Complexions Contemporary Ballet: A Question of True Diversity (11/27/15)

Courtesy of Complexions Contemporary Ballet

Complexions Contemporary Ballet performed at the Joyce Theater on Friday November 27^th at 8PM. Founded by Dwight Rhoden and Desmond Richardson prides itself on on diversity in its movement and in the ethnic origins of its dancers (Program). On this occasion, the company performed Program B which featured “Chronicle”, a ballet separated into the two acts with the first entitled “When Hell Freezes Over” and the second entitled “Mercy”

          In Act 1, Rhoden particularly enjoys working with multiple pas de deux crowding the stage performing unison partner work, wrapping their bodies around one another, the female dancer often being lifted high vertically in the air.

Ballet values unison of movement. This is an idea we carry into our class. Yet I couldn’t help but feel that multiple pas de deux in unison felt like an ineffective use of the ensemble. What does an audience grasp by so many doing the same? Would not a single pas de deux suffice? On top of this, slight timing idiosyncrasies between the couples distracted me.

Perhaps it is Rhoden’s intent to allow all the couples to interpret and express their unique individuality in these moments, but this wasn’t clear to me. When Rhoden juxtaposed the pas de deux with a soloist beside them, which happened multiple times throughout the performance, the dance became most interesting to watch. However, elsewhere, my eyes glazed over. The multicultural diversity of the dancers provides an interesting mixture of people on stage.   “Where diversity also matters — in its choreography — is where this company falls short” (Kourlas, 2015). This overuse of pas de deux along with similar partnering steps in the choreography quickly becomes “distressingly bland” (Kourlas, 2015).

          Act two contains an altogether different choreographic structure: bucket like miniature thrones are used as props for the dancers to sit on and vault off of and the back center curtain as the mode of entrances and exits. Rhonden’s use of the back center curtain proves the most interesting to observe. As one group disappears into the curtain, another soars out keeping the momentum of the dance moving. This interesting ploy gives the stage a greater depth and makes the movement pathways less horizontal than is usually the case on a proscenium stage. While pas de deux did occur, there was a much greater emphasis on ensemble groupings here than in the first act.

The eclectic soundtrack for this section featured a wide range of sounds associated with religion. We hear chants from a foreign language, the indistinct voices of a choir, a dramatic organ playing, the words hallelujah sung and then shouted by a raving preacher. The shifting music is coupled by a rapid cycle on the part of the dancers between moments of pounding the floor. Praying with their hands. Sitting upon their miniature thrones. And reaching into the skies. Their bodies speak of desperation, as do their outward focuses which radiate off into the distance as they expand into space. All this drama speaks to perpetual spiritual unrest.

          While Complexions expresses an artistic purpose to celebrate and utilize diversity, I noticed that traditional gender roles appeared to be very much at play. Partnering is done almost exclusively with male-female pairings. In the few times where males interact, the choreography is abrupt and violent: illustrating a level of aggression absent in male-female pairings which only cements gender stereotypes. Perhaps this perpetuation of gender roles may be due to the first act’s subject matter: war, a very gendered institution that separates boys from men and men from their wives and mothers during drafts. But even the second act separates makes choreographic decision based on gender. The dancers are split into different sections with gender as the only determinant, and even during the most complex ensemble work, the spatial placement of males and females in relation to each other on the stage seems to be influenced by gender

          In class and during my LecDem experience a year ago, we can see how classical ballet is very gendered. A male presence is often highlighted: he is often distinguished by the group spatially and choreographically. The male lifts the female. Épaulement and port de bras can also be very gender specific. Perhaps anatomical limitations are at the root of some of these issues: heavy lifting necessary in partner work may favor the ultrafit male body over the ultrafit female body. But even this is questionable. Seeing that Complexions hopes to be a precursor to a world that becomes “more fluid, changeable, and culturally connected” I am confused as to why they would conform to ballet gender formalities that are only reinforcing gender roles (Program).

The narrow selection of body types Complexions uses also appears to run contrary with their stated goals. While multicultural, the bodies he uses are one dimensional, representing physical ideals. “Mr. Rhoden’s hyperactive choreography, is…designed to flaunt the svelte musculature, extreme flexibility and athletic prowess of its ultrafit dancers (Burke, 2014).” And by doing so, it minimizes the diversity of body types in its cast. One particular exception to this may be in Timothy Stickney, who’s stout, short frame distinguishes him from the leaner, taller dancers that surround him. Why can’t we have more of this? One need not sacrifice choreographic integrity by including different bodies, as transparent in Stickney’s performance. Rather, the movement is given a different layer when performed on bodies of different heights and weights.

          Complexions Ballet’s “Chronicle” features highly technical dancers doing highly technical things, yet I couldn’t help but feel disappointed at parts, and I think this is due to formulaic choreography. The second act provides much more enjoyment for me, with Rhoden using the curtain, props, a dynamic soundtrack, and movement to keep me engaged. Despite all this, I am drawn to question why Complexions aims only to celebrate multicultural diversity, but not to support gender role fluidity.

References

Burke, Siobhan. "High-Kicking Displays of Athleticism and Flash." The New York Times. The New York Times, 24 Nov. 2014. Web. 30 Nov. 2015.

Kourlas, Gia. "Review: Complexions Contemporary Ballet Performs to Bach and Metallica." The New York Times. The New York Times, 20 Nov. 2015. Web. 30 Nov. 2015.

Kourlas, Gia. "Review: Complexions Contemporary Ballet Recycles With ‘Chronicle’." The New York Times. The New York Times, 25 Nov. 2015. Web. 30 Nov. 2015.