Choreographer: Robert Battle
Music: Sheila Chandra
Artistic Director Robert Battle mixes humor and high-flying movement in this fiery work. The complex, tightly woven rhythms of Indian Kathak dance are deconstructed and abstracted in this percussive, fast‐paced work, where clear shapes and propulsive jumps mimic the vocalized rhythmic syllables of Sheila Chandra’s syncopated score.
Robert Battle comments: Takademe is near and dear to me as one of my first creations. It’s a work I made in the tiny living room of my old apartment in Queens. As I begin as Artistic Director, I want to acknowledge my journey, look back on what I did with so little and recognize having so very much now. Also, the work has a sense of humor, and some of my other works that have been done at Ailey were in a more serious vein. I wanted to share another aspect of myself with the Ailey audience.”

Featured News Releases

Alvin Ailey American Dance Theater Artistic Director Robert Battle Announces Programming For Lincoln Center Season June 12-16, 2019

New York – April 4, 2019 – Capping off a joyous 60th Anniversary celebration that reached from coast to coast, Alvin Ailey American Dance Theater returns to Lincoln Center for the Performing Arts for seven performances at the David H. Koch Theater June 12 – 16, 2019. Helmed by Artistic Director Robert Battle, the season features a world premiere by Darrell Grand Moultrie – his debut for the Company – as well as recent premieres by some of today’s most revered choreographers. The engagement also includes several rarely seen works by Alvin Ailey, an Ailey Spirit Gala benefit celebrating The Ailey School’s 50th Anniversary, and a special evening honoring the legendary Carmen de Lavallade. Alvin Ailey’s must-see masterpiece Revelations is the uplifting finale of each performance.

Alvin Ailey American Dance Theater Celebrates Groundbreaking Founder During 60th Anniversary North American Tour February 1 - May 12, 2019

UPDATED January 31, 2019 (NEW YORK CITY) After an acclaimed five-week holiday season in New York, Alvin Ailey American Dance Theater will continue its Ailey Ascending 60th Anniversary celebration during a North American tour which kicks off during Black History Month with a February 1st opening in Toronto. On February 5th, a weeklong engagement at The Kennedy Center launches with the 20th Annual Washington, D.C. Gala Benefit to support Ailey's D.C. programs, including the creation of new works, arts-in-education activities, and scholarships to talented young area dancers to attend The Ailey School in New York. Other stops on the 21-city tour include Miami, Atlanta, Chicago, Los Angeles, and Boston, culminating with a Mother’s Day performance in Newark on May 12th.

Alvin Ailey American Dance Theater Celebrates Six Decades During 20th Annual Washington, D.C. Opening Night Gala Benefit At The John F. Kennedy Center For The Performing Arts - Tuesday, February 5

(Washington, D.C.) January 15, 2019 – On Tuesday, February 5, 2019, Alvin Ailey American Dance Theater’s 20th Annual Washington, D.C. Opening Night Gala Benefit kicks off the opening of the renowned Company’s engagement at The John F. Kennedy Center for the Performing Arts. Following the 7pm opening program on the Opera House Stage – featuring Rennie Harris’ powerful Lazarus and Alvin Ailey’s masterpiece Revelations – Artistic Director Robert Battle will lead dinner and dancing on the Terrace Level of the Kennedy Center in celebration of Ailey’s 60th Anniversary.

Featured Press Coverage


The New York Times - Special Sunday Insert: Uplift!

By Zadie Smith. When I was about 12, the Alvin Ailey American Dance Theater came to town and my mother took me to see them. It was a trip for just us two, and I was a little reluctant, suspecting some species of racial uplift, which I felt I could receive far more easily by staying in my room, listening to Movie Love and watching Cameo's "Word Up" video on repeat. I was suspicious of racial uplift in general. The way it always seemed to point in the same direction, toward the supposed "higher" arts: the theater but not the television, opera singers but not beatboxers, ballet dancers but not body-poppers. No Jamaican mother ever ran into a kid's bedroom, waving a cassette, crying: "Have you heard 'Push It'? It's by some brilliant young ladies from New York!" Yet I couldn't imagine anything on the legitimate stage meaning as much to me as Salt-N-Pepa's bump and grind.