Cry (ballet)

Cry (ballet) is a landmark solo work in modern dance created in 1971 by renowned choreographer Alvin Ailey as a birthday gift for his mother, Lula Elizabeth Cooper. Dedicated to "all black women everywhere—especially our mothers," the piece is a powerful, three-part solo that traces a journey of struggle, resilience, and transcendence. It premiered at the New York City Center performed by Judith Jamison, who became indelibly linked with the role, and has since become a signature work of the Alvin Ailey American Dance Theater.

Background and creation

The genesis of the work is deeply personal, conceived by Alvin Ailey as an homage to his mother, Lula Elizabeth Cooper, and her fortitude. Ailey stated he wanted to create a piece that celebrated the strength and dignity of African-American women throughout history, from the era of slavery in the United States to the modern day. He crafted the solo specifically for the formidable dancer Judith Jamison, whose commanding presence and technical prowess he believed could embody this universal narrative. The premiere took place in 1971 as part of the repertory for his company, the Alvin Ailey American Dance Theater, solidifying its place in the canon of 20th-century dance.

Choreography and structure

The choreography of the work is structured as a triptych, with each section conveying a distinct emotional and historical arc. The movement vocabulary is a hallmark of Alvin Ailey's style, blending elements of modern dance, ballet, and African dance. The solo begins with gestures of anguish and labor, often interpreted as depicting the toil of enslaved women, incorporating convulsive contractions and floor work. The second section introduces a sense of ritual and cleansing, with expansive, lyrical movements. The finale erupts into a celebration of victory and ecstatic freedom, featuring powerful turns, leaps, and a triumphant pose that has become iconic. The dancer utilizes a long white cloth as a prop, representing a shawl, a burden, and finally a banner.

Music and score

The emotional landscape is driven by a recorded score that seamlessly blends three distinct musical pieces. The first section is set to "Something About John Coltrane" by Alice Coltrane, featuring her ethereal harp and piano work that creates a spiritual, searching atmosphere. The middle portion uses "Been on a Train" by singer-songwriter Laura Nyro, whose soulful and poignant vocals underscore themes of journey and lament. The finale explodes with the gospel energy of "Right On. Be Free." written by Chuck Griffin and performed by The Voices of East Harlem. This musical progression from jazz to soul music to gospel music mirrors the solo's narrative ascent from sorrow to jubilation.

Performance history and reception

Following its 1971 premiere with Judith Jamison at the New York City Center, the piece was met with immediate and profound acclaim, quickly becoming a cornerstone of the Alvin Ailey American Dance Theater repertory. Jamison's performances, described as volcanic and heroic, defined the role for over a decade. Subsequent interpreters have included celebrated Ailey dancers such as Donna Wood Sanders, Renee Robinson, and Linda Celeste Sims, each bringing her own powerful interpretation. The work has been performed on prestigious stages worldwide, including the John F. Kennedy Center for the Performing Arts, the Bolshoi Theatre, and the Palais Garnier, consistently moving audiences and critics with its raw emotional power and technical demands.

Legacy and influence

The piece stands as one of Alvin Ailey's most enduring and iconic creations, a testament to the central theme of the African-American experience in his artistic vision. It is celebrated as a monumental role for women in dance, requiring not only technical mastery but immense dramatic depth. The solo has been analyzed in the context of Black feminism and the representation of black women in the performing arts. Its continued performance ensures the legacy of both Alvin Ailey and Judith Jamison, remaining a pivotal work that honors the past while inspiring new generations of dancers and audiences within the global landscape of modern dance.

Category:1971 ballet premieres Category:Alvin Ailey ballets Category:American ballets Category:Modern dance works