Alvin Ailey American Dance Theater, performing at the Kennedy Center in Washington, D.C. on February 9 and 10, 2019, gave the audience something to think about concerning the passage of time and how it changes—or doesn’t change—the world we live in. Between the two shows the company performed works by Rennie Harris, Wayne McGregor, Ronald K. Brown, artistic director Robert Battle, and of course Alvin Ailey himself.
The most obvious comment on the passage of time is the mere fact of performing Ailey’s Revelations, as the company does at every performance. The piece has evolved since its conception in 1960, yet the message remains the same: the people cry out for deliverance from oppression both exterior and interior. The struggle to escape from oppression or sin is expressed throughout the piece by the challenge of resisting gravity. The tension is particularly striking in “I Wanna Be Ready,” where the soloist’s every effort is directed heavenward, yet his body always returns to the ground. Despite the gravity of much of Revelations, the piece ends on a joyous note as the company assembles clothed in shades of sunlight, to contrast the flesh-toned costumes worn in the opening section, for a buoyant finale of “Rocka My Soul” that makes use of movement through the horizontal plane of the stage with dancers weaving through each other. The tale of deliverance begins in “I Been ‘Buked” with a shared conviction of the need for transformation, expressed in the solidarity of the group of dancers which begins and ends in tight formation, and it concludes with the emergence, through individual struggles in relationships with God, of a community of hope.
Harris’s piece, Lazarus, though choreographed 58 years after Ailey’s, deals similarly with the notion of fighting an oppressive system while existing within it. One motif that occurs in Harris’s choreography is slow-motion running that makes it seem as though the dancers find it impossible to move in their environment in the way that their inner self directs them to. A section of the piece is danced to the lyrics, “black man in a white world,” with the soloist dancing inside an enclosure of other dancers, and it conveys frustration with being put in a box, something Ailey experienced as he insisted on producing dance that incorporated black bodies but couldn’t be characterized as “black dance.” Both Ailey’s and Harris’s characters find freedom in developing unique modes of expression, yet the fact remains that the issues facing Ailey and the company during his lifetime and career continue to pose challenges to black dancers in particular and people of color more broadly in the US. Time has passed, but whatever progress has been made in terms of the societal racism which Ailey addressed both onstage and off, it has not been enough to obviate the need for further criticism by the current generation of artists.
Kairos, choreographed by Wayne McGregor, is the component of this season’s repertory which most explicitly deals with time, taking its name from the Greek word for non-linear time and its soundscape from Max Richter’s arrangement of Vivaldi’s Four Seasons. The music on its own incorporates ideas about the non-linear nature of time in both the concept of recurring seasons and the contemporary arrangement of a great classical work. The stage composition immediately challenges the audience’s perception of time with the use of scrim and strobe lighting in the opening of the piece, which make it appear as though the dancers are moving in stop-motion. The effect is that it’s difficult to decide whether the dancers are moving extremely quickly or extremely slowly; they change shape with every flash of light, but since their acceleration is unobservable the movement feels glacial. Another section of the piece evokes the image of an antique clock as the dancers swing their legs like pendulums, suggesting a cyclical, rather than linear, conception of time, and a later section danced with legato quality in amber lighting gives the impression of being removed altogether from the passage of time.
Taking these three works together, McGregor’s choreography provides an abstract backdrop to the continuity in both intent and execution between Ailey and Harris’s work. Ailey’s choreography is grounded in Horton and classical ballet techniques while Harris is clearly a hip-hop artist, but both make use of fast-paced footwork, shoulder-initiated movement that engages the whole body, and polyrhythms—Harris in the juxtaposition of recorded heartbeat and breath with the movement on stage and Ailey in the use of body percussion and clearly accented movement. Verbal, auditory, and embodied entextualization of classic and contemporary ideas into each of the pieces performed asks the audience to consider the implications of time: how much has truly changed? What truths never change?