In a Dorchester skating rink, a lesson in ballet choreography from a pair of former dancers
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As they demonstrated the evocative movements, Robinson and Machanic also shared historical facts about Ailey's inspirations for 'Revelations,' rooted in his experiences growing up in Black churches in Texas. When the afternoon drew to a close, Machanic awarded T-shirts and prizes to participants who could recall some of these facts.
The dance theater and Boston arts nonprofit Celebrity Series have been in partnership for nearly 60 years, but this year is the first to see more than one community educational event, according to Shaumba-Yandje Dibinga, founder of OrigiNation Cultural Arts Center in Boston and program manager for the 'Revelations' event.
'We normally do one, but we did four this year,' Dibinga said. 'Renee and Amos are legends. They led three back-to-back workshops yesterday and their energy never changed, they're spectacular.'
The addition of three community events meant that around a thousand people in total were able to attend, Dibinga said.
Machanic said that hosting more events meant fulfilling the vision of Ailey himself, who believed 'dance came from the people and that it should always be delivered back to the people.'
Courtney Boston, the event's emcee, emphasized the importance of hosting these workshops in predominantly Black neighborhoods of greater Boston.
'We didn't want to have these events in Seaport or anywhere that our people might not have access to,' Boston said. 'We're right here in our neighborhoods and our backyards.'
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Boston was pleased by the event's inclusivity of people from all walks of life, including those with dance backgrounds and those without.
'It was awesome. There's people being centered in Black culture today, using music and dance and arts to bring people together,' she said. 'I'm not a dancer, but they had me moving.'
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USA Today
27 minutes ago
- USA Today
'Beyoncé Bowl,' Super Bowl choreographer started working with Madonna in high school
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Miami Herald
an hour ago
- Miami Herald
Review: Loved ‘The Warriors'? You might be into ‘The El'
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Miami Herald
an hour ago
- Miami Herald
Review: New bio offers bold take on literary giant James ‘Baldwin'
As a child in Harlem, James Baldwin (1924-1987) hewed to his family's strict Baptist beliefs and would have known I Corinthians 13, the New Testament's famous "love chapter," verse by verse. Nicholas Boggs' magisterial "Baldwin," the first biography of the author in 30 years, employs love as the organizing principle, depicting his métier through the prism of intimate (mostly non-sexual) relationships with four men - queer Black artist Beauford Delaney; Lucien Happersberger, a perennial muse; Engin Cezzar, a Turkish actor; and Yoran Cazac, a French painter. They grounded him emotionally and powered his literary work. Boggs' book passes from man to man like a baton, each embodying a phase of Baldwin's life, but with ample space to detour among other friendships and flings, travels and travails. Delaney mentored the youth amid Greenwich Village's postwar flowering, encouraging him to transform a poor self-image - "Too bookish. Too sensitive. Too undersized. Too effeminate."- into creative jet fuel. Happersberger, then 17, met Baldwin in a Paris club and haunted him for decades, flitting in and out of the author's sphere. Cezzar, a literal "blood brother," (they once cut their arms and pressed the wounds together) and his wife provided food and lodging in their Istanbul sanctuary. And in the 1970s Baldwin reconnected with Cazac, a former acquaintance, also married. Boggs underscores a fundamental dynamic: "The push and pull of a distant, lost love he perpetually sought to retrieve and could sometimes manage to achieve, at least partially, only to lose it again, was becoming integral to Baldwin's creative process." Around this axis of characters Boggs structures his book. A social butterfly with a taste for scotch, Baldwin adored his celebrity and accomplished more when away from New York. He composed his debut, "Go Tell It on the Mountain," in Happersberger's family's Swiss chalet and struggled through "Another Country" during an Istanbul sojourn. Both a perfectionist and a procrastinator, he was sluggish with fiction, defaulting to screenwriting and essays for income. The Civil Rights Movement drew Baldwin back stateside, where he clashed and collaborated with figures such as the Kennedys, Marlon Brando, Elia Kazan, Lena Horne, and Martin Luther King Jr. Boggs argues for the author's talent across genres, but it's Baldwin's political criticism that soars highest. Boggs offers fresh insights throughout his final section, based on interviews with Cazac. He serves up a feast of gossip and speculation, which succeeds brilliantly as narrative, less so as morality tale. Boggs targets our nation's myths and hypocrisy with dead-eyed accuracy, yet keeps aloof from his protagonist's dalliances with vulnerable young men, some teenagers. He bathes Baldwin in a halo of light while stopping shy of hagiography - there are too many juicy stories to tell! And he tells them with relish. "Baldwin" is a fiery, fiercely researched biography worthy of an American genius, an indictment of enduring racism and "homosocial panic." Boggs teases out the aura of the divine that suffused Baldwin's oeuvre, echoing the apostle John. "'Love takes off the masks that we fear we cannot live without and know we cannot live within. I use the word "love" here not merely in the personal sense but as a state of being, or a state of grace,'" Baldwin observed mid-career. "The tough and universal sense of quest and daring and growth." Did he ever succeed at bridging the sensual with the sacred? Boggs' achievement is that he allows us to make up our own minds. ____ Baldwin: A Love Story By: Nicholas Boggs. Publisher: Farrar, Straus & Giroux, 710 pages. Copyright (C) 2025, Tribune Content Agency, LLC. Portions copyrighted by the respective providers.