By Walter Rutledge
It seems our narratives, our cultural and historic legacy, is being erased or altered to fit a new national fiction. It is becoming extremely important to tell our own stories and to share and protect our narratives. This was the mission of the Chicago Black Dance Legacy Project production Unbound: Shattered Frames, Endless Visions. The impressive and stylish sold-out presentation took place on Saturday, August 23 at the Harris Theater for Music and Dance.
The project embodied the principles of pedagogy, community and legacy inspiring and educating through the power of the dance theater narrative. It united ten of Chicago’s most prolific dance companies for an evening of Black dance excellence. Since a large portion of the project emphasized the process Out and About NYC Magazine felt the best way to properly document the true essence of Unbound: Shattered Frames, Endless Visions was to embed and become part the process.
We arrived on Thursday August 20th for the tech and rehearsals scheduled at the Harris Theater. Co- Directors Kevin Iega Jeff and Mashaune Hardy with the assistance of Program Manager Hope Houston had created an environment of focus forward positivity. For the next three-days everyone; dancers, singers, musicians, orators, directors and choreographers all moving forward as a supportive family of artists. A collective consortium here to share the historic contributions of Black dance on shaping Chicago’s cultural identity.
Co-curators Jeff and Gary Abbott did an exemplary job. The ole school concept of multiple companies sharing a bill has been a Black dance staple. They gave this format a new twist with a video prologue and epilogue. In these videos Jeff is joined by the directors of the participating dance companies in a discussion about the community, artistic survival and the performance.
This production element became a connecting thread weaving throughout the evening. Each dance segment was prefaced with a video introduction featuring the director/choreographer. These black and white “infomercials” cleverly produced concise, engaging and personable program notes. This thoughtful production value made the individual performances feel connected – like chapters in a novel.
Poet Lauren Dotson stood center stage in a dramatic pool of light. Her oracle-que soliloquy heralded the start of Unbound: Shattered Frames, Endless Visions.
Chicago Luvin choreographed by Joel Hall Dancers alumnus Maiya Redding set the tone for the evening. A suite of House music (the made in Chitown underground club sound was a favorite of founder Hall), was a fitting homage to both the company and Chicago’s signature club music. Three male dancers (Brandon Avery, Jarais Musgrove and Lee Na-Moo) opened the work with a testosterone charged jazz trio. The stage soon evolved into an up-tempo ensemble amalgam of Chicago’s footwork dance style, jazz and urban funk.
The diasporic journey continued with Najwa Dance Corps’ ensemble offering House is Home. The work provided an interesting study in anthropology by contrasting three dance styles that share a common root. The opening section featuring Chicago’s own house music and footwork dance style received an enthusiastic response from the audience
In the second section dancers formed two lines creating a runway for Jaheim Jones Vogue moment. Jones did not just “sashay away” instead his duck walks, dancing hands and death drop was buoyed by the crowd. The work culminated with their interpretation of South Africa’s Amapiano dance. This dance’s musical roots and movement are strongly influenced by Chicago house music and the footwork dance style. Choreographers and company members/performers Malika ‘Brenda’ Moore, Andrea Vinson and Michanna Murphy provided a teachable moment in the spirit of Katherine Dunham and Pearl Primus.
No Fear, an ensemble work choreographed by Bradlee Lathon for Forward Momentum Chicago lived up to its title. Inspired by Nina Simone’s quote, “I tell you what freedom means to me, no fear.” As the West African rhythms filled the auditorium the cast of almost 30 young dancers fearlessly filled stage. One of the youngest casts, these chocolate cherubs did not allow age or size to deter from their professional delivery and strong on-stage presence
We could visibly see the rhythms pulsing through their young bodies throughout the work. An example of discipline and good training Forward Momentum Chicago did not just dance- the company performed! The work ended with the company falling (quickly descending) to the floor en masse ending head bowed with legs in fourth position followed by a dramatic blackout. This final statement received a spontaneously standing ovation.
The dance theater narrative was on full display in Rasheida Sa’de’s Love Jones for Move Me Soul. The dramatic septet (featuring Ohenmaa Marshall, Destiny Bonner, Bryanna Taylor, Serenity Mahon, Takira Pough, Kristen Spann and Siren Sargent) utilized the haunting music of Nina Simone to tell a story of female empowerment. The abstract narrative portrayed the women in the music with a reserved, yet dignified attack that personified Simone’s ethos.
Chicago Multi-Cultural Dance Center and Hiplet Ballerinas decided to give the public a new insight in the company. Instead of their signature pointe shoes the company traded them for black stiletto heeled boots. Choreographer Torrin Clifton and assistants Taylor Edwards and Terri Woodall took us on a music and dance escapade in Janet, set to the music of Janet Jackson.
The music from her 2001 album All for You was the backdrop for this fun and whimsical romp. Clifton and crew danced with a playful vigor that recalled Jackson’s yesteryear sensual yet savvy music videos, (even their hair was dancing). Kudos to Brandon Avery who was the only rooster in this “La La land” hen house.
