New York, USA
- The epicenter
of artistic
greatness and
spotlight of
life achievements
continue to
surround Geoffrey
Holder and Judith
Jamison in their
current playbill
endeavors.
“Let’s go, let’s
go - let’s go
NO____W!”
he belts in
his now world-famous
and instantly
globally recognized
booming voice.
This is of course
none other than
Geoffrey Holder,
the famed and
respected actor,
choreographer,
director, dancer,
painter, costume
designer and
singer in his
element.
On this day
When Steel Talks
(WST) has just
concluded an
interview with
the esteemed
Geoffrey Holder
at the Alvin
Ailey American
Dance Theater
in New York
about his involvement
in a major historical
point in the
development
of the steelpan
instrument and
movement.
Holder is singularly
responsible
for the introduction
of the steel
pan instrument
to “Broadway”
through his
involvement
in the Truman
Capote production
House of
Flowers,
a musical by
Harold Arlen
(music and lyrics)
and Truman Capote.
WST are now
on their way
to a private
screening of
one the final
rehearsals for
Geoffrey Holder’s
creation “The
Prodigal Prince.”
The dance production
is now being
performed at
the New York
City Center
in Manhattan.
At the session
is none other
that artistic
director of
the Alvin Ailey
American Dance
Theater, Judith
Jamison. On
this day Ms.
Jamison is showing
support and
love for her
distinguished
colleague who
has a long and
collaborative
artistic history
with her. Indeed,
there is a special
bond, admiration
and respect
Jamison and
Holder have
for each other.
Geoffrey Holder
and Judith Jamison
are true American
icons whose
works and existence
have veritable
global significance.
Their list of
accomplishments
and the richness
of their life
experiences
are too numerous
to adequately
list or even
attempt to address
in this, or
probably any
forum.
Judith Jamison
is the award-winning
world-renowned
dancer, choreographer
and current
artistic director
of the world-famous
Alvin Ailey
American Dance
Theater.
And Geoffrey
Holder is the
celebrated author,
painter, choreographer,
actor and dancer
just to name
a few of his
titles. Both
are from humble
backgrounds
and beginnings
that provide
the fuel for
their multiple
lifetimes’ worth
of successful
undertakings.
Jamison is from
Philadelphia
and Holder is
from the Caribbean
island of Trinidad.
These beginnings
are unmovable
and unmistakable
place holders
that are affixed
to their smile,
their humor,
their language,
their karma,
their perspectives
on the world,
and in the timeless
relevance of
their respective
life’s works.
At this juncture
in time both
Jamison and
Holder have
had every accolade
possible written
about and/or
said to them.
And yet, similar
to that select
group of true
geniuses this
writer has had
the fortune
to have known
and even worked
closely with,
they are still
ordinary people
with a very
special twist.
They have the
natural ability
to have a passionate
intellectual
discussion with
a world leader,
as easily as
they can have
an intense debate
with a four
year-old over
jellybeans.
The key is that
they relate
to people. And
this is why
like some others
who have graced
the WST pages
- Max Roach,
Clive Bradley,
Teddy Vann -
Judith Jamison
and Geoffrey
Holder are not
simply artistic
giants of their
professions
- they are titans
of all things
considered.
They
are ones to
whom giants
bow.
Like the physics
of energy, their
greatness could
not be made,
denied or destroyed
- for both Holder
and Jamison
it was born
in them.
Their energy
and visions
are now in a
full transferal
state that will
guarantee an
eternity of
influence, respect,
and the bettering
of the human
condition because
of their creations
- because of
them having
lived and for
the global impact
of their works.
What is greatness? Having been
around a few
of the genius
caliber and
great ones,
we at WST would
define greatness
as a two-part,
inseparable
seal between
two sometimes
competing entities.
You must have
both parts.
It is the ability
to rise to the
occasion as
an individual
and then some,
without hesitation
or thought;
and of equal
importance is
the ability
to inspire others
to be better
than they knew
they could be,
and achieve
their maximum
potential.
It is not simply
about individual
talent or intelligence
- the world
has no shortage
of either.
Well beyond
the obvious
unshakeable
commitment to
excellence,
it is that ability
to lead, and
inspire others
to feed on the
juice of greatness
and achieve.
