A Quote by Alvin Ailey
DeFrantz's study...is not the first book about the protean Ailey, who was born in hardscrabble Texas in 1931 and died in 1989 after creating close to 80 works. But it is perhaps the most comprehensive, combining biography, criticism, the analysis of dance criticism, and a sort of corporate history, siting the now firmly established Alvin Ailey American Dance Theater in the international cultural landscape.
Related Quotes
As long as there are dancers around who love to dance, there will be an Alvin Ailey American Dance Company. We miss him so much, but he's alive as soon as you see a dancer hit the stage.
I was used to dancing, but only when someone told you what to do. So in the nightclub I was all over the place, I combined everything. Street dance, modern dance, a bit of jazz and ballet, I was Twyla Tharp, I was Alvin Ailey, I was Michael Jackson. I didn't care, I was free.
I wanted to be an Ailey dancer. I would watch Alvin Ailey videos over and over, and I'd picture myself doing that. I was obsessed with it.
The way Alvin Ailey has transformed modern dance and dance in general is the fact of variety. It's a cornucopia of ways to move. There are choreographers in the company as - as diverse, as different from each other as Donald McKayle and Bill T. Jones, or Jawole Zollar and John Butler, Lar Lubovitch, you know, and Judith Jamison.
My dad is a director/producer and my mom is a dancer; she performed with Alvin Ailey, but I didn't even think about becoming an actress.
I'm born originally in Toronto, and I have what I call my 'Fame' story. I took a Greyhound bus and went to Alvin Ailey and received Dunham, Horton, Graham technique there, but I could never take my eyes off of Balanchine doing 'Nutcracker'; to me he's the best who ever did it.
After all these years of saying the same thing about the Alvin Ailey company - terrific dancers, awful repertory - I'm finally accepting the inevitable: I'm not going to change my mind, and they're not going to change their ways. And why should they, given their juggernaut success all over the world?
First one gets works of art, then criticism of them, then criticism of the criticism, and, finally, a book on The Literary Situation , a book which tells you all about writers, critics, publishing, paperbacked books, the tendencies of the (literary) time, what sells and how much, what writers wear and drink and want, what their wives wear and drink and want, and so on.
I danced growing up. I had two friends of mine that, actually, one of them wound up dancing with Alvin Ailey.
I was trying to write a straightforward book of sociological analysis, or at least cultural criticism, and I failed.
I used to be on dance team in high school; it was called drill team in Texas. And when I started doing theater sophomore year, I had to make a decision which thing I was gonna follow. It was a big shift because I sort of had all these friends on dance squad, and when I started to do theater, my whole identity shifted.
The desires of the heart are as crooked as corkscrews Not to be born is the best for man The second best is a formal order The dance's pattern, dance while you can. Dance, dance, for the figure is easy The tune is catching and will not stop Dance till the stars come down from the rafters Dance, dance, dance till you drop.
When I was in New York after I left the Army, I studied for two years at the American Theater Wing, studied acting, which involved dance and fencing and speech classes and history of theater, all that.
What I've really liked doing is combining what you might call art criticism or music criticism with something that is happening in real life.
As a teenager, my brother's girlfriend came into my life, and I just thought she was the bomb. I followed her around, and she could just say anything, and it would influence me. She took me to my first nice restaurant, bought me my first nice handbag, and took me to my first Alvin Ailey show when I was 14, which changed my life.
I am trained, and I did do 'The Nutcracker' in its right form, but at the time, they told me I was black and I'd never be in 'Swan Lake.' I went through all those prejudices in the ballet community, and I still emerged wonderfully trained and found my way to Alvin Ailey where there were familiar faces.
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