Podcast Summary: "Edges of Ailey" at the Whitney

Podcast: All Of It
Host: Alison Stewart
Guest: Adrienne Edwards, Senior Curator and Associate Director of Curatorial Programs, Whitney Museum
Episode Title: "Edges of Ailey at the Whitney"
Release Date: January 23, 2025

Introduction to the Exhibition

In this episode of All Of It, Alison Stewart interviews Adrienne Edwards about the Whitney Museum's groundbreaking exhibition, "Edges of Ailey." This is the first major museum show dedicated to Alvin Ailey, the influential choreographer and founder of the Alvin Ailey American Dance Theatre. The exhibition opens the doors to dance in a novel way, showcasing Ailey's profound impact on culture through dance, music, and spirituality.

Exhibition Overview

Adrienne Edwards provides an in-depth look at the structure and content of the exhibition. "It sort of unfolds in two parts," she explains (01:37). The first part is a substantial 18,000-square-foot exhibition on the fifth floor, featuring letters, journals, audio-visual clips from Ailey's archives, and works from over 80 artists engaged in dialogue with Ailey’s creative vision. The second part comprises a live performance program in the museum’s theater on the third floor, running almost weekly until February 9th.

The exhibition is designed on three levels, including an "18 screen surround" that immerses visitors in Ailey's world from 1958 to 1989, the period of his life when he was most active. This multimedia approach allows attendees to experience iconic dances like "Revelations" and "Cry" within the context of Ailey's personal and professional life, showcased through archived notebooks and memorabilia.

Design Choices and Aesthetic

When discussing the exhibition’s visual aesthetic, Edwards highlights the deliberate choice of color and space. "We could have no white walls," she states (04:35). The vibrant red palette was chosen to reflect Ailey’s dynamic and spirited approach to dance, symbolizing both the performing arts venues with their red velvet curtains and the deep cultural and spiritual roots from Ailey's Texas upbringing. "Red just seemed to be the perfect color for this exhibition. So we took a risk and went with it," Edwards adds.

This bold design choice aims to create an exciting and dynamic experience, aligning with Ailey's vibrant performances and the emotional depth of his choreography.

Adrienne Edwards' Personal Connection to Alvin Ailey

Edwards shares her personal connection to Ailey, revealing that his company was her first art experience. "Ailey is the first art experience I ever had in my life," she confides (06:54). Her longstanding relationship with the Alvin Ailey American Dance Theatre provided both inspiration and a challenge in curating the exhibition. Initially concerned that her closeness to Ailey might impede her objectivity, Edwards found solace and professional clarity through Ailey's personal notebooks, which offered deeper insight into his creative process.

Ailey's Creative Process and Journals

The journals and notebooks on display are a highlight of the exhibition, showcasing Ailey's improvisational and music-centric approach to choreography. Edwards describes, "He often started with music and then set the dances directly on dancers in the rehearsal process" (08:58). These notebooks reveal Ailey’s meticulous notes on everything from dance techniques to personal reflections and community engagements.

Ailey's approach is compared to jazz, emphasizing personal expression and individual inflections. This method is evident in how his choreography allowed each dancer to bring their unique presence to the performance, making the dances deeply personal and universally resonant.

Southern Roots in Ailey's Art

Ailey’s Southern heritage heavily influences his work, a point Edwards elaborates on by referencing an exhibition section titled "Southern Imaginary." This part explores the broader cultural influences of the American South, including connections to Haiti and Brazil, particularly Bahia. "Mr. Ailey's roots in the South are indexed in very specific ways," Edwards notes (11:36).

For instance, the use of white umbrellas in dances like "Revelations" symbolizes baptismal rituals common in rural Southern church traditions. Additionally, Ailey's interest in samba and devotional practices from Bahia reflects a hemispheric connection that broadens the scope of his Southern influences beyond the United States.

First Major Museum Exhibition: A Novel Achievement

Addressing why this is the first major museum exhibition dedicated to Ailey, Edwards explains the surprising lack of previous comprehensive showcases. "No art museum has done it... there have been small installations in libraries, but not in the context of art museums," she states (14:54).

This milestone highlights Ailey's unique position in the dance world, often overshadowed by figures like Balanchine or Cunningham who have had more extensive museum coverage. Edwards emphasizes the importance of recognizing Ailey's contribution to dance and culture comprehensively.

Balancing Identity and Artistry

Ailey's identity as a gay black man deeply intertwines with his artistic mission of freedom and liberation. Edwards discusses the complexities of presenting this aspect of his life, especially considering the historical context of the 1930s to 1960s. "It needed to be thought about and understood in relationship to the times in which it happened," she explains (16:08).

She draws parallels between Ailey and other contemporaries like Lorraine Hansberry and James Baldwin, whose works also reflect the struggles and triumphs of being black and queer in mid-20th century America. This nuanced portrayal ensures that Ailey’s personal experiences are authentically represented without imposing modern interpretations.

Live Performances and Community Engagement

The exhibition is not only a static display but also a living platform for dance. Edwards describes the integration of live performances and workshops by various Ailey-affiliated companies and programs. "It's like the Ailey Company is bringing its uptown operations to the museum downtown," she states (18:41).

These performances, which include contributions from Ailey 2 and the Ailey School programs, offer visitors an immersive experience where they can engage directly with Ailey's legacy. Free admission events, such as free Friday nights and every second Sunday, encourage broad community participation and accessibility.

Final Thoughts and Legacy

In her concluding remarks, Edwards hopes that attendees leave the exhibition inspired by Ailey’s insatiable curiosity and self-taught mastery. "I hope that they walk away with being compelled by his sheer curiosity," she shares (20:12). Ailey’s ability to synthesize diverse cultural influences and his collaborative spirit are underscored as key elements of his enduring legacy.

Conclusion

The "Edges of Ailey" exhibition at the Whitney Museum offers a comprehensive and immersive exploration of Alvin Ailey's life, artistry, and cultural impact. Through a blend of archival materials, contemporary artworks, and live performances, the exhibition celebrates Ailey's contributions to dance and his role in shaping cultural dialogue. Adrienne Edwards' passionate curation brings to light the depth and breadth of Ailey's influence, ensuring that his legacy continues to inspire future generations.

Notable Quotes

• Adrienne Edwards (01:37): "It sort of unfolds in two parts. The first is the exhibition... And then we have a live performance program..."
• Adrienne Edwards (04:35): "We could have no white walls. For Mr. Ailey, it just didn't seem appropriate to the sparkle that he brought to his work..."
• Adrienne Edwards (06:54): "Ailey is the first art experience I ever had in my life."
• Adrienne Edwards (08:58): "He often started with music and then set the dances directly on dancers in the rehearsal process."
• Adrienne Edwards (11:36): "Mr. Ailey's roots in the South are indexed in very specific ways."
• Adrienne Edwards (14:54): "No art museum has done it... there have been small installations in libraries, but not in the context of art museums."
• Adrienne Edwards (16:08): "It needed to be thought about and understood in relationship to the times in which it happened."
• Adrienne Edwards (18:41): "It's like the Ailey Company is bringing its uptown operations to the museum downtown."
• Adrienne Edwards (20:12): "I hope that they walk away with being compelled by his sheer curiosity."

Note: Timestamps are in MM:SS format as per the transcript provided.