Complexions Contemporary Ballet rocks out at The Joyce

Complexions Contemporary Ballet
(photo: Rachel Neville)

Overflowing with virtuosity and technique, Complexions...is the future of contemporary ballet. Embracing diversity with 15 dancers of different ethnic and dance backgrounds and founded by Dwight Rhoden and Desmond Richardson, two former stars with Alvin Ailey American Dance Theater, this company is pure dance, pure excitement. 

--from the website of The Joyce Theater

As anticipated, a whole batch of David Bowie hits--from "Space Oddity" to "Lazarus"--have taken up residence in my brain, thanks to Complexions Contemporary Ballet, now presiding over The Joyce Theater through February 5. I saw Program A last night, a show that concluded with a New York premiere, Dwight Rhoden's STAR DUST, subtitled in program notes as A Ballet Tribute to David Bowie. Currently, my head's streaming "1984." The other piece on the bill, a world premiere, is called GUTTER GLITTER and has an epilogue duet inelegantly titled SO NOT A... (AN EPILOGUE TO GUTTER GLITTER). I'm not sure, but I think all these uppercase letters are intentional parts of the title, not just a graphic design element. Sometimes uppercase letters in titles can be a bit much, but with this company, they just make sense.

Yes, these dancers are certainly "overflowing with virtuosity and technique." I haven't seen Complexions in years, but I don't remember the virtuosity and technique being so convincing as standalone values that they would lure me back for more. What I remember is struggling to see past them. But now I would happily revisit the current troupe just to savor how remarkably good these dancers are at what they are asked to do, how hard they work at this, and how Rhoden pushes his abundant, maximalist aesthetic to the max, splashing that stage with a big corps and deploying it like an agile, formidable army. And, yes, if you like pure, abstract dance, if you crave pure sensation, if you want precision and performance that seizes space and never lets it go, then Complexions is your company, "the future of contemporary ballet."

Andrew Brader and Jillian Davis
in Dwight Rhoden's GUTTER GLITTER
(photo: Moira Geist)

Terk Lewis Waters,
in Dwight Rhoden's STAR DUST
(photo: Breeann Birr)

There's so much. Often, there's too much. The GUTTER GLITTER glittering glitters on too long. Seriously, dances that sprawl like that and seem to be resolving towards an end only to start up again work my nerves something fierce. It's something I just don't have a lot of patience for, I'll admit.  STAR DUST, organized around nine Bowie songs and their actual length, at least gives you a sense of where you are in the schedule. If you've read your program, when you get to "Young Americans," you know the end is nigh--although, I must say I was surprised by the thinness and lethargy of the ensemble work in "Young Americans," relative to everything that came before, as if Rhoden's movement ideas had run out. By contrast, Peter Gabriel's mournful version of "Heroes," set near the middle of this suite, gave Rhoden and dancers space to breathe without dragging them down. Don't mind me, though. At STAR DUST's end, the audience loved on this company, with good reason, for the gift of this entire evening. People leapt to their feet, sending the dancers off with cheers ringing in their ears.

The sensual STAR DUST has a readymade advantage--our Bowie nostalgia as well as the matchless Bowie songs, despite the visual silliness of lead dancers like Terk Lewis Waters or Andrew Brader, both standout performers in any moment, lip-syncing to them. Moves-wise, it draws upon the same rare physical elasticity, crystalline precision and brashness that makes GUTTER GLITTER a breathtaking eyeful. Take your dance-reluctant friends to a Complexions show and make newborn dance fans of them. I dare you. I double dare you.

Complexions Contemporary Ballet runs at The Joyce through February 5 with a gala this evening and two programs. For detailed programming and schedule information and tickets, click here.

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Dance Talks: Dancing Identity

Members of Abraham.In.Motion (c)2010, Eva Yaa Asantewaa

In celebration of the 25th anniversary of SummerStage, City Parks Foundation and The Greene Space (New York Public Radio) hosted Dance Talks: Dancing Identity, a conversation on issues of concern to contemporary Black dance artists. Moderated by choreographer and cultural scholar Dr. Kariamu Welsh, the discussion featured panelists Desmond Richardson and Dwight Rhoden of Complexions Contemporary Ballet; Francesca Harper of The Francesca Harper Project; Jamel Gaines of Creative Outlet Dance Theater; and Kyle Abraham of Abraham.In.Motion. The hour-long program opened with the presentation of an excerpt from Abraham's critically-acclaimed ensemble piece, The Radio Show.

"What is Black dance?" Dr. Welsh dared to ask. "Can it be defined? Is there such a thing? Have we passed its moment? Are we all just humans dancing?"

While the panelists agreed that, ultimately, we were all humans dancing, each emphasized the value of reaching into the wealth of one's culture and telling the stories that, Welsh declared, must never be abandoned.

Richardson recalled Alvin Ailey's teaching: "Don't exist just in that mode [Black dance, Black culture] but use it. You climb on the shoulders of folks who went before you."

"Here we are in 2010," said Rhoden, "And the world is a different place. We are celebrating the idea of diversity, watching the differences work in harmonious ways. But that doesn't mean you have to forget where you came from. It brings dimension to it."

But Harper also touched on the historical context of "Black dance" and the Black arts movement. "At the time, it was necessary and appropriate. It was important to establish the Black voice. Now we're expanding, opening up," she said. Her mother--the late Denise Jefferson, director of the Ailey School--taught her to prepare for a world of opportunities across dance techniques and performance disciplines. "She instilled in me to have the training to go wherever I wanted to. It was important to declare myself an equal."

Gaines agreed that Black artists had learned much from the Civil Rights movement but that today's performing artists draw inspiration and take training from diverse sources--ballet, modern, jazz, hip hop, singing and acting. As a strict category, "'Black dance' is a small part of an industry that is huge." He added that his work is recognizably Black in its foundation but not only that. "You might see ballet, hip hop, a step from Jamaica. Black dance is universal."

"I've always accepted all the labels," said Abraham, "Black. Gay. My experience growing up is reflected in the work I make. But I make work for a general audience."

So, is it okay to be "post-Black" now?

Welsh reflected on the "heavy, heavy, heavy burden" carried by Black artists of her generation, having to prove themselves in so many settings. "I'd like us to get past the proving part and just be: This is who I am."

"We always seem to get it," Welsh remarked. "It's the rest of the world that I'm worried about." And Gaines reminded us that the term "Black dance" can be used to limit artists: Black troupes suddenly become popular when it's time for presenters to draw up plans for Black History Month. "You can work from MLK Day to perhaps the second week in March," he said. To make a real difference, Black artists and other people of color must train not only for the stage but for the management office.

For the most part--aside from Abraham's brief, personal mention of sexual identity and a few panelists noting the dim employment prospects for Black ballerinas--speakers steered clear of potential flash points.

"As we continue, our stories get broader and broader, and that's a good thing," said Rhoden. "We have many, many layers. African American people are rich people with many stories to tell. The stories are changing because we are changing."

The conversation drew to a close too soon, with much left to be shared. Welsh requested a moment of silence. Panelists linked hands and closed their eyes as a screen showed a picture of the beloved Denise Jefferson. Afterward, Harper remembered that she had a message that her mother had sent her. She took out her smartphone and read it to us. Here are the final words:

"You can't be a dancer if your spirit is strained and cut off. You must touch that special place inside."

***

For information on upcoming events at The Greene Space, click here.

Celebrate citywide with SummerStage: Here's the schedule.

SummerStage welcomes Creative Outlet Dance Theater and Abraham.In.Motion this Friday at Harlem's Jackie Robinson Park. Click here for details.