The museum exhibition brings to life Ailey’s words: “I wanted to paint. I made watercolours. I wanted to sculpt. I wrote poetry. I wanted to write the great American novel,” and describes his dances as “movements full of images.”

This dynamic showcase combines visual art, live performance, music, a range of archival materials, and a multi-screen video installation drawn from recordings of Alvin Ailey’s American Dance Theater (AAADT) repertory to explore the full range of Ailey’s personal and creative life.

Edges of Ailey – an immersive exhibition

Presented in three parts, Edges of Ailey consists of an immersive exhibition in the Museum’s 18,000 square-foot fifth-floor galleries, an ambitious suite of performances in the Museum’s third-floor Theater, and an accompanying scholarly catalogue.

The exhibition centres on the man himself, capturing the full range of Ailey’s passions, curiosities, and creativity revealed in his archives, across his dances, and within a continuum of other artists spanning nearly two centuries. These elements form a historical account, provide a constellatory survey, and unfold as a tribute to the legendary artist’s life, career, and far-reaching impact on the histories of dance, Black creativity, and American culture. Edges of Ailey affirms the artist’s place as one of the most culturally and historically significant artistic figures in the United States and the world.

“Following six years of dreaming, planning, and researching, the extravaganza that is Edges of Ailey finally enters the world,” said Adrienne Edwards, Engell Speyer Family Senior Curator and Associate Director of Curatorial Programs. adding, ” Now audiences will have the chance to know his story. It is no small task to hold someone’s legacy of this cultural magnitude in your hands. We have made something that aims to have the same imagination, sparkle, generosity, rigour, and daring as did he.”

Edges of Ailey was developed through extensive archival research. From the sweeping holdings of performance footage, recorded interviews, notebooks, letters, choreographic notes, and drawings, to other ephemera gathered from nearly 10 sources, the archives forge a vital throughline in the gallery. A dynamic montage of Ailey’s life and dances will play on a loop across an 18-channel video installation, created by filmmakers Josh Begley and Kya Lou, with Edwards.

This film is composed of newly digitized performance documentation, dances made for the camera, animated archival images, televised broadcasts, and contextual footage of cultural, social, political, and social events of the time.

Visitors also encounter intimate displays of never-before-seen selections from Ailey’s archive, providing a foundation for understanding everything from his daily routine and artistic thinking to the demands of touring and his grappling with being gay. Ailey’s short stories and poems are shown publicly and reproduced in the catalogue for the first time. 

The ways Ailey appears in the show through archives form a surround, circling the galleries, which are presented in red: walls, an archipelago of elevated platforms, customized systems of display, and curtains. This staging of deep crimson reflects Ailey’s formative “blood memories” as well as the colour of theatre curtains and seating of the proscenium theatres in which Ailey’s dances are typically performed, and the pews and carpets of many Southern Black churches.

The exhibition is arranged thematically into sections that span an expanded Black southern imaginary that enfolds histories of the American South with those of the Caribbean, Brazil, and West Africa; the enduring practices of Black spirituality; the profound conditions and effects of Black migration; the resilience for and necessity of an intersectional Black liberation; the prominence of Black women in Ailey’s life; and the robust histories and experiments of Black music; along with the myriad representations of Blackness in dance and meditations on dance after Ailey. 

Throughout the presentation of Edges of Ailey, a robust live performance program in the Museum’s third-floor Theater will accompany the in-gallery component. The performance series is inspired, motivated, and organized to reflect Ailey’s commitment to building a platform for Black modern dancers and choreographers. The performances feature all facets of the AILEY organization in residency at the Whitney for one week each month, for a total of five weeks.

This allows visitors to experience the full scope of Ailey’s world and legacy, including performances of classic and contemporary works by the two repertory companies—Alvin Ailey American Dance Theater and Ailey II—as well as showcases by students from The Ailey School, workshops and education programs from Ailey Arts In Education, and classes from Ailey Extension. 

“Edges of Ailey is one of—if not the—most ambitious and complex exhibitions undertaken in the Whitney’s history,” said Scott Rothkopf, the Alice Pratt Brown Director of the Whitney. “Now is Ailey’s time and our time as an art museum to recognize his immense creative force not simply as one of the 20th century’s greatest American choreographers, nor as its greatest Black choreographer, but as one of the greatest artists working in any medium anywhere in the world. This exhibition situates Ailey—and those he drew on and inspired—smack in the middle of the avant-garde, right where they belong.”

