92NY Celebrates 150 Year Anniversary

In the early days of dance in America, the 92NY played a major role in the encouragement of dancers and choreographers speaking dance with a distinctly American Accent.

To celebrate 150 years in NYC, the 92NY threw itself a grand party spotlighting the groundbreaking artists who called the Y their home. 

An exhibition drew attention to everything from folk dance classes to premieres by Martha Graham and Alvin Ailey. At a time when Black dancers were not welcomed elsewhere, the Y embraced Alvin Ailey, who premiered Blues Suite in 1958 performed again on the eve of the celebration.

Excerpts from the work demonstrated Ailey’s gift for storytelling through dance. Fully formed Ailey II dancers gulped the air in wide strides and theatrical gestures that expressed desire, disdain and humor. In the first tableau, “Mean Ol’ Frisco” Andrew Bryant, Patrick Gamble, Spencer Everett. Jaryd Farcon and Alfred L. Jordan II produced such a forceful male ensemble it caused the women next to me to murmur “That’s Ailey II? How can you get any better?”

Another standard bearer, Martha Graham choreographed the American dance classic “Appalachian Spring” in collaboration with Aron Copeland in 1944, during World War II. Janet Eilber, Graham Artistic Director, read aloud brief, but insightful comments exchanged between Graham and Copeland about the shape of a work that referenced the pioneering spirit and fervent passion for religion. A strong group of Graham company dancers moved eloquently through Graham’s technique and artistry.

In a nod to the future of dance, Omar Roman de Jesus’s choreography, Like Those Playground Kids at Midnight enjoyed a playful nudging and easy passing of weight from his body to Ian Springs in a spiraling, creamy duet.

Originally a noted dancer with Ailey, half-a-dozen years ago Jamar Roberts shifted gears and stepped into what is now, a rapidly growing choreographic career. Drawn to jazz musicians, Roberts opened his choreographic sensibilities to a score by the immensely gifted musician, Rhiannon Giddens. Constantly investigating the roots of African American music and instruments, Giddens’ score invited Roberts to break new territory in his finely tuned new work We The People. The excerpt revealed a leaner edge to his choreography. A singular determination to “go forth” was expressed through communal gestures, clenched fists and sturdy strides. Created for the Martha Graham Dance Company, the full work will premiere during the Company’s season.

Unsurprisingly, the packed house cheered the program and broadcast a field-wide thanks for the existence of an institution like the 92NY.

EYE ON THE ARTS, NY –Celia Ipiotis

It was fitting that the José Limón Dance Company opened the show for the 150th Anniversary Celebration of the 92NY.  A sanctuary for modern dance in the 20th century since 1935,  the Y has always welcomed emerging dance companies from all over the world onto its stage, the Limón Company once among them, and now a living legend. 

Limón’s There Is a Time (1956), an enactment of the Biblical verse from Ecclesiastes 3:1-11, “To every thing there is a season, and a time and purpose under the sun,” speaks to our shared humanity and life experiences through time, with eloquence and reverence. The piece begins with company members joining hands in a circle, facing each other, slowly and in unison, raising arms in reverence, twisting torsos together, and feeling the weight of community. Eventually they circle round with folk dance steps, before leaving the stage to feature Johnson Guo dancing solo to “a time to be born.” 

Mariah Gravelin exquisitely conveys the joy and freedom found in “a time to laugh.” She skitters around the stage with the lightest of feet, emoting all forms of laughter through her masterful, articulate movements: giggles, chuckles, sniggers, howls. Later,  in opposition, Savannah Spratt’s solo in “a time to hate, a time of war…” epitomizes anguish, revenge, resentment, and hostility, before the company joins her. 

The piece ends with resolve; the company once again joining hands in the original circle, Limón’s prayer for ultimate peace. 

Hope Boykin, known for her performing career with Ailey, Complexions, and Philadanco closed the evening with a premiere, Manifesting Legacy. Performed by seven women from the Ailey II cast, including Boykin as the eighth dancer, the work conveys her inner wisdom as a mature dancer, weaving through and around the younger cast, leading, watching, joining, and approving the walks, struts, sexual confidence, and beauty displayed. Apricot colored lighting by Al Crawford compliments the women all in different colored dresses designed by Boykin:  purple, orange, green, yellow;  jazz piano by Ali Jackson and YES! Trio. Manifesting Destiny is her “thank you” to the Ailey Company for supporting her work, as well as an expression of the 92Y’s belief in  and commitment to the next generation of dancers.

EYE ON THE ARTS, NY — Mary Seidman