Revelations from a lifetime of dance
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0:03 - 0:05(Music: "Wade in the Water"
by Ella Jenkins) -
0:05 - 0:09Wade in the water
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0:09 - 0:12Wade in the water, children
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0:12 - 0:15Wade in the water
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0:16 - 0:18God's a-gonna trouble the water
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0:18 - 0:22Oh, why don't you wade in the water
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0:23 - 0:26Wade in the water, children
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0:26 - 0:29Wade in the water
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0:30 - 0:33God's a-gonna trouble the water
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0:33 - 0:37See that man all dressed in white
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0:37 - 0:40God's a-gonna trouble the water
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0:40 - 0:44He looks like a man of the Israelite
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0:44 - 0:47God's a-gonna trouble the water
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0:47 - 0:50Wade in the water
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0:51 - 0:54Wade in the water, children
-
0:54 - 0:57Wade in the water
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0:58 - 1:01God's a-gonna trouble the water
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1:02 - 1:05See that man all dressed in red
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1:05 - 1:08God's a-gonna trouble the water
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1:08 - 1:12It looks like the man that Moses led
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1:12 - 1:15God's a-gonna trouble the water
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1:15 - 1:18Wade in the water
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1:19 - 1:22Wade in the water, children
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1:22 - 1:25Wade in the water
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1:26 - 1:29God's a-gonna trouble the water
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1:29 - 1:32Didn't my Lord deliver Daniel
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1:33 - 1:36Daniel, Daniel
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1:36 - 1:40Didn't my Lord deliver Daniel
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1:40 - 1:43Then why not every man?
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1:43 - 1:47Didn't my Lord deliver Daniel
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1:47 - 1:50Daniel, Daniel
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1:50 - 1:53Didn't my Lord deliver Daniel
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1:54 - 1:57Why not every man?
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1:58 - 2:00Man went down to the river
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2:01 - 2:04Man went down to the river
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2:05 - 2:07Man went down to the river
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2:08 - 2:11Went down there for to pray
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2:12 - 2:15Man went down to the river
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2:15 - 2:18Man went down to the river
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2:19 - 2:22Man went down to the river
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2:22 - 2:25To wash his sins away
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2:26 - 2:29He washed all day, he washed all night
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2:29 - 2:32He washed till his hands were sore
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2:33 - 2:36He washed all day, he washed all night
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2:36 - 2:39Till he couldn't wash a-no more
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2:40 - 2:44Man went down to the river
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2:44 - 2:46Man went down to the river
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2:47 - 2:50Man went down to the river
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2:50 - 2:52(Music fades)
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2:54 - 3:00(Applause)
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3:07 - 3:10(Juliet Blake) And now,
let's give a warm welcome -
3:10 - 3:16to the artistic director emerita
of the Alvin Ailey American Dance Theater, -
3:16 - 3:17Judith Jamison.
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3:17 - 3:24(Applause)
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3:24 - 3:25Judith Jamison: Thanks.
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3:26 - 3:27How are y'all?
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3:28 - 3:29(Audience cheers)
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3:29 - 3:31JJ: Yeah, you know
you've just been to church? -
3:31 - 3:32(Laughter)
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3:32 - 3:35You just saw a baptism, yes?
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3:36 - 3:40This is from this wonderful piece
Mr. Ailey created in 1960, -
3:40 - 3:43called "Revelations."
-
3:43 - 3:47Mr. Ailey was 29 years old
when he choreographed this masterpiece. -
3:47 - 3:51It's been danced all over the world
and understood universally, -
3:51 - 3:55because he understood
the humanity in us all. -
3:55 - 3:59"Revelations" is a reflection
of a journey we all take in life, -
3:59 - 4:02and, hopefully, triumphantly.
-
4:02 - 4:05That was the magic of Alvin Ailey.
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4:05 - 4:08He was able to see you, in the audience,
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4:08 - 4:09see me, as the dancer,
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4:09 - 4:11and see the connection between us,
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4:11 - 4:14and choreographed works
that connected us all. -
4:14 - 4:18So you felt he was telling your story,
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4:18 - 4:21while I felt I was dancing mine.
-
4:22 - 4:24I started dancing when I was six years old
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4:24 - 4:26in Philadelphia.
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4:26 - 4:27I was skinny ...
-
4:28 - 4:31(Laughter)
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4:31 - 4:33Dark chocolate,
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4:33 - 4:36and a kid with legs up to my armpits.
