Inside Rennie Harris's Year as Ailey's First-Ever Artist in Residence
When Rennie Harris first heard that Alvin Ailey American Dance Theater had tapped him to create a new hour-long work, and to become the company's first artist in residence, he laughed.
"I'm a street dance choreographer. I do street dance on street dancers," he says. "I've never set an hour-long piece on any other company outside my own, and definitely not on a modern dance company."
Yet Ailey artistic director Robert Battle sees Harris as the right dancemaker and hip hop as the right movement language to help the Ailey company mark its 60th anniversary.
"I was very aware of the statement I'm making," says Battle. Given the organization's significance within the black community, choosing hip hop "speaks to something fundamental in terms of African Americans' contributions to the cultural fabric of this country," he says.
And, he adds, Harris' work consistently belies the stereotype about hip hop being a throwaway social-dance style of the moment and the resulting "It's just hip hop" mentality. "Rennie always gives us the unexpected, always gives us some food for thought," Battle says.
Harris' role as Ailey's first-ever artist in residence ties together all of the parts of the vast organization. Harris not only created a new work on the main company, but throughout this year he is giving master classes and lectures on hip hop to the second company, at the school and in the Arts-in-Education programs, as well as teaching workshops open to the public through the Ailey Extension. He is also serving as an artistic advisor for Ailey's New Directions Choreography Lab, working as a creative mentor to choreographer Kyle Marshall.
"It gives everyone a sense that they're a part of what eventually happens onstage," says Battle.
Harris' new work on the main company, called Lazarus, marks another first: Ailey's first-ever two-act piece. Harris says Lazarus taps into what he sees as a sense of spirituality that permeates the Ailey organization, especially when company members talk about the founder, who died of AIDS-related complications in 1989.
"His spirit has never really left," Harris says. "Today, we see an incarnation of him through this generation of Ailey dancers and students and all those he has affected. With this piece, there's this idea of resurrection, of him being around and everything that's happening around his legacy."
Only after he started working on the piece did Harris realize that Lazarus was actually the completion of a trilogy that began with his Home for Ailey in 2011 and continued with his Exodus for the company in 2015: "Home is about life. Exodus is about transition, and now, with Lazarus, it's about resurrection and incarnation."
While Lazarus touches on the historical environment from which the Ailey company emerged, the work focuses more on the transition the company has made as it celebrates 60 years. "It's about Mr. Ailey's spirituality, his transition from one reality to the next and who we are now and where we've come to," Harris says.
Harris' appointments are confirmation that the Ailey spirit lives on. "Mr. Ailey was about how you use movement to give people a voice, and how you use that voice to look back as well as forward," he says. "That's why this company and this organization have lasted so long. They've never forgotten that mission."
If "Fosse/Verdon" whet your appetite for the impeccable Gwen Verdon, then Merely Marvelous: The Dancing Genius of Gwen Verdon is the three-course meal you've been craving. The new documentary—available now on Amazon for rental or purchase—dives into the life of the Tony-winning performer and silver-screen star lauded for her charismatic dancing.
Though she's perhaps most well-known today as Bob Fosse's wife and muse, that's not even half of her story. For starters, she'd already won four Tonys before they wed, making her far more famous in the public eye than he was at that point in his career. That's just one of many surprising details we learned during last night's U.S. premiere of Merely Marvelous. Believe us: You're gonna love her even more once you get to know her. Here are eight lesser-known tidbits to get you started.
Every dancer knows that how you fuel your body affects how you feel in the studio. Of course, while breakfast is no more magical than any other meal (despite the enduring myth that it's the most important one of the day), showing up to class hangry is a recipe for unproductive studio time.
So what do your favorite dancers eat in the morning to set themselves up for a busy rehearsal or performance day?
When it comes to dance in the U.S., companies in the South often find themselves overlooked—sometimes even by the presenters in their own backyard. That's where South Arts comes in. This year, the regional nonprofit launched Momentum, an initiative that will provide professional development, mentorship, touring grants and residencies to five Southern dance companies.
You ever just wish that Kenneth MacMillan's iconic production of Romeo and Juliet could have a beautiful love child with the 1968 film starring Olivia Hussey? (No, not Baz Luhrmann's version. We are purists here.)
Wish granted: Today, the trailer for a new film called Romeo and Juliet: Beyond Words was released, featuring MacMillan's choreography and with what looks like all the cinematic glamour we could ever dream of: