphrey, Anna Sakolow, Katherine Dunham and Charles WeidmanBriefly studied tap – didn’t like itWhile in NY he studied ballet with Karel Shook

Influences – Church

Growing up with quite a traumatic childhood the church helped him to establish pride and communityIt gave him a place to belong and feel accepted

Seeing the joy it gave his mother and the rest of the community made Ailey realise its importance in African American culture Gospel music was a source for lyrical content used in his worksBlack Americans used gospel music to express their discontentment and sadness of their hostile environment

Lester Horton

Ailey viewed Horton as a father figureHis first choreographic piece was a tribute to HortonAiley has said that the technique he learnt form Horton has continued to affect and influence him and his workIt is an important part of the curriculum at the Alvin Ailey American Dance Centre and continues to be an inspiration for his choreographyHe said the Lester Horton’s influence went beyond the studio‘Lester Horton was the greatest influence of my career.’ Horton was a mentor and gave Ailey a technique and a foundation from which to grow artistically He taught him the aesthetics of production - costume, lighting, set etc. Seeing the struggle and challenges his mother faced created a high respect with Ailey for his motherHorton’s technique - torso generated, elongation. Body is lengthened and each section of the body is isolated

His Mother

After seeing his mother raped and struggle through life, trying to find work, Ailey had an upmost respect for her and all women Lula’s ability to care and raise him by herself, the sacrifices she made so that Ailey could have food on the table all contribute to his work Despite their wealth, Alvin always felt a sense of support from his mother - as a child with his poetry and this devotion throughout hardship also influenced his work

Theatrical Experiences

Alvin’s theatrical experience influenced his aesthetic concernsAiley’s dramatic experiences affirmed his basic sense of heightened theatrical scope and projection Ailey’s experience in the commercial theatre influenced his understanding of what appealed to audiences of the post war eraHis varied theatre experiences contributed heavily to the amalgam of dramatic, theatrical and pure dance technique that became Ailey’s signature choreographic style

Culture

Ailey’s black heritage and pride in his culture History of slavery Segregation Hardship Celebration of faith Afro music

Choreographic/movement style –

General

Ailey made use of any combination of dance technique that best suited the theatrical momentHe pushed his company toward a performing style, full of glamour, with beautifully trained dancersValuing eclecticism, he created more a dance style than a technique He wanted his dancers to have strong projection with a ballet bottom and a free topHe incorporated the whole bottom

Church

His inspiration partially came from the joyous approach to dance he experienced in the gospel churches

Culture

Africanist dance values downward directed energy, instant rhythmicity and access to a dynamic ‘flash of the spirit’ that is spontaneous and unpredictableBlack American roots - African American

Lester Horton

Horton developed a dance technique reputed to fortify, stretch and strengthen the human body in preparation for its use as an instrument for expressive dance Every muscle of the body is lengthened and each section of the body is isolated His technique utilises all spatial planes and movement levels Known as ‘architectural technique’ - focusing on joint mobility, developing, throwing, flinging, swinging, casting and off balance movements and his expressive use of the rounding and arching spine Torso considered to be the origin of all movement His movement works from the joint out - exploration of anatomy All the elongated reaching with upper body shapes and lateral rotation of spine into ‘E’ looking shape is Horton technique