Alvin Ailey American Dance Theater: Balletmaster Solution of a Large Choreographic Form Using Afro-Jaz Dance Means

Abstract

The purpose of the article is to identify the features of the balletmaster’s solution of a large choreographic form using Afro-jazz dance on the example of dance productions by Alvin Ailey American Dance Theater. Research methodology. The method of theoretical analysis, the historical and cultural method were applied, which provided an opportunity to process the scientific literature on the topic of the study and contributed to clarifying the features of the origin and development of Afro-jazz dance. The typological and formal-stylistic method were applied as a method of clarifying the main lexical, formal-technical and stylistic characteristics of Afro-jazz dance. The method of art history analysis was used to identify the specifics of the staging decisions of the choreographers of the Alvin Ailey American Dance Theater. Scientific novelty. The problem of solving a large choreographic form using the means of Afro-jazz dance was investigated using the stage works of the choreographers of the Alvin Ailey American Dance Theater. Little-known materials on the creative activities of E. Ailey, R. K. Brown, R. Battle, D. Jamieson and M. Ruslin were introduced into scientific circulation; the choreographic productions “Revelations”, “N.Y. Export: Opus Jazz”, “Audience Favourites”, “The Holy Blues”, “Dancing Spirit”, “Are You in Your Feelings?” through the prism of the issues of the evolution of staging approaches to Afro-jazz dance by A. Ailey in the work of his students and followers. Conclusions. The choreographic approaches laid down by A. Ailey were developed in the work of his students and followers K. Abraham, H. Boykin, R. K. Brown, R. Battle, C. Monteiro, M. Ruslin, M. Rushing, J. Jamieson and at the present stage represent a unique example of choreographic solutions of a large choreographic form using the means of Afro-jazz dance. Based on the analysis of choreographic productions of the Alvin Ailey American Dance Theater, it can be stated that among the key compositional techniques used by ballet masters in solving large choreographic forms using Afro-jazz dance means: the principle of “collective ritual”, dialogism (between the soloist and the corps de ballet), which is manifested in the structuring of mass scenes through the use of the “call-response” form; contamination of the vocabulary of Afro-jazz dance with elements of contemporary dance, modern dance (in particular, the Lester Horton Technique) and classical dance in order to achieve polyphony of plastic language. Specific lexical and formal-technical techniques of Afro-jazz dance, which are most often used by choreographers, are: polyrhythm and polycentrism, in which different parts of the dancer’s body perform movements in different rhythms; center of force and isolation – movements go from the dancer’s centre of gravity to the extremities; grounding, which is a consequence of the strong connection of the African people with the earth (demi-plié, flat steps, foot strikes with the torso tilted forward).