Edges of Ailey is organized by the Whitney Museum in collaboration with the Alvin Ailey Dance Foundation. The exhibition is curated by Adrienne Edwards, Engell Speyer Family Senior Curator and Associate Director of Curatorial Programs, with Joshua Lubin-Levy, Curatorial Research Associate, and CJ Salapare, Curatorial Assistant.

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Embracing the cultural traditions of Maharashtra, the hotel warmly welcomed the dance artists with a grand procession of Dhol Tasha, setting the tone for an unforgettable hospitality experience.

The crew was thrilled to be greeted with this quintessential Maharashtrian musical ensemble, which instantly immersed them in the vibrant local culture.

As part of a special celebration, Hilton Mumbai International Airport hosted a delightful evening for The Quick Style crew, showcasing the authentic Koli cuisine and culture.

In collaboration with the Koli community, renowned for their expertise in seafood and traditional dishes, the hotel organized a memorable event where the dance crew had the opportunity to not only savour the flavours and aromas of the region but also actively participate in the preparation of Koli delicacies alongside the talented chefs of Hilton Mumbai International Airport.

The dance crew effortlessly synchronized their moves with the infectious beats of the dhol, creating a joyous spectacle that captivated everyone.

It was a true celebration of the senses, as the Quick Style Dance Group’s rhythmic choreography perfectly complemented the vibrant ambience set by the hotel.

“It is our immense pleasure in extending a warm welcome to The Quick Style crew as they wholeheartedly embrace the vibrant traditions of Maharashtra. At Hilton Mumbai International Airport, we take great pride in curating exceptional experiences for our guests, where they can immerse themselves in the local culture and create lasting memories that will stay with them for years to come,” expressed Deepak Kumar, General Manager of the hotel.

Hilton Mumbai International Airport continues to uphold its commitment to creating extraordinary moments for its guests, showcasing the cultural diversity and traditions of the destinations it serves.

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Northeast India proudly flaunts its rich and colourful festivals, most of which are related to agriculture or the beginning of a New Year. The festivals of the states of northeast India are commemorated for days with various folk dances and music and present a wonderful opportunity for people belonging to different tribes to bond.

The sumptuous delicacies, alluring costumes, soulful music, warm hospitality and lively ambience give one enough reason to be an active part of the festivities and plan a Northeast India trip.

Nongkrem Dance Festival

Shad Nongkrem is a sacred dance of Meghalaya, usually celebrated sometime during the month of November at the village of Smit. This is a magnificent fiesta that is celebrated with tremendous pomp and grandeur. Shad Nongkrem, being the most important festival of the Khasi people, is performed by the Syiem of Khyrem, who sacrifices a cock to appease the gods of the ruling clan and the deity of Shillong peak (U-Lei Shillong). Sacrifices are made as offerings to their ancestors and because of this, this festival is also known as Ka Pomblang.

Unmarried girls and boys dressed in their beautiful, traditional attires perform this dance. Girls perform Ka Shad Kynthei in the inner circle of the arena. Boys with their swords in their right hand and white yak hair in their left, perform the Ka Shad Mastieh in the outer circle.

The ever-changing beats of the drums and pipes (Tangmuri) take the fervour of this festivity to the next level. On the whole Nongkram Dance is one of the most superb carnivals that manifests itself with a  colourful hue and brings in more shades to the entire state in this zealous celebration.

Dree Festival

The Apatani, the main tribe living in Ziro, perform a series of rituals and festivals celebrating different phases of agriculture for an abundant yield of crops. Chandii Tamu is a rite performed during the sowing period, Dree during every growing period of crops and Yapung, just before the harvest. Dree has become one of the major festivals for Apatanis and a wonderful reason to travel to northeast India.

Dree, is primarily a harvest festival, celebrated to ensure a good harvest. During this festival, people offer prayers to four gods namely, Tamu, Harniang, Metii, and Danyi. The 3-day celebration and festivities start with dance performances by children, young and old, traditional wrestling performances and food stalls at the venue.

After all the rituals and sacrifices, the throes of the celebration moved to the next level with the tribe’s most popular folk dance Daminda, a welcoming dance that marks the beginning and end of the Dree festival. This dance performed to the strains of Daminda Biisi, is a ballad recounting the origin of the festival, welcoming the guests to participate, persuading the god of agriculture for a plentiful harvest and prosperity for the whole of mankind.