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4:37 - 4:41And the very first performance I had,
at the Judimar School of Dance, -
4:41 - 4:45was in a red checkered shirt,
-
4:45 - 4:48dungarees, pink ballet shoes,
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4:48 - 4:53and we were dancing to "I'm an Old Cowhand
from the Rio Grande." -
4:54 - 4:56I loved every minute of it.
-
4:56 - 4:59I mean, I literally did love
every minute of it, -
4:59 - 5:01especially when I heard the applause,
-
5:01 - 5:04and I knew right there,
when I was six, I said, -
5:04 - 5:05"That's for me."
-
5:05 - 5:07(Laughter)
-
5:07 - 5:08At six, you're not thinking
-
5:08 - 5:10that's going to be
a career of your lifetime, -
5:10 - 5:12but that was perfect for that moment.
-
5:12 - 5:16I danced my way through school,
and through college, -
5:16 - 5:19and it still didn't dawn on me
that that's what I actually wanted to do. -
5:19 - 5:21I went to an audition,
-
5:21 - 5:22which I was dreadful in --
-
5:22 - 5:25it's the only audition
I've had in my life -- -
5:25 - 5:27and when I was let go
from that audition -- -
5:28 - 5:31because I thought when they were saying,
"Thank you very much," -
5:31 - 5:32that meant for me to stay.
-
5:32 - 5:35(Laughter)
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5:35 - 5:36I ran up the steps,
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5:36 - 5:39and there was a man sitting on the steps.
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5:40 - 5:41And I barely noticed him.
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5:42 - 5:43He was an observer.
-
5:43 - 5:45Three days later, that man called me
-
5:45 - 5:49and asked me, would I like to join
the Alvin Ailey American Dance Theater. -
5:49 - 5:51That's how it happened, folks, that's it.
-
5:51 - 5:53There's no drama or trauma.
-
5:53 - 5:56(Applause)
-
5:56 - 5:58So I spent 15 years dancing
with the company, -
5:58 - 6:01and then I directed it
for something like 21 years. -
6:02 - 6:05If you were black
and African American and a dancer, -
6:05 - 6:07any time between the '40s and the '70s,
-
6:07 - 6:09you had much to say,
-
6:09 - 6:12because your complete voice
was not being heard. -
6:12 - 6:16And you were not being represented
as you truly were. -
6:16 - 6:19Alvin Ailey had the courage,
-
6:19 - 6:22right in the middle
of the Civil Rights Movement, -
6:22 - 6:25to present the truth about who we were --
-
6:25 - 6:27that our creativity, our beauty,
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6:27 - 6:29our intelligence, our talents
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6:29 - 6:33were an intrinsic part of the panoply
of American culture. -
6:34 - 6:41Our mantra has always been
to educate, to entertain, -
6:41 - 6:43and to lift our audiences.
-
6:43 - 6:47Mr. Ailey believed that dance
came from the people -
6:47 - 6:50and needed to be delivered
back to the people. -
6:50 - 6:52We didn't dance in a vacuum.
-
6:52 - 6:55It was our mission to serve people.
-
6:55 - 6:57We call it outreach now,
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6:57 - 7:01but it's always been a part
of who we were and still are, -
7:01 - 7:0460 years later, to this day.
-
7:04 - 7:08Being inclusive of our audiences --
-
7:08 - 7:11it's always been an important
part of the company. -
7:11 - 7:14We ask ourselves, who are we dancing for?
-
7:14 - 7:19Why are we dancing, if not to show people
what it is to be human -
7:19 - 7:24and to connect with the audiences
that we dance for. -
7:25 - 7:29We've always felt responsible
to make sure the community understood -
7:29 - 7:32that what we do
is a part of their heritage. -
7:32 - 7:34We just don't do this, also, in America,
-
7:34 - 7:35we do it all over the world.
-
7:35 - 7:38We tour more than any other
dance company in the world. -
7:40 - 7:43After Nelson Mandela
was released from prison, -
7:43 - 7:47I thought, well, this is the time
to go to South Africa. -
7:47 - 7:49And that was some outreach.
