"Discuss
a Choreographer who has had the most impact on you..."
The following is what I wrote about
Alvin Ailey
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| Alvin Ailey Photo by Carl Van Vechten |
and
Claude Thompson
 |
| Claude Thompson Photo by Carl Van Vechten |
The more I explore dance history, the more
difficult it is to choose only one choreographer responsible for having the
most impact on me. However, it is also my exploration of dance history that has
helped me to elect Alvin Ailey (1931-1989) as the one choreographer responsible
for impacting my dance career and influencing me the most. I chose Alvin Ailey
because the choreographers, dancers, and techniques which contributed to Alvin
Ailey’s dance style and history are also what connect him to my mentor, Claude
Thompson (1935-2007)-therefore contributing to my personal dance history.
When I was about fourteen years old, I saw
the Alvin Ailey American Dance Theater,
for the first time. I immediately fell in love with the combination of
athleticism and grace, of both the male and female dancers. I remember chiseled
male bodies, in nothing more than what resembled loin cloths, jumping, turning,
stopping, and balancing in such dramatic ways, women who were barefoot, strong,
yet still feminine, and both the men and women equally strong, elegant and
captivating, whether dancing with each other or apart-I was mesmerized. Up
until that time I had been singularly focused on ballet and had never seen male
and female dancers showcased in such a beautifully unified way. I wanted to
dance like that, but had no idea how a ballet dancer would learn how to do such
things. About five years later, I had
the opportunity to take a master class from a gentleman named Claude Thompson
who had assistants demonstrating the exercises and choreography for the class.
His assistants instantly reminded me of the dancers I saw with the Alvin Ailey Dance Company. After taking
Claude’s master class, completely unaware of Claude’s association/history with
Alvin Ailey and Alvin Ailey American Dance
Theater, I became determined to someday become one of Claude’s assistants.
During the years I was taking classes with
Claude, he always made mention of “Alvin” when discussing his days of studying
“Horton” and he often mentioned the names Dunham and Graham when we would work
on contractions and hinges and while working on one of “Talley’s pieces.” It
wasn’t until I was his assistant that I learned that “Alvin” was Alvin Ailey of
Alvin Ailey American Dance Theater, “Dunham”
and “Graham” were the highly regarded modern dance pioneers Katherine Dunham
and Martha Graham, and “Talley” was Talley Beatty who happened to have been a
former Graham student and is well known for his amazing solo choreographic
piece, Mourner’s Bench.
Claude often told his dancers and assistants
that in order to become a strong and versatile dancer, it was important to study
as many different dance styles and techniques as possible. He was also insistent
that his assistants take Horton and Dunham technique classes, Afro-Haitian
classes, as well as keeping up with our ballet classes. Claude also told many
stories and lent many of his assistants and dancers videos in order for us to become
familiar with the works of Talley Beatty and Jack Cole. It wasn’t until years
after Claude’s death and while I was taking Dance History classes that I became
aware just how much influence all these dance styles, dancers, and
choreographers contributed so much to both Claude’s and Alvin Ailey’s dance
history. The more I learned about Graham, Dunham, Horton, the more I began to
see similarities in movements and philosophies that have influenced Claude and
Alvin’s dance vocabulary , for example, when I recently heard a quote by Judith
Jameson, of Alvin Ailey American Dance
Theater, “If you haven’t studied at least four techniques, you’ll never get
trough one of Beatty’s Ballets.” Upon hearing Jameson’s quote, I couldn’t help
but give a nod to Claude for all the encouragement he gave his students to take
as many classes of varying styles and techniques, from as many teachers as
possible in order to help up become strong-capable of doing one of “Beatty’s
Ballets.” I too have become an advocate of dancers and athletes having an
extensive knowledge of different physical disciplines that will promote keeping
their strong, dynamic bodies lean, flexible, expressive, and less prone to
injury.
Exploring the topic of which choreographer
has had the most impact on me has been a wonderful opportunity to realize how
all dancers are the sum of all their parts, as well as the sum of all the parts
of the teachers and choreographers who have shared their history with us. When
given the opportunity to study dance history, dancers have the chance to become
aware that the world of dance is small and we are all connected thanks to this
beautiful art of movement. Through this exploration, I have learned that my
most influential mentor, Claude Thompson, not only studied with many of the
same people Alvin Ailey did, including Lester Horton-for whose style and
technique I have tremendous respect, and who has influenced the way I structure
the overall full body conditioning class I provide for my dancer and athletic
clients- he was also the first guest artist in Alvin Ailey’s 1958 premier
concert at the 92nd Street Y in New York. I am thankful I have had
the opportunity to have been re-inspired by both Dance History classes to learn
more about my mentor‘s dance history, which in essence has created mine.
Written for
Saint Mary's College of California's LEAP Program
LEAP PERFA 125 Challenge by Exam
I am happy to report that I earned an A for this essay, along with completing three other questions/essays for the exam!
:)
Jan 22 (3 days ago)
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Hi Melissa,
Here are your PERFA-125 results -- Great job!
Dear Melissa,
I read your PERF 125 challenge exam and your grade is an "A." Well done as usual. I think your analysis of Thompson via Ailey was clear and respectful and your assessment of the pas de deux was thoughtful. Just a note that pas de deux is already plural so you don't need the "pas des deux" that you have used herein. I don't think anyone has ever recognized the couple in the second pas, so I thought I'd mention that!
best,
jnj
best,
jnj
Here is a video of Talley Beaty's
"Mourners Bench"
Enjoy!
:)
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