As the sun sets, the evening turns brighter and more colourful with the ‘Miss Apatani Beauty Contest,’ an event to showcase the beauty of their culture and how it blends with today’s modern world and is now a major boost for northeast India tourism.

Bihu

Bihu is a harvest festival that has come to be known as the national festival of Assam, a state well-reputed for its tea gardens, mighty Brahmaputra River and lush green forests. The Bihu festival is a set of three different cultural festivals of the state, Rangali or Bohag Bihu, Kangali or Kati Bihu, and Bhogali or Magh Bihu.

Bohag Bihu being one of the most prominent festivals in Assam coincides with Baisakhi, which falls around April. On the first day, devotees bathe and thank the animals for helping them in the farm work, while praying to the gods for a productive year ahead.

On the second day, known as Manuah (human) Bihu, people dress up in new clothes, exchange gifts and visit their relatives and seek blessings from their elders. On the third and final day, known as, Gosai (God) Bihu, people worship their household gods, seeking their blessing for a fruitful and abundant year ahead. Husori, a band of male singers, visit each and every household and sing traditional Bihu songs while offering their blessings to the household in return for some alms and gifts.

Cheiraoba

Also known as the Spring Festival is the New Year of the Manipuri people, celebrated on the first day of the month of Sajibu (March- April). People dress up in their traditional attire, decorated their houses, prepare delicacies and then offer them to their deity Sanamahi. Then they visit their relatives to exchange gifts and wishes and blessings for the New Year.

One of the important aspects of this particular festival of northeast India is the selection of Chahitaba, a man selected by the Maibas (priests) based on the former horoscope. The chosen Chahitaba is meant to give up his name for a year and bear all the sins of the people. He is responsible for the good or ill of the whole community. Another important ritual associated with the festival is the climb to the Cheiraoching hilltop, located in Imphal, which ignites the belief in them that most anyone could scale great heights in life.

Kuts of Mizoram

In local Mizo vernacular, ‘kut’ means festival. Mizoram in northeast India has three festivals, Chapchar Kut, Mim Kut and Pawl Kut, all connected to agricultural activities. Chapchar Kut is celebrated in the month of March, marking the arrival of spring.

This is one of the oldest festivals of Mizoram, considered to be the most important traditional festival, celebrated with great pomp and splendour. People gather together, dressed in colourful traditional clothes and hats made from beads and parrots’ feathers. A traditional bamboo dance is performed by the women while the men sit on the ground and beat the bamboo against each other. Over the years each village has developed its own brand of celebration according to time, idiom and ethos.

Garia Puja

The most admired carnival among Tripura’s Kokborok-speaking tribal folks is celebrated with various traditional rituals along with a dance concert at the end. The Garia Puja is celebrated with great pump and glory on the last day of the month of Chaitra (April).

Garia is the compassionate deity of every household. People worship Garia and celebrate this puja with dedication and efficiency in order to keep their house in order and ensure peace and serenity. The symbol of the deity is carried from house to house by the people while singing and dancing to the rhythmic sound of the drums. The songs are sung to appease the gods, relieve one from suffering and increase the production of crops.

Hornbill Festival

This northeast India festival is one of the biggest celebrations of the indigenous warrior tribes of Nagaland. Named after the most venerated bird species in the state, this festival revolves around agriculture, which is considered sacred.

In spite of modern influence, the people have preserved their cultural heritage along with their customs and legacy while keeping the torch of their tribal identity well-lit. This festival encourages inter-tribal harmony and promotes local culture and traditions while displaying their unique customs, rituals and practices. Tourists are warmly welcomed and are treated well.

The celebrations are attended by all the major tribes of Nagaland who represent themselves with various arts, folk songs, dances and games. There are numerous displays of handicrafts, handloom, and multi-cuisine local food stalls while a rich amount of rice beer is always at hand to indulge in.

Evenings are lit by the thrilling Hornbill National Rock Concert in which bands from all over the country and abroad participate to compete. This is followed by the amazing Night Market in the town. But, the most attractive event at the festival is the Naga chilly eating competition and pork eating festival which draws a lot of crowd and evokes much fanfare and excitement.

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