Art

The Music Center Celebrates Ailey’s 60th Anniversary

PRECINCT REPORTER GROUP NEWS — Each of the four programs will feature Alvin Ailey’s American masterpiece Revelations. Since its creation in 1960, Revelations has been seen by more audiences around the world than any other modern work, inspiring generations through its powerful storytelling and soul-stirring spirituals.

Published

6 years ago

April 9, 2019

Oakland Post

By The Precinct Reporter News

The Music Center welcomes one of America’s most popular dance companies, Alvin Ailey American Dance Theater , back to Los Angeles with the dance company’s 60^th anniversary celebration tour at The Music Center’s Dorothy Chandler Pavilion through April 7. Led by Artistic Director Robert Battle, Ailey’s remarkable dancers – including Danica Paulos of Huntington Beach and Rehearsal Director and Guest Artist Matthew Rushing of Los Angeles, who has been with the Company for more than 25 years – will perform four different programs of diverse repertory featuring West Coast premieres, new productions and returning classics. Part of the 2018/2019 season of Glorya Kaufman Presents Dance at The Music Center, which is curated by The Music Center’s artistic division The Music Center Arts (TMC Arts), the engagement includes four special programs: Trailblazers, featuring the West Coast premiere of Lazarus by Rennie Harris – the company’s first two-act ballet; Bold Visions, featuring West Coast premiere of Wayne McGregor’s Kairos and the Los Angeles premiere of The Call by Ronald K. Brown, alongside Jawole Willa Jo Zollar’s Shelter; a Timeless Ailey program with rarely seen gems by one of America’s greatest cultural leaders; and a Musical Inspirations program featuring the Los Angeles premiere of Ailey star Jamar Roberts’ Members Don’t Get Weary, a new production of Robert Battle’s Juba, and his tour-de-force duet Ella.

Each of the four programs will feature Alvin Ailey’s American masterpiece Revelations. Since its creation in 1960, Revelations has been seen by more audiences around the world than any other modern work, inspiring generations through its powerful storytelling and soul-stirring spirituals. Springing from Ailey’s childhood memories of growing up in the South and attending services at Mount Olive Baptist Church in Texas, Revelations pays homage to the rich African-American cultural heritage and explores the emotional spectrum of the human condition.

“Alvin Ailey forever changed the American landscape by raising up the lives and cultural heritage of African Americans for all to see, opening the hearts and minds of people of every background and elevating the world of the performing arts,” said Robert Battle. “During this milestone season, we are thrilled to return to Los Angeles, the city that was home to Mr. Ailey for many years, and where he fell in love with dance and launched his career. We honor Alvin Ailey’s storied legacy with performances across North America, educational programs that enlighten young people and develop the next generation of performing artists. What Mr. Ailey gave us is more than a repertory and a tradition. It is a movement, a direction, a desire, a conviction that if the spirit is to live it must rise. We dedicate our 60^th anniversary to the next ascent.”

Audiences will experience Ailey’s first ever two-act work with the West Coast premiere of Rennie Harris’ Lazarus. Inspired by the life and legacy of Alvin Ailey, and addressing the racial inequities America faced in 1958 when the company was founded and which continue to challenge today, Lazarus is an ensemble work featuring a soundtrack that melds Nina Simone, Terrence Trent D’Arby, Michael Kiwanuka, Odetta, original music by Darrin Ross, and the voice of Alvin Ailey. The New York Times said, “… Mr. Harris gives us something like heaven,” and “… the style has a spiritual force that’s uplifting, and the pleasure of it is mixed with a revelation of the past in the present, of black history in the body language.”

Wayne McGregor’s Kairos, the second piece the choreographer set on the company following

Chroma in 2013, is performed to a reimagined Vivaldi’s The Four Seasons by experimental composer Max Richter in the Bold Visions program. The Dance Enthusiast described the company’s performance of Kairos as “the dancers of Alvin Ailey American Dance Theater stay true to Wayne McGregor’s intellectual brilliance without sacrificing the trademark spirituality of Ailey.” The Music Center opened its current season of Glorya Kaufman Presents Dance at The Music Center with Company Wayne McGregor/Autobiography and will again present McGregor’s work during its upcoming presentation of Adès & McGregor: A Dance Collaboration this coming July. Richter was at the helm of another Music Center presentation, The Music Center Presents Max Richter’s SLEEP, this past summer in Grand Park.

Ronald K. Brown’s seventh work for Ailey, The Call, will make its Los Angeles premiere at The Music Center and is included in the Bold Visions program. Brown, a 2018 Dance Magazine Award recipient, describes the work, which seamlessly blends modern and West African dance idioms, as “a love letter to Mr.

Ailey.” The music includes Johann Sebastian Bach (recorded by Chris Thile, Edgar Meyere & Yo-Yo Ma), Mary Lou Williams Trio, and Asase Yaa. Jawole Willa Jo Zollar’s Shelter, a passionate statement about the physical, is also featured on the Bold Visions program.

