Dancing Revelations: Alvin Aileys Embodiment of African American Culture


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Thomas F. DeFrantz

Aside from falling to the knees, this section of dance has the most floorwork and grounded movement, symbolizing the low state of mind that the characters have [7]. A large group of dancers clad in white sweep onto the stage as baptismal agents—a tree branch to sweep the earth and a white cloth to cleanse the sky—lead a processional to the stream of purification. This can be seen with the white and pale blue costumes, ribbons on stage, and backdrops, as the color white symbolizes purity, heaven, and illumination [7].

To the strains of "Wade in the Water" a devotional leader bearing a large umbrella baptizes a young couple at a river, represented by yards of billowing blue silk stretched across the stage. The lyrics, along with the rolling movements of the arms and silk add to the importance of water in this dance.


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The white umbrella is symbolic of water and being baptized as well. This movement is grounded but not floorwork, exemplifying the middle stage between grief and joy. There is much reaching in this portion of the piece as well, showing how these dancers still yearn and fight to achieve joy.

The Power of Black Experience in Alvin Ailey’s “Revelations”

A raucous ceremony is followed by the meditative solo "I Wanna Be Ready" which communicates a devout man's preparations for death. Created by Ailey in collaborations with its original dancer James Trite, the solo builds on exercises derived from the Horton modern dance technique. This section includes the propulsive men's trio " Sinner Man " and the "Yellow" section, set in a southern Baptist rural church. Eighteen dancers in yellow costumes enact a church service with fans and stools.

Earthy but bright tones in the costumes, such as yellow and white, symbolize the joyous nature of the piece. The hats and fans are used to enact church service, and the fast and upbeat music adds to the positivity. The movements in this section are mainly upright, and this part consists of more jumps than the other sections. Stretched across the stage with torsos proudly lifted, the dancers embody the joy of faith contained by complex stepping patterns performed in unison. It can easily be identified as the most active part, as the dancers finally reach a state of happiness.

This section also has the most dancers, conveying a large celebration. Roberts [8]. From Wikipedia, the free encyclopedia. In Deane L. He not only charts this rise to national and international renown, but also contextualizes this progress within the civil rights, women's rights, and gay rights struggles of the late 20th century.

DeFrantz examines the most celebrated Ailey dances, including Revelations , drawing on video recordings of Ailey's dances, published interviews, oral histories, and his own interviews with former Ailey company dancers. Through vivid descriptions and beautiful illustrations, He reveals the relationship between Ailey's works and African American culture as a whole.

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Dancing revelations: Alvin Ailey's embodiment of African American culture by DeFrantz, Thomas F

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Dancing Revelations: Alvin Aileys Embodiment of African American Culture Dancing Revelations: Alvin Aileys Embodiment of African American Culture
Dancing Revelations: Alvin Aileys Embodiment of African American Culture Dancing Revelations: Alvin Aileys Embodiment of African American Culture
Dancing Revelations: Alvin Aileys Embodiment of African American Culture Dancing Revelations: Alvin Aileys Embodiment of African American Culture
Dancing Revelations: Alvin Aileys Embodiment of African American Culture Dancing Revelations: Alvin Aileys Embodiment of African American Culture
Dancing Revelations: Alvin Aileys Embodiment of African American Culture Dancing Revelations: Alvin Aileys Embodiment of African American Culture
Dancing Revelations: Alvin Aileys Embodiment of African American Culture Dancing Revelations: Alvin Aileys Embodiment of African American Culture

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