I managed to be sick for the last two weeks of December, so, horribly, I wasn’t able to go to as many Alvin Ailey performances as I usually do. Now, I’m depressed and feeling like I really missed out. Especially since I was just told how excellent the season finale was last night. Sob sob.
I did get to see all the major things though: the revivals (Blues Suite and Masekela Langage); the two premieres (Go in Grace and Festa Barocca), which I wrote about here and here and here; Suite Otis, a fun piece set to Otis Redding and comprised of jazzy all-male and all-female ensemble numbers and cute vignettes of couples in various stages of a relationship; and of course several Revelations.
Blues Suite was Mr. Ailey’s first major dance, made in 1958, when the company began. It’s a bluesy piece that takes place in a nightclub, based on The Dew Drop Inn, an African American hangout in his Texan hometown, and consists of a set of female cabaret dancers and jazzy dancing men, who mostly perform in groups for the audience but sometimes dance together as if we, the audience, are getting not a “performance” but are eavesdropping on what goes on in a real club. The latter were my favorite parts.
With Masekela Langage, my overall favorite of the season besides Revelations, we get just that: a glimpse into another world, a troubling world.
And that’s what I liked about it so much. It was described to me as a “political” work (a totally loaded term!) portraying racial violence and oppression both in the era of South African apartheid (it’s set to music by the South African trumpeteer Hugh Masekela) and in 1960s Chicago. So, I expected to see all these scenes of white farmers burning black farms, of bands of white police attacking black men on the streets, etc. But it wasn’t.
Continue reading “Masekela Langage and the Brilliance of Revelations”
