
Alvin Ailey American Dance Theater's K. Segawa J. Terry B. Pereyra-Alem, and M. McBride in Robert Battle's Juba Photo by Paul Kolnik
Repertory
Alvin Ailey American Dance Theater's K. Segawa J. Terry B. Pereyra-Alem, and M. McBride in Robert Battle's Juba Photo by Paul Kolnik
Alvin Ailey American Dance Theater's J. Harris, J. Bozeman, S. Roberts, and S. Dumas in Robert Battle's Juba Photo by Paul Kolnik
Alvin Ailey American Dance Theater's J. Harris, J. Bozeman, S. Roberts, and S. Dumas in Robert Battle's Juba Photo by Paul Kolnik
Alvin Ailey American Dance Theater's K. Segawa, J. Terry, B. Pereyra-Alem, and M. McBride in Robert Battle's Juba Photo by Paul Kolnik
Alvin Ailey American Dance Theater's Jacquelin Harris in Robert Battle's Juba Photo by Paul Kolnik
''Juba, Robert Battle's first work for the Alvin Ailey American Dance Theater, is frenetic and electrifying, a terse, powerful explosion of transformative energy. On the surface, nothing seemed to be happening as three men and a woman jumped up and down virtually nonstop while regrouping into various patterns. Yet by the end, an infernal communal round had found spiritual release through some sort of centrifugal force. Filled with fabulously high-octane stamina by the Ailey dancers, Juba should not be mistaken for a minimalist piece. Mr. Battle has hit upon an abstract signature style that is highly dramatic. Everything seems to be sustained in tone, including John Mackey's commissioned and apt, jagged score for electronic string quartet and percussion. But Mr. Battle, and this is his originality, matches this apparent evenness of tone with a sense of climax. The steps are similar and repeated but there is also mounting energy. It is an ingenious paradox, found also in old ecstatic dances."
– Anna Kisselgoff, The New York Times, 12/13/2003
funders
This production of Juba was made possible with major support from Michele & Timothy Barakett. Generous support was also provided by The Fred Eychaner New Works Endowment Fund.
The commissioning of this work was originally made possible, in part, by public funds from the New York State Council for the Arts, a State agency.
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