Honoring Ailey’s 60^th anniversary, the company will showcase Timeless Ailey, a program that brings treasures by the company’s iconic founder back to the stage. Excerpts from rarely seen gems, including Blues Suite, Streams, Mary Lou’s Mass, The Lark Ascending, Hidden Rites, Phases, Opus McShann, Pas de Duke, and For “Bird” – With Love, will be joined by perennial favorites such as Memoria, Night Creature, and Cry.

The Musical Inspirations program includes Robert Battle’s first work for the company, Juba (2003), a quartet with a score by frequent collaborator John Mackey; Ailey dancer and 2016 “Bessie” Award recipient Jamar Roberts’ first work for Alvin Ailey American Dance Theater, Members Don’t Get Weary, set to the powerful music of the legendary American jazz saxophonist and composer John Coltrane; and Ella, a highenergy comical dance originally created as a solo and reinvented as a duet in anticipation of the legendary singer Ella Fitzgerald’s centennial in April 2017.

One hour prior to each performance, The Music Center will host DANCETALKS featuring interviews with Ailey company members. Ticketed guests can join this fascinating behind-the-scenes pre-performance discussion and also have the opportunity to learn a segment from the famed Ailey masterpiece Revelations.

This article originally appeared in the Precinct Reporter Group News.

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Art

A Prolific Painter: Artist and Advocate Lois Mailou Jones

Lois Mailou Jones was a prominent African American artist whose career spanned more than seven decades, from the Harlem Renaissance to the modern art movement. She was not only a prolific painter but also an influential educator, bridging cultural gaps and challenging stereotypes through her vibrant and diverse works.

Published

4 days ago

October 29, 2024

Oakland Post

Courtesy of National Archives, Washington, D.C.

By Tamara Shiloh

Her unique journey of self-expression, dedication to art, and advocacy for African American and African themes made her a crucial figure in the evolution of American art.

Jones was born on Nov. 3, 1905, in Boston. Raised in an intellectual and supportive family, she demonstrated an early interest in art, encouraged by her mother, who believed in the importance of creativity. Lois studied at the School of the Museum of Fine Arts, Boston, where she faced racial challenges but persisted in pursuing her passion.

Her pursuit of higher education led her to the prestigious Design Art School, where she perfected her skills in textile design. Later, Jones attended Harvard University and received further training at the Académie Julian in Paris. This European experience greatly influenced her style and broadened her perspective on art.

Jones’s career began in textile design, creating works that were used by leading textile companies. However, her true passion was painting. During the Harlem Renaissance, she moved away from textile design to focus on fine art, exploring themes that reflected her heritage and the African diaspora.

Her early works were influenced by European Post-Impressionism, featuring landscapes and still life, but Jones’s style evolved over time. After spending time in Haiti, she was deeply inspired by Caribbean culture, and her palette became more vivid, her subject matter more symbolic. The influence of African and Caribbean culture is evident in her later works, where she used bright colors and geometric patterns to convey the spirit and stories of the people she encountered.

Her contributions to African American art were significant during a time when Black artists struggled for recognition. She often focused on themes of African heritage, pride, and unity, blending African illustrations and portraits with Western artistic techniques to create a unique visual language that celebrated Black culture.

She was also a dedicated educator. She began her teaching career at Palmer Memorial Institute in North Carolina and later became a professor at Howard University in Washington, D.C., where she taught for almost 50 years. Through her teaching, she influenced generations of young Black artists, encouraging them to explore and express their cultural heritage through art.

In the 1930s and 1940s, she worked to exhibit her work alongside other Black artists, helping to create a platform for voices that had long been excluded from mainstream galleries.

Recognition and Legacy

Jones achieved significant recognition throughout her lifetime, both in the United States and internationally. She exhibited her work across the globe, including in Paris, Africa, and the Caribbean.

Jones continued painting until her death in 1998, leaving behind a rich legacy of artistic achievements and contributions to art education. She broke boundaries by celebrating Black identity and heritage at a time when these themes were often marginalized.

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At Oakland Symphony’s 2024-25 Season Opening, Music Director Kedrick Armstrong Will Make History

Music Director Kedrick Armstrong will make history with his debut performance at the Oakland Symphony’s 2024-25 Season Opening Concert on Oct. 18, at 8 p.m. at the Paramount Theatre in Oakland. Armstrong, who is from Georgetown, South Carolina, is the ninth music director in the organization’s almost 100-year-history. His appointment follows in the footsteps of the late Oakland Symphony Music Director and Conductor Michael Morgan.

Published

2 weeks ago

October 22, 2024

Oakland Post

Music Director Kedrick Armstrong. Photo by Scott Chernis.

By Oakland Post Staff

Music Director Kedrick Armstrong will make history with his debut performance at the Oakland Symphony’s 2024-25 Season Opening Concert on Oct. 18, at 8 p.m. at the Paramount Theatre in Oakland.

Armstrong, who is from Georgetown, South Carolina, is the ninth music director in the organization’s almost 100-year-history. His appointment follows in the footsteps of the late Oakland Symphony Music Director and Conductor Michael Morgan.

Armstrong, 30, is not a new face to Oakland as he has been an active partner with the Oakland Symphony over the last few years both on and off-the-stage.