Holder has choreographed
pieces for many
companies including
the Alvin Ailey
American Dance
Theater, for
which he created
“Prodigal Prince”
(1968), a dance
based on the
interesting
life of a Haitian
painter, Hector
Hyppolite.
The production
has been brought
back for another
run with Holder
again at the
helm and Jamison
now as the company’s
artistic director.
Mr. Holder is
a stickler for
detail, both
on and off the
dance floor.
Achieve
your potential
greatness
- “The key to
success is being
on time,” he
says as he stares
into you with
eyes that assess
who you are
in that instant.
During the rehearsal
WST watched
Holder with
his traditional
coffee in right
hand - correct,
praise, push
and pull his
dancers to their
greatness.
“You are actors
playing a role.
I don’t want
to see dancers
--- I want to
see people...”
- the master
artist, belting
out directions
to his troupe.
“Don’t think
like dancers,
think like human
beings,” he
further cajoles
them.
Flamboyant,
egotistical,
humorous, supportive,
demanding and
good - real
good -
at what he does,
are all things
that come to
mind when you
watch Geoffrey
Holder conducting
his dance orchestra
through his
symphony.
He knows exactly
how many jokes
and stories,
and how
much seriousness,
history,
fear and laughter
he needs to
add to this
cocktail, to
elicit the maximum
performance
from his extremely
talented detail.
The visual,
the sound, the
colors, the
music, the story
and the dance
under Holder’s
leadership come
together for
a unique emotional
and spiritual
experience that
cannot be justly
articulated
in words. It
is the ultimate
in storytelling
and artistic
music and dance
expression,
as it addresses
all the human
senses, desires,
shortcomings
and triumphs.
Ms. Jamison
is a very special
soul. In spite
of all her accomplishments,
intellect and
talent, she
is very humble.
She will easily
engage a complete
stranger who
has no idea
who she is -
as WST itself
found out.
Beyond her artistic
greatness there
is the regal
presence from
Ms. Jamison
that just flows
effortlessly,
and commands
respect and
friendship without
a hint of bias
or an air of
superiority.
It is simply
who she is -
no artificial
anything.
Regardless of
the situation,
her status does
not preclude
her identifying
with others
and/or her environs;
there is a sparkle
in her eye that
immediately
disarms you
and warms your
soul.
Like Holder,
Jamison also
inspires, expects
and receives
greatness from
her troupes.
“Isn’t he great?”
Ms. Jamison
would say to
me a couple
times in speaking
of Holder on
this day.
WST is now attending
the final dress
rehearsal at
the New York
City Center
before that
evening’s first
performance
of the limited
run of the Prodigal
Prince.
“I’m good...
everything is
going well”
she says, giving
an air of calmness
and control
which permeate
all around and
through everyone
involved in
the production.
It is an honor
and a joy to
watch Jamison
and Holder confer,
complement,
support and
ultimately inspire,
demand and receive
greatness from
their dancers,
by way of the
astounding performances
of their creations.
In fact, in
an off moment
they can be
caught singing
an impromptu
duet together
in perfect harmony!
Neither one
is threatened
by greatness
outside of themselves,
as both will
unleash an abundance
of compliments
and well wishes
on others.
The performances
When Steel Talks
saw and experienced
are a tribute
to the vision
for Judith Jamison,
Geoffrey Holder
and the Alvin
Ailey American
Dance Theater
(AAADT). They
were awe-inspiring
and spiritually
moving.
These performances
tell the story
of a people
through their
voice, culture
and spirit that
have to make
their ancestors
proud.
These two giants
of the performing
arts are the
goal posts of
their era.
This is probably
the final time
these two giants
of the performing
arts will interact
with each other
in their present
capacities.
After twenty-one
years Judith
Jamison will
step down as
artistic director
of the AAADT
after the current
season of shows
is completed
in the next
two weeks.
Like Clive Bradley
with Desperadoes
Steel Orchestra
performing
Rebecca
at Panorama,
Max Roach, Miles
Davis and Charlie
“Bird” Parker
performing together
at the Village
Vanguard, or
Michael Jackson
performing at
Motown’s 25th
anniversary
celebration,
there are moments
in time and
performances
that just command
attention and
demand your
presence if
you are on the
planet. These
next few performances
by the Alvin
Ailey American
Dance Theater
are like magical
moments.
Do yourself
a favor and
be there if
you can; you
will remember
it forever.
click for When
Steel Talks
review of The
Prodigal Prince
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