Judith Jamison

Alvin Ailey was a visionary artist who found salvation through dance. Told in his own words and through the creation of a dance inspired by his life, this immersive portrait follows a man who, when confronted by a world that refused to embrace him, determined to build one that would.

Josephs Legende, Opus 63, is an “opera without words” or “ballet-drama” composed by Richard Strauss (1864-1949) with libretto by Hugo von Hofmannsthal (1874-1929). The story attempts to reconstruct a particular biblical passage that was given prominence in the Old Testament (Genesis 37-50) centered around the first Joseph’s, parts of the so-called Egyptian episode and the incident in Potiphar’s house (Genesis 37: 36 and 39: 1-23). Although in the biblical story there are no great details about such episode they can be easily imagined, as Strauss and Hofmannsthal did in fact; please refer to Genesis 39: 11-19 for more specifics.

Alvin Ailey played a key role in the growth of modern dance in USA and his company, founded in 1958, is one of the USA’s oldest dance troupes as well as one of the most youthful and vital on the dance scene. In this two-part program, members of Ailey's dance company celebrate his memory by performing three works choreographed by Ailey himself, as well as a special ballet tribute choreographed by Ulysses Dove. Each piece is introduced by Judith Jamison, the dancer and choreographer whose career was nurtured to stardom by Ailey, and who was, at the time of this production, Artistic Director of the company. The Alvin Ailey Dance Theater is uniquely eclectic in range, repertory, and style. As a choreographer, Ailey explored the black experience and went beyond, finding universal human truths in all his work.

Dazzling, brash and dynamic, yet equally graceful and poetic. DIVINING was Judith Jamison's first major work as a choreographer for Ailey, evoking a strong feeling for African tribal ritual, is set to hauntingly rhythmic drum music. REVELATIONS, often describes as the company's signature tune, has become an American classic. It expresses Ailey's intense feelings for his roots, with Ailey's vivid "blood memories" of the blues, spirituals, gospel music, ragtime and folk songs as well as the hard life of the Southern black during the Depression. Set to Modern Jazz, THE STUCK-UP takes place in modern-day Harlem, about the cruel reality of urban street life as a young man is destroyed by drugs. CRY, choreographed by Alvin Ailey in 1971 for Judith Jamison, is one of his most famous pieces. Created as a birthday present for his mother, it is Ailey's tribute to black women and inspires moving emotions with its portrayal of struggle, anger and most importantly, its feeling of celebration.

Dazzling, brash and dynamic, yet equally graceful and poetic. DIVINING was Judith Jamison's first major work as a choreographer for Ailey, evoking a strong feeling for African tribal ritual, is set to hauntingly rhythmic drum music. REVELATIONS, often describes as the company's signature tune, has become an American classic. It expresses Ailey's intense feelings for his roots, with Ailey's vivid "blood memories" of the blues, spirituals, gospel music, ragtime and folk songs as well as the hard life of the Southern black during the Depression. Set to Modern Jazz, THE STUCK-UP takes place in modern-day Harlem, about the cruel reality of urban street life as a young man is destroyed by drugs. CRY, choreographed by Alvin Ailey in 1971 for Judith Jamison, is one of his most famous pieces. Created as a birthday present for his mother, it is Ailey's tribute to black women and inspires moving emotions with its portrayal of struggle, anger and most importantly, its feeling of celebration.

The most glittering, expensive, and exhausting videotaping session in television history took place Friday February 19, 1982 at New York's Radio City Music Hall. The event, for which ticket-buyers payed up to $1,000 a seat (tax-deductible as a contribution to the Actors' Fund) was billed as "The Night of 100 Stars" but, actually, around 230 stars took part. And most of the audience of 5,800 had no idea in advance that they were paying to see a TV taping, complete with long waits for set and costume changes, tape rewinding, and the like. Executive producer Alexander Cohen estimated that the 5,800 Radio City Music Hall seats sold out at prices ranging from $25 to $1,000. The show itself cost about $4 million to produce and was expected to yield around $2 million for the new addition to the Actors Fund retirement home in Englewood, N. J. ABC is reputed to have paid more than $5 million for the television rights.

Presents selections from the major works of choreographer Alvin Ailey as performed by his City Center Dance Theater to background music ranging from modern blues to classical music to traditional spirituals. The choreography is a reflection of the many varied influences in Alvin Ailey's life, influences that are both seen and felt through the vivid performance of the company, which includes the world-renowned artist Judith Jamison.

This uneven and uninspired documentary of Africa is a collection from various stock footage. Female dancers in mod clothes dance on the Eiffel Tower in comparison to the primitive dances of native Africans. A lone runner trains for a marathon, and a few animals are shown in their natural habitat. Commentary and modern jazz and pop music help to make this seem much longer than 66 minutes.