“Reaffirmed/Reimagined” Deeply Rooted Dance Theatre reviewed by CJ Hyland

**** Highly Recommended  I am a student of history. I believe the truest way to predict the future is to consider the past, I believe we are all a product of what came before us, both our personal history and the collective history we share, and I believe there is much to be learned by studying where we have come from. Yet, I also believe there is a fluidity to time, and while the past absolutely helps shape the present, the present positively influences how we interpret and understand the past.

I, for one, cannot think of a better way to explore this fluidity of time than through dance, and, specifically, through a dance company, that for the past 20 plus years, has been passionately committed to storytelling, to forging connections and to the idea that art and beauty are fundamental to forming community and have the ability to transform lives. So that is exactly what I did last night, when I took in “Reaffirmed/Reimagined,” Deeply Rooted Dance Theater’s 2019-20 season kick-off performance at the Reva and David Logan Center for the Arts at the University of Chicago.

The evening began with a powerful and poignant performance of Parallel Lives, choreographed by Co-founder and Associate Artistic Director Gary Abbott, which made its debut with the company in 2018. Set to an original score by Evangelos Spanos  based on Vivaldi’s “La Folia,” Parallel Lives (2018) explores the lives of poor, working-class women who have a shared history of painful toil and life-altering struggles. Performed by six female dancers in mismatched dresses, indicative of a spectrum of wealth and class, this robust work is a call to action, with pent up anger and frustration from years of socio and political marginalization simmering just below the surface. Frenzied motions suggestive of floor scrubbing, back aches, pushing, and pulling repeat throughout the piece as each woman dances her own unique solo tale of woe before returning to be reabsorbed by the collective. Her story becomes their story, her pain their pain, and, in an inspiring display of solidarity and support, the entire ensemble of women assumes the responsibility for the whole, which they express and release in a swirling crescendo of arm-flinging and leg-stomping movements. In one especially touching freeze, each woman cradles the cheek of the woman standing beside her, a reminder that even the bleakest of moments you are not alone.

The provocative and intense When Men (2016) exploded on to the stage next in a percussive, impassioned, tour de force of sound and motion. Choreographed by Artistic Team Member, Joshua L Ishmon, and set to the music of Paolo Nutini with the Hindu chants of Ananda Giri and textual overlays of Charlie Chaplin, this work grapples with what it means to be a man in today’s world. Pierre Clark, Ricky Davis, and Nehemiah Spencer were all dynamic, breath-taking examples of male energy and the complex and often disparate roles men are expected to embody. The angular impulses, powerful core gestures and precise synchronization come across as militant and capture all the rage, frustration, pent-up aggression and struggles with oppression these young men experience in their daily lives. Juxtaposed with the more overwhelmed motions of head grabbing, heart clutching, and curling in on oneself, and we are viscerally reminded of the toll it takes not being able to live your true self. Masterfully choreographed and flawlessly danced, the words of Charlie Chaplin sum up this spectacle of kinetic energy best, “You are not machines. You are not cattle. You are men. You…have the power that can make this life free and beautiful,” and in a joyous celebration of life and transcendence, by the end, they have.

Nicole Clarke-Springer’s Forces (2018) came next and featured four dancers exploring spiritual influence on daily consciousness. Set to the ethereal sounds of Marcelo Zarvos, Forces (2018) is a mystical journey of sculptural, balletic movements. Briana Arthur is radiant as a young woman engaging with her spiritual guides, all exquisitely portrayed by Rebekah Kuczma, Nehemiah Spencer and Trey Johnson. In one incredibly emotional moment the four dancers stand in a line facing each other, one arm out, gently compressing the back or stomach of the person in front of them, as their backs arch or contact in response to the pressure. The visual gives the distinct impression that the four are exchanging breaths, and the mimicry of movement and total synchronization leaves one feeling the complete connection and oneness they have with each other. Our final image of the piece is of the young woman being lifted and carried along by her spirit guides, as they help her traverse this uncertain world.

