Troupe leaps upon human expression

Friday, February 26, 1999

DANCE: Ailey's African American tropes transcend to universal level with group

By Vanessa VanderZanden

Daily Bruin Senior Staff

For most, a Haitian high priest, an American dance teacher and an emotionally repressed couple in love would seem to have nothing in common. Yet, for those watching the latest season of the Alvin Ailey American Dance Theater, such a grouping of characters would appear more than logical. In fact, it would seem almost necessary.

"What connects the pieces is that they all touch on human experiences," explains dancer Matthew Rushing. "They all involve people, and that's something which transcends even racial boundaries."

Ailey's ability to represent varying aspects of humanity has placed his troupe at the foreground of international dance. Although his reputation for making culture accessible has outlived him, the upcoming run at the Ahmanson Theatre (March 3 to March 7) will commemorate the contributions of his 40-year repertory. Now headed by artistic director Judith Jamison, the company will perform a mixture of old and new routines specially selected for the limited time engagement.

"Echo: Far From Home," one of the two new projects from the 12-piece production, recreates Jamison as a character. The autobiographical work, choreographed by Jamison, brings audiences inside her community of family and loved ones. Carrying on the legacy of Ailey's lifework, the troupe reflects the African American viewpoint within a predominantly white American environment.

"I don't think that Alvin Ailey set out to make any kind of social commentary," notes dancer Renee Robinson. "I think rather that whatever you create has to emerge from someplace, so that inevitably, your finished product will reveal your personal experience."

This perspective finds support from the other freshly conceived effort, "Lettres d'Amour," from French born, North African raised choreographer, Redha. His emotionally explorative piece examines the aspects of alienation within modern society through the relationship between two bashful lovers. Their inner battle to embrace their true feelings and risk knowing themselves lies at the heart of the dramatic work.

"Attempting to recreate what the choreographer intended is one of the most trying aspects of being a dancer," shares Robinson.

"That, and coping with your body's physical limitations," adds Rushing.

Both agree, however, that being on the road for roughly eight months out of the year for the internationally touring troupe proves the most gruelling challenge of all. Separated from family and friends, the seasoned dancers trade locational stability for one of the most sought after ballet careers in the world. Working with a variety of top- notch choreographers and dancers in a plethora of styles in an ever changing environment, the performers have exposure to a once in a lifetime opportunity.

"For me, it's about intelligent dancing that seeks to educate," reasons 18-year Ailey repertory veteran Robinson. "It's an experience that incorporates everyone into the work."

Having begun her dance history within the group, like seven-year member Rushing, Robinson has no other dance experience with which to compare her time with Ailey's troupe. Yet, some would say, no other company compares with the unique, organic feel of the inspirational company. From Japan to South Africa, audiences relate on the same personal level.

"Although some of what Ailey wrote was intentionally from an African American perspective, much of it was just a human perspective," Rushing notes, remembering pieces such as "Cry." Ailey wrote the piece and dedicated it to his mother for a birthday gift instead of purchasing an item at Tiffany's or Bloomingdale's, where people of his race were still barred entrance.

Forty years later, the group, built on the vision of a young African American artist seeking expression, can bar its own doors to anyone it chooses. Only, the requirements of entrance to this club remain talent and an open heart rather than race. After performing in 68 countries on six continents to an estimated 19 million people, the group shows that it does not depend on skin color alone.

DANCE: Alvin Ailey American Dance Theater will perform from March 3 through March 7. For more information, call (213) 365-3500.Black History Month

Andrew Eccles

(Left to right) Renee Robinson, Uri Sans and Linda Caceres are dancers in the Alvin Ailey American Dance Theatre. (Bottom) Robinson in "Lettres D'Amour." The Alvin Ailey American Dance Theater will be at the Ahmanson Theatre from March 3 to March 7.

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