ye7 Dancing, With Alvin Ailey’s Spirit Lurking in the Shadows

Dancersye7, vibrantly attired and nearly floating, skipped across the gallery floor at the Whitney Museum of American Art. With what at first seemed like a bow to the floor but was really a slow slide, they lowered with willful splendor into the splits. Their arms drifted out to either side with steely resolve to the Amy Winehouse song “Back to Black” and, upon rising, they stood with a hand to a hip. And then the dancing began. It got sweaty.

There are many ways to honor the choreographer Alvin Ailey, the subject of “Edges of Ailey,” an exhibition at the Whitney that ended last week. But “Chorus” (2016) — a pop-up performance by Ralph Lemon with music by Kevin Beasley — was scintillating and sly as it grew in sonic and visual vibrancy. All the movement comes from 1970s and 1980s “Soul Train” videos found on YouTube. The history of that show and its prominent presentation of Black artists, placed alongside Lemon’s five stellar dancers, made a splash. It crystallized that Ailey bling.

Part of the performance programming that accompanied “Edges of Ailey,” this was a show within a show: a line dance that electrified the fifth-floor gallery, grounding the somewhat chaotic site of the exhibition, which focused on Ailey’s life and career.

You could imagine “Chorus” making Ailey laugh. He always said dance was for everyone. “I believe that dance came from the people,” he said, “and that it should always be delivered back to the people.”

“In recent weeks, a conversation around whether to change how we allocate our Electoral College votes has returned to the forefront,” Mr. McDonnell said in a statement on Monday. “I respect the desire of some of my colleagues to have this discussion, and I have taken time to listen carefully to Nebraskans and national leaders on both sides of the issue. After deep consideration, it is clear to me that right now,og777 43 days from Election Day, is not the moment to make this change.”

Ms. Gray’s 14-year-old son, Colt, is being charged as an adult for murder in the deadliest school shooting in Georgia’s history. He is accused of bringing an AR-15-style rifle to Apalachee High School in Winder, Ga., earlier this month, killing four — two students and two math teachers — and injuring at least nine.

Lemon pulled that off. The performance, just 10 minutes, created a flow of energy — like water, which was meaningful, too. Water is a motif that comes up again and again in Ailey’s dances, from “Streams” to “The River.” (The exhibition featured an installation piece called “River,” by Maren Hassinger, with steel chains and rope in a reference to the Middle Passage, when enslaved Africans were transported to the Americas.) The dance embodied so much; grief is held in the body, and through dance, can be released.

It wasn’t always obvious how the performances that accompanied the exhibition fit into the lineage of Ailey. (The shows began in September and ended this month.) But Ailey was larger than life, and that allowed for creative freedom. The more unconventional responses were often more alluring than the traditional ones.

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