Choreographers always have an intention for their dance works, but can a dance work be complete without the aural setting to communicate the dance intention? The most common aural setting is music; when the choreographer chooses the accompaniment. Besides music there is found sounds like the traffic a busy Monday morning, the sound of a bouncing ball or silence, the traffic here would become the choreographers chosen accompaniment to communicate the dance intention. Revelations by Alvin Ailey, 1960, shows Ailey's memories from his childhood with the church and mother figures as the main inspirations and the things that filled his childhood the most. The accompaniment is almost hymn-like with humming sounds and slow soft vocals. The title of this dance refers to a book within the Bible: The Book of Revelations. Strong language by Richard Alston, 1987, also respond to the music. Alston's idea was focusing on the rhythms of the accompaniment. The dancers movement dynamics changes several time to either match the accompaniment or counterpoint. Strong Language involves movement based on Cunningham material with footwork of classical dance with just a hint of contemporary social dance. Sergeants Early's Dream 1984 by Christopher Bruce. This piece combines English, Irish and American folksongs and folkdance with contemporary dance. Bruce tells a story about migration from one country to another and leaving the ones you love behind through this dance.
In Revelations Alvin Ailey uses voices to sing hymns through the whole dance. Since the whole piece is about Ailey’s blood memories of women in church the accompaniment relates to the choreographers dance idea brilliantly. The audience clearly see this in section1,3 Fix me Jesus. This is a duet between a man and a women. The male dancer is standing behind his partner and hovers above her while she sinks and rises and he compliments her actions. The female dancer performs some tremulous hand gestures as if trying to draw...
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