-
7:50 - 7:53We went to Johannesburg, Soweto,
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7:53 - 7:56and some other townships
that were really in dire straits. -
7:57 - 7:59And it dawned on me,
as we were there, I'm going like, -
7:59 - 8:02"Here we are in the seat of Mother Africa,
-
8:02 - 8:05and we're trying to teach
these people how to dance?" -
8:05 - 8:06(Laughter)
-
8:06 - 8:10But it was our African Americanness
that they were interested in, -
8:10 - 8:14and the culture that we had developed
over the last 400 years. -
8:15 - 8:17We toured all over the world many times,
-
8:17 - 8:20and whether we're in Europe
or South America or Asia -
8:20 - 8:21or somewhere else,
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8:21 - 8:24audiences are thrilled and excited.
-
8:24 - 8:26You sounded thrilled and excited.
-
8:27 - 8:29Sometimes with tears in their eyes,
-
8:29 - 8:34because this nonverbal
communication really works. -
8:34 - 8:38And it's about embracing everyone.
-
8:39 - 8:42Alvin didn't need to explain to us
-
8:42 - 8:45what was going on at the time
in the '60s and the '70s; -
8:45 - 8:49it was obvious why were doing his work.
-
8:49 - 8:52He knew what the truth
of the time was about, -
8:52 - 8:56and he was unafraid
to reveal it through dance. -
8:56 - 9:00He tapped into every emotion
he had and we had, -
9:00 - 9:03and from angerness to happiness,
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9:03 - 9:06to grief and everything in between,
-
9:06 - 9:07he knew us.
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9:08 - 9:11He took our history
and turned it into powerful dance. -
9:11 - 9:14He and I overlapped generationally.
-
9:15 - 9:17We didn't have to talk
about things so much, -
9:17 - 9:21because we understood implicitly
our shared responsibilities. -
9:21 - 9:24So when he asked me
to take over the company -
9:24 - 9:26before he passed in 1989,
-
9:26 - 9:29I felt prepared to carry it forward.
-
9:29 - 9:32Alvin and I were like parts
of the same tree. -
9:32 - 9:35He, the roots and the trunk,
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9:36 - 9:37and we were the branches.
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9:37 - 9:39I was his muse.
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9:40 - 9:42We were all his muses.
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9:45 - 9:48The ballet "Cry,"
-
9:48 - 9:51which some of you might have seen --
-
9:51 - 9:53you're going to see an excerpt of it --
-
9:53 - 9:54it was made on me,
-
9:54 - 9:57and Alvin dedicated it to all black women,
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9:57 - 9:58especially our mothers.
-
9:59 - 10:01When Alvin and I went in the studio,
-
10:01 - 10:03of course he wasn't thinking,
-
10:03 - 10:05"Here I am, creating an iconic work."
-
10:05 - 10:07Do you know any artist that does that?
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10:07 - 10:10You don't go into the studio
-
10:10 - 10:12to create anything
-
10:12 - 10:16but what's coming truthfully
from your heart and your spirit. -
10:16 - 10:20And you trust that you have a dancer
you can share that with. -
10:20 - 10:23Rehearsal space is a sacred space,
-
10:23 - 10:25not to be intruded upon,
-
10:25 - 10:28because it's about talking
to each other through spirit. -
10:29 - 10:31You better have some
technique on top of that -
10:31 - 10:32so you can do the dance.
-
10:32 - 10:33(Laughter)
-
10:33 - 10:37He brought his Alvin to "Cry"
and I brought my Judy to it. -
10:37 - 10:39I just did the steps.
-
10:39 - 10:42And this was a birthday
present for his mother, -
10:42 - 10:45because he couldn't afford
to get her a tactile gift. -
10:45 - 10:47When I performed it the first time,
-
10:47 - 10:49it was physically
and emotionally draining. -
10:49 - 10:53I hadn't yet run through the whole piece
from beginning to end. -
10:53 - 10:56The ballet is 16 minutes long.
-
10:58 - 11:02It's about a proud woman
who has been to hell and back, -
11:02 - 11:04from her journey across the Atlantic.
-
11:06 - 11:08She's exhausted,
-
11:08 - 11:09she's a queen,
-
11:09 - 11:13and in this section,
you're going to see she is triumphant. -
11:13 - 11:14She made it,
-
11:14 - 11:20and she is, in that last
step that she does, -
11:20 - 11:23beating away anything negative
-
11:23 - 11:25with her tremendous strength.
-
11:27 - 11:31And in the last step,
she digs into the earth -
11:32 - 11:35and she reaches into the sky ...
-
11:37 - 11:40because she's clearing space
for the next journey. -
11:42 - 11:46I performed it in 1971,
-
11:46 - 11:50and we are still clearing space.
