On Nov. 2, students were able to witness an intense and incredible display of dancing. The group Ailey II performed in front of a sold out Waterman Theatre in Tyler Hall and left with a standing ovation from the audience.
The group has performed for over 40 years, giving various talented dancers and choreographers the opportunity to put themselves into the performance. The result was outstanding.
Courtney Celeste Spears, one of the dancers in the performance, talked about the process.
“The process begins over the summer,” Spears said. “New dancers learn from the old or returning dancers. Sometimes the directors come in with all their music, but sometimes they change it. We practice together, we dance together, we live together, although in separate hotel rooms.”
The performance in Waterman was divided into three acts, each one with a different choreographer. All three were unique, showing off the skills of the dancers and pairing their skill with lighting and music to fit the theme they wished to display.
One area the performance shined was its use of silence. Between songs, pauses in the music led to the performances moving with nothing else to distract from their dancing. It truly highlighted their skills and enhanced the piece as a whole.
The first act was entitled “Circular” and was choreographed by Jae Man Joo. Joo’s approach was very minimalistic, using music that was mainly instrumental. The lighting and costumes were also kept basic, clearly focusing on the movements.
Gizem Sengor, a citizen who came from Syracuse to see the performance, commented on the first act.
“They extend through space with their moves,” Segnor said. “And the way they use music is almost mathematical. It was very fun.”
The next act, entitled “Sketches of Flames,” changed the style immediately. It was choreographed by Bridget L. Moore. She used a more Latin approach to her part, using music from Spanish artists, Spanish costumes and more upbeat moves originating from the culture.
The change in the style gave the choreographer the chance to play more with the lighting as well. The way in which she used it heightened the performances and grabbed the attention of the audience as they returned from an intermission.
“I couldn’t imagine to do that myself,” said Nyezee Goe, a sophomore at Oswego State. “I enjoyed the music a lot, especially in the second act. I didn’t understand most of the story, but it looked interesting. I think they are professionals and are doing what they need to do.”
The final part was choreographed by Alvin Ailey, the man who pioneered the program. His act, “Revelations,” was separated into three different pieces, “Pilgrims of Sorrow,” “Take Me to the Water” and “Move, Members, Move.”
Taking a more religious tone, the piece, music and movements demonstrated life, desire and respect for God. Of the three, this one incorporates the most props to help the dancers with their movements. “Take Me to the Water” was a shining example of how well they can be used with the song “Wade in the Water” where the dancers used cloth to represent waves and poles with paper for rain.
As the show progressed, the audience got to see the dancers enjoying themselves. This passion emanated through the show. It was clear they were having fun.
Assistant professor of acting and directing, Henry Austin Shikongo, talked about the passion of the dancers.
“I am enamored,” Shikongo said. “I think they’re well trained. They move well, they are in their bodies. You can feel the energy hit you. It radiates from the eyes and you see the chemistry of work with each other. They definitely love to work with each other, which is important.”
When asked what they like to leave audiences with, Christopher R. Wilson, a dancer in the show, talked about what matters to him.
“Just being able to touch people,” Wilson said. ” We don’t even get to see half the audience, but still we were able to touch them in some way. They left feeling something.”
Ailey II was powerful, something audiences would not regret seeing and will not forget soon. It was art.
