Leigh Donlan reviewed the Jan 15, 2025 performance at New York’s Joyce Theater
More spiritual highs at New York’s Joyce Theater after Ragamala Dance’s transcendent account of ancient Sanskrit tales, this time from Brooklyn-based Ronald K. Brown/ EVIDENCE, who returned for their home season while commemorating their 40th anniversary. A restaging of Serving Nia honored the late Judith Jamison; guest artist Kevin Boseman spoke the profound words written by his late brother, actor Chadwick Boseman. Soulful music, kinetic dancing and all around good vibes bolstered the hefty program of repertoire essentials with themes of spirituality, community and self-determination. It was a journey from the light, through the lower earthly densities and darkness, and a triumphant return to the light with Grace.
Brown had a long history with Judith Jamison, whom he met in 1987 after he invited her to one of his early performances at a church. He was surprised she came, and they became lifelong friends. Jamison brought him into the fold at Alvin Ailey American Dance Theater. Grace was his first work for the company (1999), Serving Nia (2001)– inspired by Ms. Jamison– his second.
In Swahili, nia means purpose. Dancers congregated, forming a corridor at what appeared to be dawn, then peeled off into groups and fervent solos. In golden oranges and browns (costumes by Omotayo Wunmi Olaiya), each dancer moved distinctly with determinant grace. Jazz spiritual fusions accompanied high swinging arms and skyward chests, rooted in earthy Senegalese leg and torso undulations. Against the backdrop of an open sky (lighting design by Tsubasa Kamei after Brenda Dolan for Ailey) seven stars appeared. At the finale, dancers resumed the original corridor formation under the sky with a single star glowing intensely.
Order My Steps shifted to heavy introspection. Boseman’s words resonated: “Everywhere is war… If you’re going to make war, make it on yourself…” Blending modern, West African, Afro-Caribbean and club styles, a brigade of dancers moved like warriors and ancestral spirits, geared in camouflage greens and fueled by house music. The spoken text touched on systematic oppression, addiction, shame and self-loathing. Visibly struggling with himself, Boseman watched his people from afar, or couldn’t see them at all. Finally summoning his strength, he answered the call and joined them as they departed in a rhythmic train to Bob Marley’s “Exodus.”
The program closed with Grace (which entered EVIDENCE’s rep in 2003) marking the work’s 25th anniversary. “Grace” (the formidable Shayla Alayre Caldwell) is a Goddess who comes to earth and, with the assistance of angels, rounds up lost and wayward souls and leads them back to God. In an eruption of solos, each performer had their own moment in the spotlight, exemplifying Brown’s signature style–humility, power, softness, fluency– driven by the brilliant music of Duke Ellington, Roy Davis Jr. and Fela Kuti. But it was guest vocalist – the great Gordon Chambers – who led the dancers home with Grace, like a protective father, closing out the evening’s performance.
It’s evident why Ronald K. Brown/ EVIDENCE has had such staying power. In addition to his wisdom, musicality and creative genius, Brown places his faith at the forefront of his work. In these uncertain times, it seems as important as ever to remember that we are the change, and that working to transcend to our higher selves is critical to being the change. Brown and Evidence have been doing the hard work for 40 years. Today we are in evolutionary times. Elevating our consciousness and strengthening our connection to the divine might just be the best tools in the dance bag.
Well said, and an appropriate link to current times, good work!