By Walter Rutledge
Camille A. Brown and Dancers presented an all too short New York season Wednesday February 5th thru Sunday February 9th at the Joyce Theater. The sold-out five-day seven performance run presented I AM the third installment in her Black Joy trilogy. As the curtain rose, and as the evening proceeded it became clear Brown has saved the best for last.
Brown has developed a signature style of moving. The work immediately established this and remained true and consistent to her movement vocabulary throughout. An admirable observation (relief) was the absence of the uninteresting and predictable choreographic fillers such as attitude turns, classroom inspired pirouettes or traditional visual motifs and patterns.
I AM consisted of a series of vignettes, each one a complete stand-alone statement. Yet all shared a common unifying theme- Camille’s truth. There is a freshness to the work. Her approach, message and ability to use abstract imagery to communicate concrete statements were examples of her growth and maturity as an artist/storyteller.
Prior to the start of the performance in a prerecorded message Brown redefined the evening’s theatre etiquette. We were informed that vocal adoration, applaud where we wanted and participation in any call and response was not only welcomes but encouraged. The atmosphere immediately changed. The cheering on of performers by name, commenting to the stage, and acknowledging satisfying movement passages reminded me of black dance concerts from yesteryear.
Musicians Juliette Jones, Deah Love Harriott, Marlene Mauro – Wade and Jalen Petinaud assisted Brown in directing the works pacing and raising and falling action. These become essential elements in any one act production. The original music and interpretations of previous recorded songs were tailor made for her theme keeping the work lean and focused.
The use of polyrhythms has become an essential element to Brown’s dance language. Creating sound, often percussive, with feet, hands and voice in different time signatures and rhythmic pattern simultaneously has been part of the diasporic experience long before “Plymouth Rock landed on us” (Malcolm X). When the oppressors of the enslaved African realized the unifying power of the drums, they quickly banned them but could not suppress those blood memories.
These memories reverberated throughout the choreography. Gen Z and Gen Alphas were reveling in the movement references to hip hop, ballroom, step teams and social dance. While the Baby Boomers and Gen Xers gleefully enjoyed a two-step down memory lane with the Motown music references. One brilliant statement that evolved over the course of the work was the introduction of a juba dance and a hip-hop dance battle subtly revealing they are direct descendants.
All art is autobiographical. If for no other reason than art is created by people who each have individual perceptions. And their art reflects that unique understanding as seen through the artist’s eyes and lived experiences. Brown presented a very personal and personable story; and it are those very qualities that endeared the audience. The evening was not only a positive Black History lesson but a joyful Herstory experience.
