The Dance Company Ailey II

¶ … inception in 1974, the Alvin Ailey Dance Theatre has established one of the firmest foundations of modern dance in America. The company has since formed Ailey II to showcase budding, emerging talent -- something that completely keeps with the original spirit of the Ailey brand and which helps keep modern dance fresh. Integral to the Ailey II project is education, but admission remains tight and exclusive, limited to only twelve members at a time (The Ailey School). The Ailey II mission is to provide first-hand experience with choreographers and master classes to develop the next generation of talent.

Ailey II has been called "iconic," a "powerhouse," and "jaw-dropping," and for no small reason (Boynton; Dalzell). Any viewing of an Ailey II performance is a treat. The most recent performance includes "Gemeos," choreographed by Jamar Roberts with music by Fela Kuti. This hyper-energetic piece exudes masculinity and invokes archetypal male energy. "Something Tangible" imparts a far different tone, with choreography by Ray Mercer. Keeping with the spirit of the Ailey School, these performances "incorporate themes from the African-American experience," but locate those experiences in a fluctuating, pluralistic reality (Boynton).

There are several elements of the dance performances that make them quintessentially Ailey in nature. For one, they are empowering for both women and men, for multiple bodies and ethnicities. Second, the dances tell stories that are visceral and evocative without being overwrought. Finally, the dance blends athletic finesse with impeccable grace and innovative choreography. Nothing is derivative, and everything is vibrant. Although all dancers are young, the tribute to classical styles is evident in the polished nature of the choreography and performance. Ailey II captures the interface between tradition and modernity, which is in keeping with the fact that Ailey II is by definition a training ground for emerging performers who will move on to more established careers.

Ailey II therefore occupies an interesting position and role in performance art. The company seeks to build upon the strong traditions that are firmly entrenched in established dance, while introducing and welcoming elements of progressive and avant-garde. Moreover, the company prides itself on being able to borrow but not exploit African-American culture. The company's current artistic director has recently stated, "I want my dancers to be able to do anything when they leave -- whether that's joining AAADT, going to Broadway or entering another contemporary dance company," (cited by Dalzell). In other words, the dancers who train with Ailey are ready for anything. They are fully trained in classical forms but also flexible and creative enough to envision new artistic avenues.

The performances we witnessed were not overtly political and yet bore the stamp of Ailey II in many ways. "Gemeos" exhibited undercurrents of political activism, as it explored male sexuality and self-expression in ways not often witnessed in modern dance. The softer but no less compelling "Something Tangible" created a lively atmosphere in which the boundaries of contemporary dance could be explored. At once formal and liberated, structured and inspired, Ailey II performances push the boundaries of what constitutes formal dance and establishes new directions for performance art in the future.