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."
What do Percy Jackson, Princess Diana and Tina Turner have in common? They're all characters on Broadway this season. Throw in Michelle Dorrance's choreographic debut, Henry VIII's six diva-licious wives and the 1990s angst of Alanis Morissette, and the 2019–20 season is shaping up to be an exciting mix of past-meets-pop-culture-present.
Here's a look at the musicals hitting Broadway in the coming months. We're biding our time until opening night!
If you think becoming a trainee or apprentice is the only path to gaining experience in a dance company environment, think again.
The University of Arizona, located in the heart of Tucson, acclimates dancers to the pace and rigor of company life while offering all the academic opportunities of a globally-ranked university. If you're looking to get a head-start on your professional dance career—or to just have a college experience that balances company-level training and repertory with rigorous academics—the University of Arizona's undergraduate and graduate programs have myriad opportunites to offer:
Yes, we realize it's only August. But we can't help but to already be musing about all the incredible dance happenings of 2019.
We're getting ready for our annual Readers' Choice feature, and we want to hear from you about the shows you can't stop thinking about, the dance videos that blew your mind and the artists you discovered this year who everyone should know about.
Ah, stretching. It seems so simple, and is yet so complicated.
For example: You don't want to overstretch, but you're not going to see results if you don't stretch enough. You want to focus on areas where you're tight, but you also can't neglect other areas or else you'll be imbalanced. You were taught to hold static stretches growing up, but now everyone is telling you never to hold a stretch longer than a few seconds?
Considering how important stretching correctly is for dancers, it's easy to get confused or overwhelmed. So we came up with 10 common stretching scenarios, and gave you the expert low-down.