An Unmissable Night Honoring the Many Lineages of a Standout Company-Dayton Contemporary Dance Company

By Liana Wilson-Graff

If you’re looking for a dance show that offers true variety and electrifying energy, look no further than Dayton Contemporary Dance Company’s run at The Joyce this Fall. Originally founded as a company for dancers of color and rooted in the African American dance tradition, DCDC showcases a strong reverence for its roots while venturing into the many worlds of contemporary dance. This triple bill masterfully embraces the idea of the contemporary in the eyes of the layperson — it is a true demonstration of modern dance, dances of the past century, in all its genres and iterations; from the highly athletic and balletic contemporary dance of Ray Mercer to the dynamic blend of hip hop, jazz, and house by the incomparable Rennie Harris, and finally to the iconic pedestrian movement of Paul Taylor’s Esplanade. Aside from the general awe-inspiring program, the show in itself is historic. With this presentation at The Joyce, DCDC becomes the first African American company to add Paul Taylor’s Esplanade to its repertoire.

Ray Mercer’s This I Know For Sure opens the show, ushering the audience into the complex relationship between choreographer and ensemble. But what is most compelling about this piece is its confrontation of the relationship between idea, artist, and incarnation. Throughout its many sections, the movement embodies the frenzy of the artist’s innermost thoughts and broad strokes of inspiration, with the specificity of the idea come to fruition. Its choreography of space and swaths of dancers contrasted with the precise, quick, and ever-evolving movements of each individual, composes a striking journey through balance and imbalance. Mercer’s creation, and specifically Devin Baker’s solo performance, invites us into the pain that comes with dedication to a vision and the artist’s at times unwilling yet inevitable devotion to it. The art of the idea becomes its own choreographed presence in the piece that lives and breathes as its own animal, yet is inextricably tied to the bones, guts, and being of the choreographer. In this piece DCDC’s dancers show off their undeniably strong technical skills, athleticism, and theatricality, finishing with a flourish and air of triumph.

DCDC’s performance of Rennie Harris’ Jacob’s Ladder is arguably (and I firmly believe it would win in any argument) the highlight of the night. Dedicated to Jacob Lawrence’s paintings of modern urban life, this piece is the best representation of genre montage. Spending wondrous time on each element, each style of dance, and even each influential and remixed street dance movement, we feel the history of urban dance without it being spelled out explicitly — in this way, it celebrates the power and purpose of dance. Landing and sustaining right in the heart of the groove, what is most hypnotizingly joyful and enveloping about this piece is the absolutely glorious house section. The dancers’ mastery of the irresistibly smooth swipes and jerks of this movement provokes dancing and hollers from everyone in the audience. The spine of the piece is the beautifully intimate relationship between dancers Niarra Gooden-Clarke and Fabio Tello-Muñoz. As the ensemble moves seamlessly around them, they maintain a slow and intense extended moment of connectedness. Jacob’s Ladder is a ritual in the most organic of ways, ending with two full-body breaths that exhale into breathy “ahhhs” that ground the dancers and audience in the collective and seal the masterpiece with intention.

The night ends with the enduring allure, aesthetic relevance, and novelty of Paul Taylor’s Esplanade. DCDC makes its mark and continues the legacy of this eminent piece of modern dance with a beautiful performance toggling between strength and softness, honoring Taylor’s distinct pedestrian movement and fascinating carving of space. The utter might of this piece paired with the vitality of Mercer and Harris’ works curate a night to remember. It must be experienced to be understood, and will stay in your body indefinitely.

Dayton Contemporary Dance Company’s triple bill performance is presented by The Joyce Theater Foundation (Linda Shelton, Executive Director) and is playing at The Joyce Theater from October 1-6. Tickets, ranging in price from $12-$62 including fees, can be purchased at www.Joyce.org, or by calling JoyceCharge at 212-242-0800. Please note: ticket prices are subject to change. The Joyce Theater is located at 175 Eighth Avenue at West 19th Street. For more information, please visit www.Joyce.org.