The Legend Lives On

Alvin Ailey is undoubtedly one of Horton’s most well known students in popular culture. As a member of the Lester Horton Dance Group, Ailey clung to what he had learned from his teacher, and held on to it long after Horton’s passing. Ailey himself is one of the reasons that the Horton technique and the legend of his mastery lives on today, as the Alvin Ailey American Dance Theater and School are strongly identified with their use of the Horton technique.

Ailey was first introduced to dance as a teenager when he saw a performance by the Ballet Russe de Monte Carlo. He also witnessed a performance by Katherine Dunham, and went on to be taught by one of her company members. Leaving behind his academic studies at the University of California Los Angeles, in 1949 Ailey started studying under Lester Horton. He began dancing with Horton’s company in 1953 and upon his death, Ailey was the one who took on the leadership role of the company. Not too long after his memorable mentor’s death, Ailey ventured to New York, and with Martha Graham and other artists, he dove deeper into his studies of ballet, modern dance, and acting. Ailey also had many roles in different Broadway and off-Broadway plays throughout his performing years, as well as jobs choreographing for them. In 1958, Ailey first debuted with his soon to be famous company, as a group of African American dancers at the 92^nd Street YM-YWHA in New York City. Then, in 1960, Ailey choreographed his instant classic, Revelations. By 1962 his company was going on international tours.

The instant fame that accompanied the Alvin Ailey American Dance Theater has never really deteriorated since its initiation, as it is now one of the most acclaimed modern dance companies in the world. At the heart of its popularity lies Ailey’s choreography, which draws upon his memories from a childhood in the South, African American history, observations of human movement, and uses musical influences from Gospel music, jazz and blues. Sometimes, however, his choreography was purely abstract as well. Ailey has been criticized of his dances being too theatrical, but his influence from Horton could not be more clearly seen than in his defense that, “his performances were based on the concept of total dance theater.” Demonstrated by the continued success of his company, both while he was the director, and after his death, Ailey clearly achieved his goal of putting "something on stage that will have a very wide appeal without being condescending; that will reach an audience and make it part of the dance; that will get everybody in the theater" (Monsho).

You can read more about Alvin Ailey's choreography in this journal article from Project Muse.

Works Cited: alvinailey.org, artsedge.kennedy-center.org, 
Kharen Monsho, "AILEY, ALVIN," Handbook of Texas Online (http://www.tshaonline.org/handbook/online/articles/fai03), accessed December 06, 2012. Published by the Texas State Historical Association.