First, Juba choreographer Robert Battke who we heard at works /process earlier this year was four blue dancers. What was it about. High squeaking violins as the bounced and jerked across the stage. It seemed jumbled and incoherent.

Mr Battle redeemed himself with the short energetic Ella. As Ella Fitzgerald sang her skat a couple in evening suits danced in unison. At one point three men bopped across the back of the stage. Chalvar Monteiro, the man of the pair at one point jumped, his legs spread in a V , higher than humanly possible. His partner Samantha Figgins has fabulous energy. It was a short fun piece.

I wish I had more to say as I sit here in P3 orchestra left at City Center. I loved that I got my ticket from TDF for 43 dollars.

It’s just that there isn’t anything really to say except enough to spark my mind back and let me know whether I want to see any of these pieces again. I think I want next year to see more original Ailey as this entire evening is choreographed by Robert Battla.

After The first intermission “No Longer Silent” is about the Holocaust. The music, Ogelala by composer Erwin Schullhoff, was banned by the nazis. The program states that ” this work is presented in conjunction with the 70th of the liberation of Auschwitz and Buchenwald.” Scbullhoff died in Wulzdurg concentration camp in 1942.

So. The people behind me want to leave. I’m staying. I’m trying to figure out was the last piece any good. What was it about. I tried hard to connect it to the holocaust to no avail. Then I let go and listened to the music and I could see how the dancers, at times, were expressing what they heard. The problem is that it wasn’t a nice piece of music. I came for dance. This , so far, has been movement sent to music.

It’s like the struggle I have with art. Should I like it because it’s pretty? If it isn’t pretty or aesthetically pleasing I don’t have to like it but perhaps it’s a matter of appreciation?

After the second intermission

In/side. Music by Nina Simone.

And

Mass music by John Mackey.