AileyCamp Celebrates 25 years in Kansas City

Former Ailey principal Nasha Thomas-Schmitt with Newark AileyCampers

Though Alvin Ailey American Dance Theater enjoys super-star status as a company, its leaders know great dance often grows from humble beginnings. As part of the organization’s Arts in Education department, AileyCamp is designed to serve inner-city middle-school students nationwide. This summer, the oldest AileyCamp location, Kansas City, Missouri, celebrates 25 years of vital dance outreach. Other locations—from Miami to Newark—adhere to the same principles that have guided Kansas City for the past quarter-century.

Children must apply for the tuition-free summer camp, though dance experience is not a prerequisite. The most important attribute for students is the desire to learn and grow. Former Ailey dancer and director of the Berkeley/Oakland AileyCamp David W. McCauley says, “[Alvin Ailey] gently reminded us of our responsibility to give our very best. Remember who you are, imagine who you wish to be, and give it your all!” He adds, “Mr. Ailey always said to his dancers, ‘You are all gods and goddesses!’” AileyCamp presents similarly supportive “daily affirmations,” or resolutions of love and encouragement, ceremoniously recited by a different camper each day.

The day camp offers classes in ballet, jazz, Horton technique, and West African dance, as well as workshops that foster self-expression and personal development. The program also provides counseling in nutrition, conflict resolution, sexual responsibility, and substance abuse prevention. Dancers participate in a culminating public performance at the end of the six-week session.

Photo by Joe Epstein, alvinailey.org

Music
Mary Malleney, courtesy Osato

In most classes, dancers are encouraged to count the music, and dance with it—emphasizing accents and letting the rhythm of a song guide them.

But Marissa Osato likes to give her students an unexpected challenge: to resist hitting the beats.

In her contemporary class at EDGE Performing Arts Center in Los Angeles (which is now closed, until they find a new space), she would often play heavy trap music. She'd encourage her students to find the contrast by moving in slow, fluid, circular patterns, daring them to explore the unobvious interpretation of the steady rhythms.

Keep reading... Show less
For Parents

Darrell Grand Moultrie teaches at a past Jacob's Pillow summer intensive. Photo Christopher Duggan, courtesy Jacob's Pillow

In the past 10 months, we've grown accustomed to helping our dancers navigate virtual school, classes and performances. And while brighter, more in-person days may be around the corner—or at least on the horizon—parents may be facing yet another hurdle to help our dancers through: virtual summer-intensive auditions.

In 2020, we learned that there are some unique advantages of virtual summer programs: the lack of travel (and therefore the reduced cost) and the increased access to classes led by top artists and teachers among them. And while summer 2021 may end up looking more familiar with in-person intensives, audition season will likely remain remote and over Zoom.

Of course, summer 2021 may not be back to in-person, and that uncertainty can be a hard pill to swallow. Here, Kate Linsley, a mom and academy principal of Nashville Ballet, as well as "J.R." Glover, The Dan & Carole Burack Director of The School at Jacob's Pillow, share their advice for this complicated process.

Keep reading... Show less
Teachers Trending

From left: Anthony Crickmay, Courtesy Dance Theatre of Harlem Archives; Courtesy Ballethnic

It is the urgency of going in a week or two before opening night that Lydia Abarca Mitchell loves most about coaching. But in her role as Ballethnic Dance Company's rehearsal director, she's not just getting the troupe ready for the stage. Abarca Mitchell—no relation to Arthur Mitchell—was Mitchell's first prima ballerina when he founded Dance Theatre of Harlem with Karel Shook; through her coaching, Abarca Mitchell works to pass her mentor's legacy to the next generation.

"She has the same sensibility" as Arthur Mitchell, says Ballethnic co-artistic director Nena Gilreath. "She's very direct, all about the mission and the excellence, but very caring."

Ballethnic is based in East Point, a suburban city bordering Atlanta. In a metropolitan area with a history of racism and where funding is hard-won, it is crucial for the Black-led ballet company to present polished, professional productions. "Ms. Lydia" provides the "hard last eye" before the curtain opens in front of an audience.

Keep reading... Show less

Get Dance Business Weekly in your inbox

Sign Up Used in accordance with our Privacy Policy.