Fire Shut-up in Our Bones: Alvin Ailey's Revelations and Black Church Traditions
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2014
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Haverford College. Department of Religion
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Thesis
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eng
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Abstract
How does dance mean? Why does movement outside of everyday gestures, set to music, and performed on stage move us? In essence, this is the question I ask of Alvin Ailey's dance, Revelations. Specifically, I am interested in the ways in which he has created a dance that embodies Black Church traditions and by extension, Black culture. The details of how Revelations means draw from roots deep in the past. The narrative Ailey presents through expressiveness of movement and the usage of Spirituals acts out the pain, hope, and often hopelessness of a people under tremendous amounts of hardship. Revelations also traces the overall will to survive and to be free and the triumph over adversity. This continues the tradition in the Black Church of affirming black humanity and Ailey does this by showcasing Black bodies and a Black narrative. This thesis identifies the ways in which the Black Church and its traditions are reflected in Ailey's Revelations. Black Church traditions can be defined by two over-arching characteristics: improvisation and affirmations of Black humanity. These two characteristics flow in and out of every subcategory tradition we will encounter. Those subcategories are Spirituals and Church worship services. Under the Spirituals tradition we see elements of call-and-response, parallels constructed between those of African descent and the persecuted characters in the Bible, and finally, the theme of wanting to go home(whether it be Heaven, Africa, or the North). Under the Church worship services, tradition we also see the theme of wanting to go home, and the element of call-and-response in addition to emotionalism, and movement that are all made manifest through the Pastor and the congregation. I argue that beyond simply being inspired by his church experiences, Ailey's usage of movement and Spirituals creates a dance that embodies these Black Church traditions. To argue this, I have relied on a plethora of scholars and professionals, from varying fields. These have included dance critics/scholarship/history; Music history, specifically, interpretations and analysis of the Spirituals; and Africana studies, specifically history and significance of the Black Church. I dedicate this thesis to Alvin Ailey, who still speaks to us, even now; and to the Pillars such as Katherine Dunham and Pearl Primus. May my work offer a glimpse of your beauty.