-
11:51 - 11:53Now let me leave you
with one last thought. -
11:53 - 11:55Here we are, in the 21st century,
-
11:55 - 11:58still fighting for civil rights.
-
11:58 - 12:00Not a day goes by
-
12:00 - 12:05that we are not made aware
of the struggle that continues. -
12:05 - 12:11I believe that dance
can elevate our human experience -
12:12 - 12:13beyond words.
-
12:13 - 12:17And when you're sitting in the dark,
-
12:17 - 12:19in the theater,
-
12:19 - 12:23having a personal experience,
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12:23 - 12:27you don't feel blocked or misunderstood.
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12:27 - 12:29You feel open,
-
12:30 - 12:32alive,
-
12:32 - 12:33and, we hope,
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12:34 - 12:36inspired.
-
12:36 - 12:37Thank you.
-
12:38 - 12:45(Applause)
-
12:45 - 12:48(Music: "Right on. Be free."
by East Harlem) -
13:00 - 13:03I wanna go where the north wind blows
-
13:07 - 13:11I wanna know what the falcon knows
-
13:16 - 13:19I wanna go where the wild goose goes
-
13:23 - 13:28High flyin' bird, high flyin' bird, fly on
-
13:37 - 13:40I want the clouds over my head
-
13:44 - 13:48I don't want no store bought bed
-
13:52 - 13:56I'm gonna live until I'm dead
-
14:00 - 14:05Mother, mother, mother
Save your child -
14:08 - 14:12Right on, be free
-
14:13 - 14:16Right on, be free
-
14:17 - 14:20Right on, be free
-
14:21 - 14:23I don't want no store bought bed
-
14:23 - 14:25Right on
-
14:25 - 14:27I want the clouds over my head
-
14:27 - 14:29Be free
-
14:29 - 14:31Ain't no time to be afraid
-
14:33 - 14:38Mother, mother, mother
Save your child -
14:38 - 14:44(Music)
-
15:07 - 15:10I don't want no store bought bed
-
15:10 - 15:11Right on
-
15:11 - 15:14I want the clouds over my head
-
15:14 - 15:15Be free
-
15:15 - 15:17Ain't no time to be afraid
-
15:19 - 15:22Mother save your child
-
15:24 - 15:27I wanna see a rainbow in the sky
-
15:30 - 15:34I wanna watch the clouds go by
-
15:39 - 15:44It might make my load a little light
-
15:46 - 15:51Lord, Lord, Lord
Where will I be tomorrow night? -
15:55 - 15:57Right on
-
15:57 - 15:59Be free
-
16:00 - 16:03Right on, be free
-
16:04 - 16:07Right on, be free
-
16:07 - 16:11Right on, be free
-
16:11 - 16:15Right on, be free
-
16:15 - 16:18Right on, be free
-
16:19 - 16:22Right on, be free
-
16:23 - 16:25(Music fades)
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16:26 - 16:31(Applause)
-
16:31 - 16:35(Cheers)
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16:35 - 16:41(Applause)
-
16:41 - 16:45(Cheers)
-
16:45 - 16:51(Applause)
- Title:
- Revelations from a lifetime of dance
- Speaker:
- Judith Jamison and the Alvin Ailey American Dance Theater
- Description:
-
"Dance can elevate our human experience beyond words," says Judith Jamison, artistic director emerita of the Alvin Ailey American Dance Theater. In between performances of excerpts from Alvin Ailey's classic works "Revelations" and "Cry," Jamison reflects on the enduring power of dance to transform history into art that thrills audiences around the world. (Performances by Solomon Dumas, Samantha Figgins and Constance Stamatiou)
- Video Language:
- English
- Team:
- closed TED
- Project:
- TEDTalks
- Duration:
- 17:05
Brian Greene edited English subtitles for Revelations from a lifetime of dance | ||
Brian Greene approved English subtitles for Revelations from a lifetime of dance | ||
Brian Greene edited English subtitles for Revelations from a lifetime of dance | ||
Krystian Aparta accepted English subtitles for Revelations from a lifetime of dance | ||
Krystian Aparta edited English subtitles for Revelations from a lifetime of dance | ||
Krystian Aparta edited English subtitles for Revelations from a lifetime of dance | ||
Krystian Aparta edited English subtitles for Revelations from a lifetime of dance | ||
Ivana Korom edited English subtitles for Revelations from a lifetime of dance |