After a brief pause, we were treated to Essence – A Portrait of Four Women (1972) by Haitian-American choreographer Martial Roumain. Set to the music of Nina Simone, Zulema, Roberta Flack, featuring the James Cleveland Choir and underscored by the fiery poetry of Nikki Giovanni, this piece depicts the lives of four women as they intersect on an emotional journey of self-discovery and sisterhood. In this powerful showcase, Nyemah Stuart perfectly embodied the grit and determination of the Aunt Sarah character with her muscular curls and contortions while Dominique Atwood sparkled in the role of Sweet Thing with small tentative movements eventually blossoming into confident, elegant full-body dips and sways. Marlayna Locklear was dazzling as the fierce and impassioned Peaches a paradox of sinewy angles and soft curves and Rebekah Kuczma was winsome and willowy as Saphronia, caught between two worlds, long-limbs reaching and stretching with a thinly veiled intensity and a desire for more. In a combination of heartrending solo work, sassy struts, and touching embraces, these women epitomized the agony, despair, support and triumph of all African American women down the generations and assertively pose the alarming question; how much has really changed?

Closing the evening was Co-Founder and Creative Director, Kevin Iega Jeff’s, Dedication which first premiered in 1982. Set to the dulcet tones of Quincy Jones, Clause Ogerman and Patti Austin, and inspired by the 1979-81 “Atlanta Child Murders” and Jeff’s own trip to Africa when he was 22, Dedication (1982) tells the story of legacy and its bestowal across generations. This moving, spiritual work, set in three sections, began with “Oluwa,” masterfully danced by Pierre Clark as the mystical elder and Nehemiah Spencer as his young progeny. In a series of soft balletic movements, spins, extensions, and spine-arching back bends, we are metaphorically transported back to Africa and to a celebration of knowledge, history and birthright. In an extraordinary feat of strength and athleticism, the section ends with the younger man balancing, one leg extended, arms out stretched, on the shoulder of his elder, a stunning visual reminder that we all stand on the shoulders of those who came before.

In the second section Spencer is joined by Briana Arthur, Marlayna Locklear, Rebekah Kuczma, Ricky Davis and Trey Johnson as he passes on the lessons he has learned from his elder. In this visually stunning group work, dancers interact and spin off into brief solos, arching, bending, reaching, internalizing the lessons Spencer is passing on. This passage ends with Clark returning to gift each dancer with a red ribbon as wind blows them off on their own journey.

The third section is a dance of pure joy, as the children return to dance their dance, now fully assimilated and part of their own story. Hugging, hand-clapping, celebratory spins, twists and lifts abound as the words “we can all live together” pound in our ears. The work ends with the dancers radiant and smiling, arms raised, facing us, certain of themselves and their place in the universe, a full circle of lineage and of life affirmed.

For over 20 years Deeply Rooted Dance Theater has been seamlessly blending dance forms from across the genre to take us on a journey and tell us a story through the language of movement. Their works, while at times provocative and charged, speak universal truths, applicable to everyone that ultimately celebrate kindness, love, intelligence and our collective humanity.  “Reaffirmed/Reimagined” is a compelling, powerful showcase of work honoring DRDT’s past and celebrating their present all while keeping an eye boldly set on their future. Clarke-Springer recently commented in an interview that it was important “to maintain both the spiritual and artistic integrity for which the company is known as well as create for new voices that not only are inspired by our mission but look to reaffirm it in new and imaginative ways.” If tonight’s performance is an any indication, I’d say Deeply Rooted Dance Theater’s future looks very bright indeed.

Deeply Rooted Dance Theater’s “Reaffirmed/Reimagined” takes place at the Reva and David Logan Center for the Arts on the University of Chicago Campus 915 E. 60^th Street, Chicago on:

• Saturday, December 14^th at 7:30PM
• Sunday, December 15^th at 6:00PM

For tickets, call (312)795-9777 or visit reaffirmed-reimagined.eventbrite.com

For more information, visit deeplyrooteddancetheater.org