Ailey II Continues to Celebrate Black Culture and Community through Dance (Review)

Alvin Ailey American Dance Theater. Photo by Dario Calmese

"I wanted to do the kind of dance that could be done for the man on the streets, the people. I wanted to show Black people that they could come down to these concert halls. That it was part of their culture being done there. And that it was universal." – Alvin Ailey (pbs.org)

Alvin Ailey, the legendary dancer, director, and choreographer, built his career on the belief that dance is for everyone. His mission was to highlight the Black experience in America, showcasing the power of culture and community through movement. Born in 1931 in the segregated South, Ailey used his choreography to unite people from all walks of life, transcending barriers and making dance accessible to all.

In 1958, Ailey founded the Alvin Ailey American Dance Center in New York City (now known as the Ailey School). Today, the Ailey School continues to provide rigorous training in multiple dance genres, blending Ailey's signature techniques with those of Horton and Graham. The school’s flagship company, the Alvin Ailey American Dance Theater, along with Ailey II, are vital platforms for both emerging artists and seasoned professionals. These companies have made Ailey’s vision come alive, blending ballet, jazz, hip-hop, and modern dance styles to showcase the beauty of diversity on stage.

On February 2nd, my husband, Joseph, and I had the privilege of attending an Ailey II performance at Popejoy Hall. Though we weren’t able to witness Ailey’s signature piece, Revelations, we were treated to three powerful choreographies that truly encapsulated Ailey’s legacy:

Streams (1970, choreography by Alvin Ailey, restaged by Masazumi Chaya): This ballet-heavy piece begins with a blue-screened backdrop and dancers in traditional leotards. The lighting shifts from purple to red to blue, reflecting the emotional changes in the dance. The controlled fluidity of the dancers’ movements, combined with their interactions, created a sense of the many streams of human experience flowing through them.

Down the Rabbit Hole (2024, choreography by Houston Thomas): This contemporary piece delves into the complex relationship between humanity and technology. A single dancer, dressed simply in grey slacks and a black crop top, is spotlighted, with movements filled with discord and tension. Another dancer joins the soloist in the frenetic moves. The choreography, coupled with gridded lighting and sounds reminiscent of a compressor fan, gave the impression of watching the inner workings of a computer, powered by two tiny human figures.

Luminous (2023, choreography by Francesca Harper): This piece celebrated Ailey’s rich history. It revisited echoes of racial protests, the AIDS epidemic, and the continued strength of a unified community. My husband shared, "These young dancers' energy and light were felt." All the performers embodied Alvin Ailey's legacy. Their cohesion and partnering reflect excellence and devotion. A standout for me was Xhosa Scott, his exquisite control, timing, and expression powerfully carving the space on stage.

Alvin Ailey’s vision for dance as a universal language continues to inspire and elevate. The Ailey legacy lives on through the talented performers of Ailey II, who bring his message of culture, community, and resilience to life. Dance truly is for everyone.

For more information on their upcoming tour, visit the Ailey II Tour Schedule at https://ailey.org/tour.