Dance Review: Ronald K. Brown at the Joyce

TwoYearOldphoto1596cropped Ron Brown comes to the Joyce Theater this season evolved. Ron Brown’s company, with concepts, rooted in the African American and African Diaspora, and signature style fueled with African, Brazilian, Contemporary, Ballet and energetic house-styled club dancing, has grown from the once young, unapologetic trendsetting company in the Black American contemporary dance scene to an established archetype that can sit well deservingly next to the royals of the likes of Philadanco, Dayton Contemporary, Cleo Parker Robinson Dance Ensemble, and the granddaddy of them all, Alvin Ailey American Dance Theater.

I have watched Mr. Brown’s company blossom over the years. At only 19 years of age, Brown started his company, Evidence, in Brooklyn, New York in 1985. I remember being a young student in New York City, and, we would flood to see Ron Brown and his company dance and sweat. His movement spoke to us. We were young, black dancers trying to eek are way into “the establishment;” thus, it was so refreshing to see a company, like Ron Brown’s, dance with such a “new” energy, fusing club moves with African moves to make this new modern vocabulary within the concert dance aesthetic. It was so exciting. Even more exciting was how Ron Brown, by combining spoken word and dance, very frankly, addressed history, politics and social conditions that affected the Black American community and the African Diaspora all to the beat of a ferocious club track. This raw, vernacularly accessible movement, combined with the spoken word, and contemporary dance, gave us “connection” to the stories told. As young people, it made us feel relevant; it made Ron Brown’s company relevant.

Now 23 years later in 2009, Ron Brown’s Evidence still never fails to put on a thought provoking show. For this year’s season at the Joyce Theater, Program A consisted of “Two-Year Old Gentlemen,” the youngest of the three pieces featured in the program, followed by “Incidents,” and culminating with “Grace,” one of Ron’s most well known pieces. The program choices flowed together nicely. You couldn’t help but recognize the program’s consistent theme of fellowship.

“Two Year Old Gentlemen” is a wonderful tale of male solidarity. As the four male dancers began to dance in unison to the traditional rhythms of the live African drums, the audience could not deny the strength and agility of these men. It was great to see. The piece was undoubtedly “stolen” by a little scene stealer, Ame Bender, who not only happens to be Ron’s three-year old nephew but also part of the inspiration for the piece.

Using four women in white, “Incidents” gave us the same power of “Two-Year Old Gentlemen” but with edge. At first glance, these women appeared to be so different . . . that is . . . until they began to move, speaking the same language that is Ron’s most distinctive movement style. With music by The Staple Players, Thomas Dorsey, and Wunmi the score was as moving as the choreography.

Closing the evening was “Grace,” one of Ron’s most recognizable pieces. Seen performed by many generations of Evidence dancers (as well as the famed Alvin Ailey American Dance Theater originally commissioned in 1999), this cast came with a new energy. This first full, company piece of the evening gave us the much anticipated signature Ron Brown combinations and shapes that we all know and love him for. In the midst of it all, Lilly Anne Tai purely shined. Her subtle movement quality was a nice contrast to the more aggressive energy around her.

On a side note, after watching these three selections, I must say, this new generation of dancers have certainly something new to offer. Tiffany Quinn, Clarice Young and Francine Ott are definitely worth following.

All in all, Ron Brown’s Evidence performance at the Joyce Theater made for a very entertaining evening: one cannot help but walk into a Ron Brown show without seeing various visions of “Evidence” of the past, “Evidence” of a movement, which is always a beautiful thing.

Ron Brown is a visionary; let’s preserve that. Support the arts.

Ronald K. Brown’s choreography can be seen in the repertories of Alvin Ailey American Dance Theater (Grace (1999); Serving Nia (2001); Ife/My Heart (2005), Ailey 2, Cirque Folkloric Dance Theatre, Jennifer Muller/The Works, Jeune Ballet d’Afrique Noire, Cleo Parker Robinson Dance Ensemble, Dayton Contemporary Dance Company, and Philadanco.

Photo by Daniel Hedden

iDANZ Critix Corner
Official Dance Review by Demar Braxton
Contributing Editor:  Candice Michelle Franklin
Performance: Ronald K. Brown/Evidence, A Dance Company
Choreographer: Ronald K. Brown
Venue: The Joyce Theater, New York City
Date: Wednesday, February, 11, 2009
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Posted by iDANZ NewsWire at Saturday, February 14. 2009
Categories: Dance Reviews - iDANZ Critix Corner
 
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