By Walter Rutledge
Ronald K. Brown/Evidence presented their New York City season at the Joyce Theater February 24 through March 1, 2026. The company offered two programs, a total of eight works spanning the years 2006 through 2017. The production experienced some snow drama with the cancellation of the February 24 performance and the addition of an evening show on Sunday March 1st. The six-day, seven performance season paid tribute to Ibiwunmi Omotayo Olaiya and Toni Pierce-Sands.
Nigerian reared Olaiya’s contributions included composer, costume designer, dancer, and visionary artist since the early 1990s. Her artistry was honored in Program A, while Program B celebrated the life and legacy of beloved performing artist Pierce-Sands. These two women had an immeasurable impact on Brown and Evidence’s forty-one-year artistic journey.
The anthology revealed the evolution of Brown’s finite vocabulary and preferred group patterns, which define the choreographer’s signature style. Matthew the Apostle told the story of the feeding of multitude with only five loaves and two fish (Chapter 14 verses 17 – 19). Somehow all that came were satisfied. In a similar manner Brown has five steps and two go-to movement patterns, but he miraculously always nourishes his audience.
For Brown the movement is like an alphabet. There are a finite number of characters which are arranged in infinite combinations. Coupled with his strong choreographic prowess, which is clearly acquired/developed and instinctive, Brown produced focused and powerful afro-centric storytelling.
This is one of Brown’s strong suits, making his primary medium – dance, into a distinct signature movement vocabulary. Like many of the twentieth century dance makers Brown has developed movement and movement patterns which have become synonymous with his artistry. To balletomanes and Evidence dance enthusiasts Brown’s choreographic signature is as recognizable as modern dance mainstays such as Graham, Taylor or Horton. Brown’s unique and original style is not centered around a euro-centric movement base or esthetic. The West African movement foundation incorporates euro-centric dance styles and choreographic tenets while remaining true to the principles of African storytelling and ritual.
Except for the poignant and introspective 2006 solo Clear As Tear Water Program A presented works from 1996 through 1999. All the works featured costumes and music by Olaiya. What was interesting was to see the development and implementation of his signature movements patterns and shapes. There was a freedom in the sense of experimentation with more of a visible amalgam of western dance styles.
Program B presented works from 1999 to 2017. The works reflect more upper body stylization in the use and shapes, and a strong and developed choreographic prowess. Musicality par none, his uncanny use of rising and falling actions help him create mood, change energy and provide natural transitions. And his ability to establish multiple movement pattens simultaneously creating a visual polyrhythm has become second nature.
The program closed with his groundbreaking Grace. Although it was the oldest of the works presented on this program you could see its influence on the works that proceeded it. Guest artist Khalia Campbell, who had performed the work during for tenure with the Ailey Company, was a welcome addition to the stellar cast.
The Ronald K. Brown/Evidence season was a loving retrospective of the man and his mission. If art is communication, then Brown has been blessed to create in a clear and resounding artistic voice. But we must remember his true genius lies in his ability to take five steps and two patterns and create a dance banquet.
In Photo: 1. Wunmi Olaiya and Ronald K. Brown in Abidjan, Côte d’Ivoire (1998) 2. Samiyah Lynnice
Your review and critique of Ron Brown’s company was very accurate into the point!
Unfortunately, I only saw Program B and I really want to see Program A also it was good seeing a montage of his earlier works
Thks for the lovely review