How much does Alvin Ailey owe? This burning query is at the heart of the Whitney Museum of Art’s latest exhibition, Curated by the museum’s senior curator Adrienne Edwards and presented in collaboration with the Alvin Ailey Dance Company, the exhibition delves into the boundless creativity of Ailey’s legendary life. Edwards says the film was nearly seven years in the making, and she decided not only to deal with the luminary’s holy steps, but in addition to take an in depth take a look at the man’s life. Ailey once remarked, “I desired to paint. I made watercolors. I desired to sculpt. I wrote poetry. I wanted to jot down an excellent American novel. Edwards uses this idea as a narrative framework to present a cultural custodian of unprecedented generosity.

The artworks are arranged thematically but follow a loose chronology, reimagining the stunted standards of the South’s manipulated history before transcending practices of black spirituality, migration, liberation, and love. From intimate letters, digital recordings, poems and archival footage, the series offers the most formative insight into Ailey’s inner life yet. Supported by over 80 stellar artists from throughout history – Jean Michel-Basquiat, Kara Walker, Elizabeth Catlett, Mickalene Thomas, Lynette Yiadom-Boakye and more – the exhibition uses Ailey’s spirit as a threshold to trace the evolution of Blackness through art world performances. What struck Edwards most was Ailey’s keen sense of visuality.

“If you look at the posters for the show, the way he writes about the dance, his choice of costumes and lighting, you can see that he was constantly thinking about his intended image creation, and that’s why I think he drew so much on the visual arts, as well as the way he literature also influences the narrative aspects of creating dance,” Edwards noted.

The space, incredibly opulent and draped in the most delicious shade of red, evokes the majesty of stage curtains, setting the stage for a belated celebration of Ailey’s legacy. One of the most intriguing and subtle themes of the series was Ailey’s mastery of style. Throughout his profession, he understood that costumes not only enhanced the visual aspect of dance, but in addition captured the audience’s imagination.

In “Revelations,” flashing in fragments on a multi-screen video installation drawn from archival footage, he used colours daring enough to withstand the weariness of life, with fluid silhouettes that mirrored the choreographer’s fluid movements. Taking a better take a look at performance materials and scripts, it’s striking how closely he connected his art with cinema. The bejeweled bodices and dazzling headpieces of “For Bird – With Love” compete with a gold-plated painting by Mickalene Thomas that’s as much a piece of art as the dances themselves. “I love the sketches and photos of the dancers performing at Studio 54 during the opening night,” Edwards says, highlighting the kind of precious history many of us had no idea Ailey was an element of.

It’s not possible to not be amazed by the elegance embodied in the costumes – an elegance that feels each modern and everlasting. We glimpse Cicely Tyson, a portrait of pastoral simplicity, dressed elegantly in creamy white, with gloves and a hat. In the glimpses of “Cry,” Judith Jamison’s heavenly white shirt, easy and sophisticated, stands as each a monument and a testament to the richness of the saying “less is more.” These designs follow the ballet core trend that continues to realize popularity, symbolizing how far Ailey’s work extends beyond the stage.

Why did it take so long for Alvin Ailey to develop into synonymous with American history around the world? Why is not his legacy treated as fastidiously as others? The exhibition corrects and corrects all historical omissions. “The archive is a mourning work. We have lost a queer elder, we have lost many of those who came before us, especially in the context of art. But it’s not about the story; it’s about the future,” Edwards emphasizes. “It’s a leftover that we can track, pick up and move to the next location.”

At the premiere, surrounded by intensely moisturized colours and thick perfumes, the atmosphere was stuffed with, as Ailey put it, “movements full of images.” A crowd full of every kind of beauties, wearing countless outfits appropriate to the stage of life: ballet shoes, hair tied in a decent, smooth bun, dresses so sumptuous and clinging, colourful coats washed in the same shade of memory of blood, all images whose origins reach back to the ends of the vast Ailey’s intelligence and infinite imagination.

it isn’t just an exhibition; it is a celebration of heritage. It also encourages us to reflect on our memories and shared stories. Edwards ensures that visitors not only take a look at Ailey’s work, but develop into immersed in it, imbued with the energy of every dance, every dream and every discipline.

An expression of life itself, a testament to the resilience, joy and indomitable will of the human spirit. The exhibition not only pays tribute to Ailey, but challenges us to reconsider the very structure of American cultural history and American consciousness.

Main image: Installation view of Edges of Ailey (Whitney Museum of American Art, New York, September 25, 2024 – February 9, 2025). Left to right: Lynette Yiadom-Boakye, Fly Trap, 2024; Purvis Young, Love Dance, 1991. Photo: Jason Lowrie/BFA.com. © BFA 2024

The nonprofit organization Between Friends celebrates Domestic Violence Awareness Month with an annual candle lighting on October 1. The organization has been raising awareness about domestic violence for 26 years. Executive Director Verda Bhatti discussed the complexities of domestic violence.

Bhatti stated, “Sometimes it could be very physical, sometimes it may just be verbaland sometimes it can be emotional.

On the beach on Ohio Street, Between Friends lights paper lanterns representing all victims of domestic violence. Bhatti expressed hope that the variety of lanterns would decrease annually. “But unfortunately this is not happening,” he says.

While domestic violence affects people of all genders and races, the problem is very acute for Black women. According to the Women’s Policy Research Institute, 40% of black women “will experience domestic violence in their lifetime.”

Domestic violence is greater than just physical violence from an intimate partner. US Department of Justice lists various types of domestic violence. The Department of Justice recognizes the intimidation, manipulation, humiliation, isolation, and attempts to intimidate, terrorize, coerce, threaten, blame, harm, injure, or injure someone as types of abuse.