From 2022-24, Armstrong led three Oakland Symphony programs and guest-conducted the orchestra, showcasing his broad knowledge of the classical repertoire and enthusiasm for spotlighting diverse voices.

On his Oakland Symphony subscription debut on Feb. 16, Kedrick led the World Premiere of “Here I Stand: Paul Robeson,” an oratorio by Carlos Simon on a libretto by Dan Harder, commissioned by the Oakland Symphony.

On April 16, 2023, Armstrong conducted the Oakland Symphony’s Family Hype concert, presented in partnership with Ronald McDonald House Charities of the Bay Area. Armstrong first led the orchestra for a free “Summerstage at City Hall” concert at Oakland City Hall on Aug. 4, 2022.

The music program “Kedrick Armstrong Inaugural Inextinguishable Oakland!” will include commissioned works from master drummer Allison Miller and Bay Area artists – Ethiopian artist Meklit and Latin percussionist John Santos – in celebration of Living Jazz’s 40th anniversary.

Oct. 18 musical program:

Julia Perry: A Short Piece for Orchestra

Celebrate the 40-Year Anniversary of Living Jazz with three jazz-rooted compositions.

“Valley of the Giants” (for Eddie Marshall); Allison Miller, composer; arranged and orchestrated by Todd Sickafoose. Featured artist: Allison Miller, Drum Set; guest artist: Dayna Stephens, Saxophone.

Medley: “Ethio Blue, My Gold, Stars in a Wide Field”

Songs and Lyrics by Meklit; arrangement and orchestration by Sam Bevan. Featured artist: Meklit, Vocals; guest artists: Sam Bevan, Bass, Colin Douglas, Drumkit, Marco Peris Coppola, Tupan/Percussion.

“Un Levantamiento (An Uprising)”

Composer, percussion: John Santos; arrangers: Saul Sierra and John Santos. Featured artist: John Santos, güícharo, bongo; guest artists: Pedro Pastrana, Puerto Rican cuatro; Maria Cora, spoken word.

Carl Nielsen: Symphony No. 4, “The Inextinguishable”

Pre-concert talk by John Kendall Bailey begins at 7:05pm.

For tickets, go to: https://oaklandsymphony.my.salesforce-sites.com/ticket/#/events/a0SUu0000001rYXMAY

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Augusta Savage: A Sculptor, Activist and Renaissance Woman

Augusta Savage was a prominent sculptor and activist of the Harlem Renaissance, known for her artistic talent and dedication to encouraging and supporting African American artists.

Published

3 weeks ago

October 15, 2024

Oakland Post

Augusta Savage with her sculpture Realization, ca. 1938. Photo by Andrew Herman, Archives of American Art, Smithsonian Institution (2371)

By Tamara Shiloh

Augusta Savage was a prominent sculptor and activist of the Harlem Renaissance, known for her artistic talent and dedication to encouraging and supporting African American artists.

Augusta Christine Fells was born on Feb. 29, 1892, in Green Cove Springs, Fla. She later took the name of her second husband as her

Savage began sculpting as a child using natural clay found near her home. Her father, a Methodist minister, didn’t approve of her sculpting and did whatever he could to stop her. She once said that her father “almost whipped all the art out of me.” Despite her father’s objections, she continued to make sculptures.

When the family moved to West Palm Beach, Fla., in 1915, she encountered a new challenge: a lack of clay. She eventually got some materials from a local potter and created a group of figures that she entered in a local county fair. Her work was well received, winning a prize and along the way the support of the fair’s superintendent, George Graham Currie. He encouraged her to study art despite the racism she encountered.

In the 1920s, Savage moved to New York City, where she attended Cooper Union, a prestigious art school that provided free tuition. She excelled there, completing her studies ahead of time and receiving scholarships for living expenses. Despite being rejected for a summer program in France because of her race, she persevered, using the incident to highlight discrimination. She gained recognition during the Harlem Renaissance, creating sculptures of prominent African Americans, including W. E. B. Du Bois and Marcus Garvey.

In 1929, Savage received a Julius Rosenwald fellowship, which enabled her to study in Paris, where she exhibited her work at the Grand Palais, a famous exhibition hall and museum in the French capital.

When she returned to the U.S. during the Great Depression, Savage turned to teaching and founded the Savage Studio of Arts and Crafts, mentoring young artists like Jacob Lawrence and Norman Lewis. She played an active role in the Harlem Artists’ Guild and worked with the Works Projects Administration (WPA) to support struggling artists.

One of Savage’s most celebrated works was The Harp, created for the 1939 New York World’s Fair. Inspired by James Weldon Johnson’s poem “Lift Every Voice and Sing,” the monumental sculpture depicted twelve African American youth as the strings of a harp. Although it was highly acclaimed, The Harp was destroyed after the fair ended.

In her later years, Savage retreated to a quieter life in Saugerties, New York, teaching children and creating art as a hobby. She was married three times and had one child, Irene.

Savage passed away on March 26, 1962, in New York City after battling cancer. Although she was nearly forgotten at the time of her death, today Savage is recognized as a pioneering artist, educator, and advocate for African American art and artists.