The Dance Theatre of Harlem Brought-it-on at City Center!
New York City Neighborhood Pride and Joy
As any New Yorker will tell you, the neighborhoods of our city have their own rich history. Each has its own vibe, a mixture of sounds, tastes and smells. An energy coming from the folks living and working there. Native New Yorkers, like myself will lament that this has been slowly fading over the last several decades, lost to real estate developers and the “malling” of our city at large. But there is still one “hood” from my youth that offers much of its original character and for that matter, is synonymous with music and dance, in a way none other is. A place known around the world as “Harlem USA.” I was reminded of the many cultural treasures of Harlem as I thrilled to an evening of one of the area’s gems-Dance Theatre of Harlem.
The excitement of the seemingly sold out City Center was palpable. The audience, all cooperatively masked, represented the diversity that we love as New Yorkers. It was also a crowd that, though well peppered by dance professionals and deep enthusiasts, also included many of all ages who were not your typical ballet audience-goer. However, it was clear we were all eager to welcome the return of this five-decade-old Harlem-based company.
Soul Amid Turmoil
The program got underway with the New York premiere of a series of short pieces all performed to the songs of Stevie Wonder. In today’s noisy music world it’s easy to forget ijust how genius this musical artist was and still is. His rhythms not only evoke movement, his lyrics pack an even more potent punch than some of the more bombastic beats of today. And, the contrast of the songs chosen by choreographer Robert Garland gave informed guidance to each of the exacting steps of his dancers.
This was demonstrated from the curtain up melody “Look Around” that starts much like a classical concertina and slowly morphes into a rhythmic swaying chant. It set the mood for a deep tale of a worldly people still filled with much joy despite repeated suffering and persecution. This became even more apparent as the company shifted into the second movement of the act performed to “You Haven’t Done Nothin.”
The choreography brilliantly articulated Mr. Wonder’s lyrics. It was as if I was listening to the song for the first time. Though written back in 1974 as a political protest against then President Richard Milhous Nixon, the words are ever relevant with all that we are living still today. The choreography acutely illustrated not just the political frustration, then and now. It also addresses apathy and frivolous self-involvement that is, by design, a distraction from the issues. The work even ends with the dancers entering with bedazzled cell phones, ultimately taking Ghetto-chic selfies of themselves.
The Brilliance and Relevance of Stevie Wonder Showcased by Classical Dance
As each song played, like “Heaven is Ten Zillion Life Years Away,” I was transported to my youth. I could see the album cover of my “Best of Stevie Wonder ” double-disk LP (yes, vinyl for young readers). As the dancers moved almost spontaneously across the stage, interacting with each other, I remembered walking around the streets of my grandparent’s Harlem and taking it all in with my blue eyes and a child’s purity. I was even reminded of how my grandfather, an Italian American (or a true Latino as he would often say), would give over to music and dance impromptu and across genres. Even while moving down the street. He was, after all, studying with the Alwin Nikolai dance company–a modern dance company and a contemporary of Dance Theatre of Harlem (DTH) and its founders Arthur Mitchell and Karel Shook. It would be thanks to my grandparents that I would first experience early performances of (DTH).
In so many ways Garland’s artistic choice of choreographing the first act’s work to Steve Wonder’s music was brilliant. It not only set the mood for a night of deep cultural storytelling, it paid homage to the dance company’s own history.
Summer of Soul and First Position for Dance Theatre of Harlem
Just like a 19 year old Stevie Wonder would make his NYC debut back in 1969 during a Harlem-based concert known as the “Summer of Soul,” a young Arthur Mitchell would step forth that smae year to form the dance company with Karel Shook. This was in the height of the civil rights movement and their humble beginnings was one of the earliest grassroots efforts to democratize classical dance. And, not just for African-American dancers, but for what was considered “non-traditional” audiences of classical dance. Shook and Mitchell led this movement both by their actions as well as by their bi-racial partnership. 53 years later, the company is still performing, teaching and dancing through barriers internationally. With each cultural sharing they continue to bring forth the roots of Harlem. Under artistic director Virginia Johnson, the company not only demonstrates the pedigree of African-American dancers, it brings to the forefront deep diasporic storytelling. This was aptly demonstrated in the two acts that followed the Stevie Wonder portion.
The second act featured the New York premiere of “Passage” choreographed by Claudia Schreier with music by Jessie Montgomery. It was created as part of a series of pivotal events in American history. On the surface it would seem to be a simple children’s fable of the wind and the trees. But like a fable from the African storyteller Aseop, this mythical tale offers a strong message.
Telling Tales Like Aseop
Smokey, seemingly ambient light, designed by Nicole Pearce helped set the tone for this piece. Even the early lifts of the female dancers made it seem like their movement was like that of hinged shadow puppets. Each of their four male counterparts serving as master puppeteers, working collectively to move like the wind. The company’s monochromatic leotards and unitards, designed by Martha Chamberlain, had a simple almost abstract dark branch running up the side. Its symbolism, beyond that of trees, was not lost on this writer, already scribbling notes in the dark for his assignment for Routes magazine. Through stunning leaps, precision lifts and inclusive of graceful tumbles to the ground, each dancer served as tree, leaf and even seed. The story being told was that of the resilience of human spirit. More specifically, of a people with such deep and worldly roots that they have an enduring ability to prevail, despite whatever harsh winds blow.
An African Proverb
The wind does not break a tree that can bend.
Building on worldly themes, the evening ended with what seemed the offering of a joyous societal reminder of how our collective roots are deeply intertwined.
The last work, also a New York premiere, was entitled, “Balamouk.” Choreographed by Annabelle Lopez Ocha to music performed live by The Klezmatics. The work seemingly transported us to the northern end of Africa with colorful costume design by Mark Zappone and warm sunlit lighting designed by Les Dickert. The choreography was fierce and energized, responding to the exuberant klezmer music. Once again bodies were lifted to create deep visual fable-like storytelling. The company lifted a dancer like the maidenhead of an ancient ship as it sailed across the seas, perhaps from the markets of Marrakech to the Canary islands or the nearing Spanish shores. Now the dances seemed to infuse Latin rhythms and articulations. The company of this work also offered a variety of skin tones that spoke further to the mixing and expansion of cultures.
The work was filled with mirth and playfulness, joyously inclusive of one male, mutached dancer seemingly playing cross-gender. Perhaps the role of gypsy mother. Through this piece one was reminded of the continuance of community by women. In one particularly flirty moment the core group of female dancers gathered together to talk, tease and even gossip. This band of colorful, jubilant wandering gypsies celebrated this melange of movement and spirit and at one point there even seemed to be a symbolic wedding of cultures. As the dancers moved, mixed and swayed, they left behind shadows on the back scrim as if dancing into a distant memory.
Standing Together
By the end of the worldly journey of this piece, and of the night on the whole, the audience leapt to their feet to celebrate the return of this genius and gifted dance troupe. A company that seemlessly expands the roots of classical ballet with its precision pointe (toe) shoes dancing by peppering it with modern, jazz, African, and even contemporary flavorings. But, we were seemingly celebrating something more. This became evident as band members of the Klezmatics joined the dance company for the final curtain call. The racial contrast was truly representative of the audience and for that matter of the birth place to this company-Harlem. A New York neighborhood with a long history of cultural migration that brought about diverse collaborations. An area enriched and celebratory in the joy and artistry of music and dance, and ultimately of each other.
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