On February 27, 2010 I turned up the car radio and headed for the Sprenger Theater in Washington D.C. at 1333 H St. NE. with an open mind and an eagerness to be inspired. Being somewhat familiar with the work of Body Moves Contemporary Dance Company, I knew that I could anticipate a well-prepared and thoughtful concert performance. I was right. And, I was inspired.
The dance event was hosted by ATLAS, a premier performing arts center, in conjunction with the Intersections Art Festival. The festival, itself, was a collision of multi-disciplinary arts celebrating the beauty in cross-cultural differences and commonalities. The performance I experienced commemorated the evolution of African dance through various styles spanning several generations from the early tribal genre to modern day hip hop.
The choreographers for this piece were able to create a magical and transporting history of African dance. The stage lit up as a living story of the genres progression in movement with each stage of development bearing its own particular grace and strength. The nature of this type of performance demanded a fairly extensive range of its young dancers, most of them females between the ages of six and seventeen. But, for the most
Miller 2
part, they were able to deliver a convincing presentation despite their less than professionally-polished experience. Their dedication to the work was obvious and their love of dance overcame any of my qualms with technicality.
But, the young dancers message didnt stop at a mere history lesson they were also celebrating the desegregation of the African American community in the United States. The performance wasnt just a look at where weve been it was a victorious declaration of how far weve come.
After centuries of the gross injustice of inequality, minorities across the country have come to enjoy their rightful place in society as equals. In fact, in stark contrast to past inequities, discrimination is not only an ethical offense its a punishable crime. Decades of freedom speech, persistence and moral education from leaders like Dr. Martin Luther King, whom we honor each year as a nation, has helped shape our country in a very positive and enduring way. Its amazing to consider that only forty years after his death, the highest post in our country, the country Dr. King loved, is now held by a member of the African American community.
The scenes of the companys performance reflected the story of this incredible process, beginning in the land of Africa before the institution of a cross-country slave trade. The first scene, the first dance showcased the traditional tribal style with a pureness, joy and underlying nobility of graceful movement. However, the dance continued as did history- to a darker place.
During the years depicting the unjust humiliation and demoralization of slavery, the choreography went to a slower, markedly sadder place. There was beauty in it, but no
Miller 3
uplifting energy. Their very limbs seemed burdened with the weight of mistreatment. However as in history- this sad note did not last forever. It gave way to exuberance as the dancers portrayed the jubilee of liberation and shared civil rights. The weights burdening their limbs and their dance, was lifted. The stage came alive again with humor, acrobatic feats and the palpable spirit of achievement.
It is this spirit of achievement after centuries of struggle that was most communicated through the performance, especially highlighting the period between the 15th and 20th centuries. Within the framework of this context, themes such as artistic expression, slavery, resistance, oppression and the civil rights movement were explored and given meaning through movement.
Each scene expressed a different feeling and employed a different style of movement, which made the performance, as a whole, engaging and diverse. But, the overall and cohesive visual image of the work comprised memorable stage visuals reflecting the culture, garb and customs of the African American community.
Another cohesive element on the ever-evolving stage was collective movement in group dance. (Although, most of the scenes involved collective, group movement, a few scenes did feature a solo dancer exhibiting a specific dance style.) Some of these collective moments were executed at a speedy tempo, including magnificent stunts, such as jumps and impressive feats of flexibility. Other times, the movements were carried at a slower tempo with deep emotional content. Every now and then, the acting skills of certain dancers were called upon as they shouted their declaration of resistance against the surrounding injustice of their staged circumstances.
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The dance, itself, was easily interpreted in terms of historical context, but was more complex in its emotional content. For example, the lack of compassion and empathy towards children during the time of slavery by their oppressors, was clearly expressed through the story of the dance. However, the hostility felt by these circumstances was more subtly communicated by the style and energy of the choreography, which was both aggressive, reactive and sharp.
Another strong emotion asserted was humility. As the dignity of the human creature was stripped and defrauded, the slave-dancers moved with exaggeratedly slow, almost lethargic, animation. This sense of unmotivated, hopelessness stood in high contrast to the emotional portrayal of dignity, where the dancers stood firm and swayed in physical unity. They also performed elaborate stunts that required collaborative effort for success. There was an undeniable strength in these choreographed bits that depicted a unity and a harmony that painted a beautiful portrait of true brotherhood at its best. As one, they stayed together and they stayed attached to their culture, which later, led the African American community to influence art and dance in the United States with such a powerful voice.
The story of the African Americans rich history and culture, through its years of oppression and eventual liberation is an inspiring one. It speaks of human dignity, brotherhood, perseverance and hope and it has produced moving art reflecting those immense themes. I drove to the Sprenger Theater anticipating inspiration and I found it in the touching depiction of a cultures plight from freedom, to enslavement and then, with time, back to its glorious and rightful- place to freedom.
