
Dancing Revelations
Description
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Content
- Intro
- Contents
- Introduction
- ONE: Revelations 1962
- Why Revelations Worked
- BREAK: Black Modernism
- Situating Revelations in African American Cultural Life
- TWO: Early Dances
- Ailey's Childhood: Race Matters
- BREAK: Unquenchable Racial Desire
- Blues Suite
- Ailey's Early Dances
- Hermit Songs
- THREE: Early Company
- Early Years in New York
- Early Residencies
- Southeast Asia Tour
- BREAK: "Official" African American Culture
- Riedaiglia
- FOUR: Revelations II: 1969
- BREAK: Versioning
- Multiracial Concert Dance
- Revelations 1975
- FIVE: Touring, Touring, Touring
- Quintet
- Swelling Popularity
- BREAK: Jazz Dance
- Flowers
- The Popular Audience
- BREAK: No Exit from Racism
- SIX: Reflecting a Spectrum of Experience
- Masekela Language
- The Lark Ascending
- Hidden Rites
- SEVEN: Other Dances
- Feast of Ashes
- BREAK: Black Dancer, White Dance
- The River
- EIGHT: Ailey Celebrates Ellington
- The Ellington Connection
- BREAK: Heroes
- Ailey Celebrates Ellington
- Pas de "Duke"
- Ellingtonia
- NINE: Gender and Spectatorship
- Cry
- Love Songs
- Masked Spectatorship: Ailey's Representation of Sexuality
- BREAK: Sex
- Streams
- BREAK: Black Atlantic Dance
- TEN: Later Dances
- Memoria
- Au Bord du Precipice
- Survivors
- BREAK: Alvin Ailey, Public and Private
- ELEVEN: Concluding Moves
- The Ailey after Ailey
- Revelations 2003
- APPENDIX: Choreography by Alvin Ailey
- Notes
- Bibliography
- Index
- A
- B
- C
- D
- E
- F
- G
- H
- I
- J
- K
- L
- M
- N
- O
- P
- Q
- R
- S
- T
- U
- V
- W
- Y
- Z
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