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Heritage is primary for these troupes.
These troupes serve as conduits into senior companies and showcases for work by new choreographers.
Only rarely did these troupes actually find theatres to act in; they played saloon bars, billiard halls, schoolrooms, hotel ballrooms.
But these troupes were sort of fabulous, and they introduced a lot of podunk towns to classical dance.
Afro-Brazilian Blocos: These troupes of up to 200 drummers parade through the streets trailed by trucks loaded with singers and blaring music.
Prominent among these troupes was the Alvin Ailey American Dance Theater (AAADT), which Jamison had directed since the death of Ailey in 1989.
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Usually, these Chinese troupes gravitate to smaller places with vaudeville-style shows of singing and dancing, or Chinese opera.
These traveling troupes of privilege and skill also take with them small armies — of trainers, grooms, farriers, veterinarians, even equine acupuncturists and masseuses.
These combined troupes will present dance with an urban outlook, by Rebekah J. Kennedy, and a rural point of view, by Susan L. Dodge, a Paul Taylor alumna.
These Mardi Gras troupes also marched through the Fair Grounds venue with colorful costumes and rhythmic singing/percussion adding to the sense of Festival.
In addition to these main, the troupe will also have a secondary.
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