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Is virtuosity enough?

Ronald K.Brown/EVIDENCE and PHILADANCO
Wolf Trap National Park for the Performing Arts
July 18, 2006

by Naima Prevots
Copyright 2006 by Naima Prevots

Ronald K. Brown/EVIDENCE and PHILADANCO joined forces for an evening featuring a world premiere and older choreography by Brown, as well as pieces by George Faison and Christopher L. Huggins, and while the performing and technical virtuosity were supreme, the choreographic statements were weak and repetitive. The audience cheered for the numerous lifts and leg extensions, hip swivels, fast footwork and turns, but as my eyes registered many of the same repeated movement patterns, I wondered if the spectacular dancers were being cheated by an overemphasis on virtuosity, and the lack of artistic and choreographic challenges. The program was organized so that each company had a piece to themselves, while the premiere involved both companies.

The program opened with Come Ye (2003), choreographed by Brown and performed by his company. Organized in five sections, with music by Nina  Simone and Fela Anikulapo Kuti, it was the most satisfying of Brown’s contributions to the evening. The title is explained in a note that says this piece “is a call to all those living in fear, all of those willing to fight for their lives and ultimately peace, the dance is a call to prayer and an agreement to call on the highest self available to serve as guide and warrior.”

Containing no particularly striking images or insights, there was no deep exploration of the theme in terms of conflict, resolution, inner turmoil or group struggle. Carefully crafted with strong group patterns, clear dynamics, sensitive use of the music, and powerful individual performances, the piece conveyed an overall sense of a strong community joined in hope and joy and guided by strength of purpose. In the first four sections, each hip, torso and leg movement was integrated into a design that had meaning in the context of the message, and did not exist simply to show off the dancer’s capabilities. Unfortunately, in the last section extensive and lengthy repetition seemed to focus more on technique and less on holistic meaning and intent.

George Faison’s Suite Otis (1971) showcased PHILADANCO, with men and women clothed in bright pink dancing to music by Otis Redding. All six sections had similar movement phrases, dynamics and groupings, and while the dancers’ capabilities were clearly displayed, the choreography tended toward the cute and obvious. Girl meets boy, boy meets girl, girls meet boys, boys meet girls, standard flirtations are exchanged, and expectations are met for smiling faces and happy meetings. Standard gestures greet us for rejection and acceptance, and legs are lifted and hips are rotated for applause. Granted this is a very early piece by Faison, it is possible that when first presented, the movement vocabulary and the message had greater freshness. At this point in time, it seems simple minded, both in terms of choreography and message.

Brown’s solo Better Days: Sole (1999), with music by Herbert Brewster, had the potential for an interesting contrast to the other pieces, but was not fully articulated in performance. The movements are more introspective here, and the solo figure is intriguing in terms of gentle arm gestures of reaching and retreating, and a strong male figure alternating with his back to us as if hiding, and facing us with some hesitancy and questioning. Who is this person and what are they telling us? Are they exploring and finding, are they exploring and unsure, are they exploring and conflicted? The choreography stops at crucial points, and does not take the risks necessary to fully engage and probe.

Christopher L. Huggins was represented by Enemy Behind the Gates, with music by Steve Reich, and although not specified on the program, the implication from the program listing is that 1999 was the premiere date. This was a pleasant surprise, and although it was not clear what the title meant and the piece was not fully realized, form and content opened up different horizons than the other works. Performed by PHILADANCO, we first see the group in a line, standing and waiting, in black costumes and sculpted postures. There is a sense of apprehension, as the figures emerge to our view with slashing movements and guarded ventures into the space. Levels are used strongly here, as figures fall and rise, giving a sense of combat and attack. Individuals state the thematic materials, and these are picked up by different groupings creating spatial interactions and images. Roughly midway during the piece, the material begins to lack clarity, and the choreography loses sense of purpose, as the movements become more predictable and similar to what we have already seen. This artist intrigues me, and I would like to see more of his work, even though the beginning promise was not fully realized.  

The premiere by Ronald K. Brown, For Truth, was a disappointment, particularly since I had been impressed with earlier works of his due to their power and originality. With music by Fred Hammond, McShell Ndgeocello, Femi Kuti, the piece consisted of three sections: “Your Steps Have Been Ordered “(danced by EVIDENCE); “The Chosen” (danced by PHILADANCO); and “Truth Don Die” (danced by both companies). If there was a message, it was hard to fathom, as the movements, patterns and interactions allowed for no development or conclusions of any particular idea or feeling, but simply displayed a high level of technical virtuosity. There was some hint of possible sense of spiritual search in the beginning as the dancers clasped hands and pressed against each other, but as the work progressed, we saw no attempt to probe any deeper and explore the meaning of the title. The music was used very literally, and the movements allowed for no reflection, as the dancers displayed their lifts, leg extensions, strong hip and torso movements, and quick leg work in similar fashion to Brown’s first work on the program.

What did Brown mean by “steps being ordered”, or by someone being “chosen” or by telling us that truth doesn’t die? What were we supposed to be witnessing, feeling, understanding? All three sections were similar, and at the end, there was nothing left but superb dancing.

Given the few moments of choreographic invention and insight, this was an evening of virtuosity unfulfilled.

 

Volume 4, No. 28
July 24, 2006

copyright ©2006 Naima Prevots
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