Love Stories

Love Stories, Judith Jamison’s dynamic collaboration with Hip Hop pioneer Rennie Harris and modern dance maverick Robert Battle, embodies the spirit of Sankofa, a principle introduced by the Akan people of Ghana. The mythic bird that flies forward while looking backward reminds us that we don’t know where we are going unless we know where we have been. This inspiration serves as the foundation for this extraordinary ballet that celebrates the legacy of Alvin Ailey and the opening of The Joan Weill Center for Dance, AILEY’s first permanent home.

The choreographers and dancers pay tribute to Mr. Ailey, who believed “that the dance came from the people and that it should always be delivered back to the people.” Seamlessly integrating their unique styles, the three choreographers convey a collective message using movements influenced by the Philly bop, Lindy hop, hip hop, and eclectic modern dance techniques to honor the past, celebrate the present, and reach forward into the future. Set to the music of the legendary Stevie Wonder, the ballet resonates with the juxtaposition of Alvin Ailey American Dance Theater’s history and the influence of African American social dances. “There is a history of African Americans making up dances,” says Ms. Jamison. “People invented ways of moving when dancing at home. It was a very social thing to dance in the house and Alvin brought a lot of these social dances to the stage and theatricalized them in pieces like Blues Suite.”

To remind audiences of the early days of Alvin Ailey American Dance Theater, Ms. Jamison uses imagery in the first section that includes dancers rehearsing in small, informal spaces, filled with the excitement of being part of something revolutionary and noteworthy. Mr. Ailey’s presence is represented by a lone spotlight that appears to illuminate, comfort, and encourage the dancers.  

Using hip hop as a thread to connect the solitude of a small, shabby studio to the present, Rennie Harris hopes to challenge people’s impressions of what hip hop represents. “I use Hip Hop because it’s a tool that I’ve been given,” says Harris. “It’s about seeing movement in its purest form.” Incorporating the energy and rhythm of hip hop movement and the use of brighter lights, Harris’ section of Love Stories proves that the foundation laid by Mr. Ailey is still thriving as the Company embraces change and innovation.

In the final section, Robert Battle portrays a future built on the lessons and legacy of the past. “I didn’t want to look at the future in the technical sense: things will be faster, more efficient, and we’ll be run by computers,” Battle emphasizes. “I think that the heart and soul of Alvin Ailey and this institution will remain pure no matter what happens with technology and our fast-moving society.” The finale reflects the idea of pressing into the future. “There is a sense of a happening,” says Battle.

Mr. Ailey’s presence is woven through Love Stories as each choreographer intertwines vignettes of his choreography into their own. Additionally, sound engineer Darrin Ross incorporates Mr. Ailey’s voice into the musical score. “After hearing Mr. Ailey speak, although I never met him, I get what I believe is the essence of him,” says Battle. “His presence is such a powerful thing that the echo of it is still reverberating all of these years later and will continue.”