How can the context of Cry be related to or affected by the era in which Ailey worked?Rachael Jones

Context is the framework and setting of a particular circumstance or event. It is the underlying foundation on which you can build. Cry by Alvin Ailey is comprised of a personal, historical, cultural and social context. The 1950s 1970s was the time in which Aileys career as a choreographer was at its strongest and this was also a time of dramatic change within society. Uprisings for equal rights within the African American community were occurring more frequently and were gaining media coverage and attention. It is fair to say that the aforementioned contexts were formed and affected by the revolutionary era in which Ailey worked.

The personal context of Cry was derived from a variety of life experiences faced by Ailey; the main focus being his mother and her struggles. For example, the first section of Cry is about the varying roles and struggles of African American women. Life was tough between the 50s and the 70s for all African Americans, but even more so for women. They were treated even lower than men; being taken advantage of and in Aileys mothers case; raped. A sense of loss is portrayed in the movement and we see the maternal job to keep the family together and strong, conveyed through the female dancer. When the dancer uses the piece material to trap herself and resists against it, it expresses the experience his mother would have felt; with the material representing a barrier. We also see aspects of those emotional feelings Ailey felt throughout his life. When the dancer uses the material to scrub and clean the floor, this shows a literal representation of the hard work Aileys mother and all African American women went through to make ends meet in the era in which Ailey worked.

The historical context of Cry directly relates to the era in which Ailey worked. Between the 1950s and the 1980s there was a worldwide political movement for equality. Campaigns aimed at achieving change by non-violent forms of resistance were quite popular. During the 60s injustices could no longer be ignored and riots started to break out. African Americans were treated inferior to whites in every aspect of life. Martin Luther King led the way for many African Americans to not give up hope. He led many demonstrations; some of which achieved integration. These historical dynamics that surrounded Ailey influenced the context, particularly in section three. This section conveys a sense of celebration and pride through upbeat accompaniment and dynamic movement. The movement consists of elevated jumps and leaps, with open shapes representing African culture through splayed hands and polyrhythms. The sense of hope that African Americans gained from activists such as Martin Luther King and Rosa Parkes is portrayed through this section of movement, creating a clear link between the context and the era in which Ailey worked.

The cultural context of Cry consists of Aileys religious faith and the morals he experienced growing up throughout his life. When experiencing life in the church, Ailey saw how his mother and other members of the community found joy and energy in worshiping God. We see this same inner strength and a spiritual background represented physically by the dancer in Cry, with the use of high releases in the upper body and circular motions of the arms. There is also a use of literal movements of prayer. Through contrived movement we see the faith continue; it is an ongoing belief. You draw on your own beliefs and values when going through hard times. This shows a distinct relationship between the cultural context and the era in which Ailey worked, as he had to fight for rights of equality and faced prejudices during the 50s, 60s and 70s. He used his faith as a means of strength; just like the female dancer in Cry. The social context of Cry came from societys views within the era in which Ailey worked. Segregation was still a major issue within society and this played a major role on the context of Cry; the submissive cyclical nature of life. The African Americans felt trapped and weighed down; having no freedom and equal rights. This is shown through the many uses of the material. When the female dancer lays it at the front of the stage it acts as a boundary and is symbolic that African Americans were restricted in life and cannot pass over into the whites side. When the dancer uses it as a head dress this symbolises the importance of mothers within their society; women in African American society were valued highly; they were the bearers of children. Despite the many grievances the family may face, mothers were there as a means of support for the family. Ailey had the highest respect for his mother and this is shown through his portrayal of women in Cry. When the dancer carries the fabric behind her, it acts as a burden; baggage that the African American community felt they carried through all of their lives, due to societies views on them.

In conclusion, there is a direct link between the era in which Ailey worked and the context of Cry. Ailey worked in one of the most society changing times in America. Everything that white Americans had grown up with for centuries was now challenged and questioned. The thought of African Americans having equality was too much for many to believe. This controversy and fight for freedom is what helped shape the context of Cry. If it were not for these revolutionary changes within American society, I believe the context of Cry would not have been what it was. Rosa Parkes sat so Martin Luther King could walk. Martin Luther King walked so Obama could run. Obama ran so we could all fly. America has come so far from the era in which Ailey worked and if Cry were to be created in todays circumstances I believe it would be a completely different work.