The soft melodious sounds of a Kora (a West African string instrument found in Guinea, Guinea Bissau, Mali, Senegal and the Gambia) and vocals performed by Abdoulaye Conde provided an ethereal opening for Muntu Dance Theater’s Continuum. Co-Choreographer Mamadama Conde danced downstage of Abdoulaye (center stage) as an ensemble of five dancers (upstage) clad in white waved their flowing long chiffon sleeves creating a cloud-like billowing. Continuum has a ceremonial reverence. It takes place on sacred ground and honors the ancestors while acknowledging future unborn generations.
As Mamadama exited the stage erupted in both movement and percussion. A six-member percussion orchestra including co-choreographer and Artistic/Creative Director Sekou Tepaka Lunda Conde lead the large ensemble of 25 intergenerational performers to a rousing crescendo of music and movement.
Deeply Rooted Dance Theater Artistic Director Nicole Clarke-Springer’s Beyond Mortal showcased both the dancer’s technical prowess and her choreographic acumen. This work opened with Sam Ogunde simply walking down stage with great aplomb and confidence. A truly underrated feat; Ogunde’s gait and pelvis forward deportment conjured images of a young Rudolf Nureyev.
Set to the Introitus, Dies Irea and Lacrymosa sections from Mozart’s Requiem in D minor (1791) the energetic work was an organic meld of ballet movement with grounded modern dance floor work. The strong uncluttered partnering between Ogunde and Nyemah Stewart was echoed by the ensemble throughout the work. Clarke-Springer established a finite vocabulary early in the work, which to her credit gave Beyond Mortal its distinctive stylized look.
A pool of light illuminated the down stage right quarter where Star Dixon, Andrew Carr, and Aneesa Muhammah stood waiting to begin. The percussive sound of tap shoes working in disciplined unison filled the air. Stop- blackout! Lights now upstage right Davon Suttles, Kelsey Fields and Tanzania Covington make their tap declaration. Stop- Blackout! The light travels upstage left Devin Mosely and William Wims add their syncopated sound bite and finally Ellie Guzzano and Caleb Jackson “shuffled along” in a downstage left spot completing an elaborate tap dance introduction of M.A.D.D. Rhythms.
The strong rhythms, easy syncopation, and that understated tap dance swagger were on full display in choreographer Andrew Carr’s tap manifesto. The icing on the percussive cake was the addition of clapping creating a polyrhythmic ecstasy. Polyrhythms are an essential percussive element that originated in Africa and remains a vital symbol of community and connection within African culture. Tap has been described as having elements of the Irish Jig and the Italian Tarantella, but all agree the primary contributions came (and continue to come) from the rhythms and movement of Americans of African descent.
Footwork, Chicago’s urban dance phenomenon was represented again by Fell Off In, choreographed by the Era Footwork Collective. One of the most renowned executants of the dance style their presentation at first glance appeared to be freestyle, but quickly the often-subtle choreographic elements became evident. Performers Steelo, Litebulb, Chief Manny and Ptop began moving in a tight circular pattern centerstage. This transformed the dance visually, making it appear more like tribal bonding.
Then the pattern flowed into a linear formation giving each performer an individual moment. Set to an original urban libretto music track by DJ Spinn and the Era Footwork Crew the group juxtaposed the dances frenzied signature footwork (aka Footwork petite adagio) with an upper body floating in Chi-town cool. This recalled images of the Ivory Coast’s Zaouli dance- proving we never escape the reach of the Diaspora.
Thomas Dorsey (the father of Gospel), Mahalia Jackson (the Queen of Gospel), gospel pioneers Albertina Walker and the Caravan, and Cabrini Green’s own Ricky Dillard are just a few of the many gospel luminaries that make Chicago the home of Gospel. Choreographer Enneressa LaNette’s sextet entitled The Threshing Floor for Praize Productions, Inc. exemplifies the storytelling power of the dance theater style, a staple in the black dance and gospel music traditions.
Using a recorded track, live vocals and live musical accompaniment the work evolved from a prayer filled solo performed by Hazel Gates to a rousing full cast celebration. The call and response between singer Katrina “Trina” Dorsey and the band at the end of the dance brought the audience to their feet in hallelujah fervor. I am sure Rev Milton Brunson founder of the west side’s Christ Tabernacle Baptist Church was clapping along from Gospel heaven.
Choreographers are teachers of movement. They are entrusted to provide these diamonds in the rough the professional polish required to go to the next level. Choreographer Gary Abbott provided that polish. In his ballet Alegria Comunitaria for the Emerging Dancer’s Initiative every performer sparkled.
This fun “everything but the kitchen sink” work was a fitting concert closer that showcased the next generation. There was footwork, ballet, modern, jazz, tap, Latin, West African, partnering, pointe work, and of course lots of Abbott. Dancers quickly became performers, making eye contact and smiling, seemingly enraptured while moving through time and space. A high energy coda builds and then … (it wouldn’t be an ending without an ending) Nikyle Scott partnered by Christopher Stone and Peyton Smith is thrust upward straddling the sky as the cast completes the final tableau.
Andrew L. Robinson began the evening’s final salutation. His impassioned rendition of Tomorrow summoned the directors onstage followed the performers and artistic staff. As each group from this Terpsichorean community stepped forward to bow you could feel the solidarity between the performers and the audience. At that moment it was clear that in the storytelling tradition of the ancestors; we had all been a part of Unbound: Shattered Frames, Endless Visions an evening of shared and protected narratives.