More than half of all black women have experienced non-physical domestic violence. According to the National Center for Victims of Crime, “53.8% of Black women have experienced psychological violence and 41.2% of Black women have experienced physical violence.”

The Blackburn Center is attempting to get to the basis causes of the increased harm done to black women. The organization cites “the objectification and degradation of women in the media, rape culture, harmful gender norms, the pay gap” and racism as causes of increased harm.

The objectification of Black women is a story as old as time. This story continues to be told as pre-emancipation terms reminiscent of “bed girl” are still used to explain women. The use of this and plenty of other terms in modern times only reinforces the concept that black women are viewed by some as lower than human. Objects or toys could also be used on the discretion of others. Just like children, many individuals don’t think that using, abusing and breaking toys is a foul thing.

Suggested by the Blackburn Center solving these causes, first acknowledging intersectionality. Paying attention to Black women’s vulnerable intersections and dealing to make sure equity of their pay, image, and standing would help dispel the concept that they’re expendable.

If you already know of any current or former domestic violence victims in need of support, please contact the Blackburn Center at 1-888-832-2272.

The recent Prime Video documentary gives viewers a primary-hand account of the extraordinary journey through the history of Black quarterbacks, a position long defined by struggle, resilience and triumph.

Narrated by NFL great Michael Vick, the series features interviews with some of the most iconic players to ever take the field, from Patrick Mahomes to Warren Moon. The series not only delves into the past, but in addition celebrates the present and predicts the future of the position. The list of announced brawlers includes Charlie Ward, the 1993 Heisman Trophy winner and former NBA player whose story stays an inspiration to many.

In this exclusive interview, Ward reflects on his experiences as a black quarterback at a time when his role was still under intense scrutiny. “Being the first black quarterback at Florida State was something I wanted to do and I was patient to achieve it,” Ward said. He also talks about the evolution of his position, giving insight into his development and why the docuseries is a critical reminder of the battles that paved the way for today’s stars.

ESSENCE: As a trailblazing standout in each football and basketball, how did your experience as a black point guard influence the way you overcame challenges on and off the court?

Charlie Ward: Well, I’m a black quarterback. I’m black, so that may never change. Playing as a quarterback, especially in my time, there have been obviously a number of players ahead of me who needed to endure loads greater than me. So I used to be grateful to them for that. Guys like Doug Williams, Warren Moon, those guys needed to endure loads to give you the option to play that position. But for me, being the first black quarterback in the state of Florida was something I desired to do and I used to be patient to realize it because that was my goal that was never achieved at FSU.

There were a number of guys who got here before me but ended up changing positions because they desired to play earlier. Because now, after I look back, I see that loads of people wore number 17 because of me. And just hearing it warms my heart, since it means I’m doing something right. It’s at all times nice to give you the option to encourage them to proceed to grow on this position.

I’m actually glad you brought this up too, since it makes me take into consideration Lamar Jackson specifically. I desired to ask you what you concentrate on the social and racial perception of the black quarterback and why do you’re thinking that it still is? Where do you’re thinking that this can go in the future?

Yes, at one point we couldn’t think, all we could do was run. We weren’t thorough. There were all these stigmas attached to a black quarterback, and of course that was true for all quarterbacks, regardless of skin color. But of course, lately, Lamar Jackson has developed as a quarterback, from where he began playing solely as a runner and to some extent as a passer, to now where he can do all of the above.

So I believe it’s fair because the next evolution of the quarterback is to ensure that that we progress like everyone else, that we’re the best that they may be and he might be rewarded for that. Regardless of what and the way he does, to achieve success he must do what’s best for him. Therefore, the leg plays an enormous role in his success. Why not proceed to make this an element of your game? Don’t take away what you might be best at to attempt to prove something to other people. That’s why I believe he’s done a terrific job developing as a degree guard over the years he’s been in the league.

Speaking of the word “evolution,” how do you’re thinking that the public’s perception of a black quarterback has evolved from the time you played to today?

Well, I discussed that there have been some people before me, but that is about the mindset of those that make the decisions. When I played, after I stepped on the field, there weren’t many individuals in the room making decisions that reflected our style of play as a degree guard. So there are lots of of us in the room today who make decisions or have a voice in the room. And they do not always have a look at how big you might be, what color your skin is, or what you’re thinking that. They are actually tied to the way you perform and other aspects: “Can you help me win?”

Because lately it’s all about finding the one who will allow you to win. Regardless of what they appear like, you would like to ensure that they’re on your team because your goal is to win that game or gain that community. So I believe we have come a great distance from that standpoint and the thought processes behind who’s put in that position because the quarterback position is, normally, the face of the franchise.

Do you also have a favorite black quarterback? And if that’s the case, why?

Well, that is a difficult query because there have been loads of them. The reason I began 17 was because of Doug Williams. He is the first African American to win the Super Bowl as a quarterback. And that was in my time. So I wore 17 because of Doug Williams. But there was also Warren Moon, who I also watched win against the Houston Oilers. And then in the Canadian League, around the same time, you had Randall Cunningham. But I just liked watching him play that position because he played at a high level, very just like mine in terms of the way we played. I also liked watching him throw long balls. These are my favorite movies growing up and the ones I enjoyed watching.

So why do you’re thinking that this documentary is significant and what do you hope viewers can get from it?

Well, often we don’t love to listen to the story of where we’re today because we expect it just happened. It’s at all times been like this. This just isn’t the case. We’re having great success with black quarterbacks today, they usually’re making loads of money, but that wasn’t the case 20, 30, 40 years ago. So just the background of a black quarterback is supposed to remind us that it wasn’t at all times like this and make us grateful for where we’re today.

So, just with the ability to tell the story of how we got to where we’re today, we were playing point guards, especially my size. I do know being drafted primary didn’t occur 30 years ago. So just with the ability to share that information and show where we’re coming from may be very useful.