The dance event was hosted by ATLAS, a premier performing arts center, in conjunction with the Intersections Art Festival. The festival, itself, was a collision of multi-disciplinary arts celebrating the beauty in cross-cultural differences and commonalities. The performance I experienced commemorated the evolution of African dance through various styles spanning several generations from the early tribal genre to modern day hip hop.
The choreographers for this piece were able to create a magical and transporting history of African dance. The stage lit up as a living story of the genres progression in movement with each stage of development bearing its own particular grace and strength. The nature of this type of performance demanded a fairly extensive range of its young dancers, most of them females between the ages of six and seventeen. But, for the most
Miller 2
part, they were able to deliver a convincing presentation despite their less than professionally-polished experience. Their dedication to the work was obvious and their love of dance overcame any of my qualms with technicality.
But, the young dancers message didnt stop at a mere history lesson they were also celebrating the desegregation of the African American community in the United States. The performance wasnt just a look at where weve been it was a victorious declaration of how far weve come.
After centuries of the gross injustice of inequality, minorities across the country have come to enjoy their rightful place in society as equals. In fact, in stark contrast to past inequities, discrimination is not only an ethical offense its a punishable crime. Decades of freedom speech, persistence and moral education from leaders like Dr. Martin Luther King, whom we honor each year as a nation, has helped shape our country in a very positive and enduring way. Its amazing to consider that only forty years after his death, the highest post in our country, the country Dr. King loved, is now held by a member of the African American community.
The scenes of the companys performance reflected the story of this incredible process, beginning in the land of Africa before the institution of a cross-country slave trade. The first scene, the first dance showcased the traditional tribal style with a pureness, joy and underlying nobility of graceful movement. However, the dance continued as did history- to a darker place.
During the years depicting the unjust humiliation and demoralization of slavery, the choreography went to a slower, markedly sadder place. There was beauty in it, but no
Miller 3
uplifting energy. Their very limbs seemed burdened with the weight of mistreatment. However as in history- this sad note did not last forever. It gave way to exuberance as the dancers portrayed the jubilee of liberation and shared civil rights. The weights burdening their limbs and their dance, was lifted. The stage came alive again with humor, acrobatic feats and the palpable spirit of achievement.
It is this spirit of achievement after centuries of struggle that was most communicated through the performance, especially highlighting the period between the 15th and 20th centuries. Within the framework of this context, themes such as artistic expression, slavery, resistance, oppression and the civil rights movement were explored and given meaning through movement.
Each scene expressed a different feeling and employed a different style of movement, which made the performance, as a whole, engaging and diverse. But, the overall and cohesive visual image of the work comprised memorable stage visuals reflecting the culture, garb and customs of the African American community.
Another cohesive element on the ever-evolving stage was collective movement in group dance. (Although, most of the scenes involved collective, group movement, a few scenes did feature a solo dancer exhibiting a specific dance style.) Some of these collective moments were executed at a speedy tempo, including magnificent stunts, such as jumps and impressive feats of flexibility. Other times, the movements were carried at a slower tempo with deep emotional content. Every now and then, the acting skills of certain dancers were called upon as they shouted their declaration of resistance against the surrounding injustice of their staged circumstances.
Miller 4
The dance, itself, was easily interpreted in terms of historical context, but was more complex in its emotional content. For example, the lack of compassion and empathy towards children during the time of slavery by their oppressors, was clearly expressed through the story of the dance. However, the hostility felt by these circumstances was more subtly communicated by the style and energy of the choreography, which was both aggressive, reactive and sharp.
Another strong emotion asserted was humility. As the dignity of the human creature was stripped and defrauded, the slave-dancers moved with exaggeratedly slow, almost lethargic, animation. This sense of unmotivated, hopelessness stood in high contrast to the emotional portrayal of dignity, where the dancers stood firm and swayed in physical unity. They also performed elaborate stunts that required collaborative effort for success. There was an undeniable strength in these choreographed bits that depicted a unity and a harmony that painted a beautiful portrait of true brotherhood at its best. As one, they stayed together and they stayed attached to their culture, which later, led the African American community to influence art and dance in the United States with such a powerful voice.
The story of the African Americans rich history and culture, through its years of oppression and eventual liberation is an inspiring one. It speaks of human dignity, brotherhood, perseverance and hope and it has produced moving art reflecting those immense themes. I drove to the Sprenger Theater anticipating inspiration and I found it in the touching depiction of a cultures plight from freedom, to enslavement and then, with time, back to its glorious and rightful- place to freedom.
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