For two decades, S/BAD – Sacramento/Black Art of Dance – has created and performed fresh and exciting examples of the concert dance form pioneered by the late, great ethnologist and choreographer Katherine Dunham. The troupe, founded by Dr. Linda S. Goodrich at Sacramento State University in 1992, is celebrating its 20th anniversary with “Past, Present, Future,” a program of dance and spoken word interpretation. It continues through Sunday at the Solano Hall DanceSpace on the Sac State campus.
The production showcases the many and varied black concert dance forms, combining West African, Caribbean, Brazilian and modern jazz movement into a celebration and exploration of the black experience. About a dozen dances are included in “Past, Present, Future,” most of them choreographed by Goodrich. They come from several periods during S/BAD’s history and offer insight into the development of the black art of dance in the 20th century, as well as providing a retrospective of the work of this dance company.
“My Lament,” an excerpt from Goodrich’s “Warrior Women,” opens the show with three pairs of two dancers each shadowing the previous pair’s dolorous movements. Their placement on the stage suggests a lineage of sadness and suffering that is shared by all. Goodrich’s “We Will Remember,” performed to “The Gods Love Nubia” from the musical “Aida,” closes the show, not with a reminder of pain but with a recognition of strength gained through shared history. Both are beautifully articulated. Dunham staged dances for the New York Metropolitan Opera’s production of “Aida” in 1963, and it is interesting to see Goodrich’s take on an “Aida” theme (although the opera and the musical are, of course, very different).
In the beginning of S/BAD, Goodrich did all the choreography, but the troupe gradually opened up to other dance creators, including members of the company. Among the highlights of the current production are Erin Landry’s clever choreography to the ritualistic “Changes” and Nzinga Woods’ pop approach in “Mojo” to DJ Jazzy Jeff and Pete Kuzma’s soulful mix of the Temptations’ “Papa Was a Rolling Stone,” although Woods did miss a perfect opportunity to use the dancers’ hats as props.
Goodrich’s “DanceWith My Dad” is another highlight. A reverie performed to “Song for My Father” by Horace Silver and “DanceWith My Father” by Luther Vandross – an unexpected pairing – it is tender and touching. Her “Ancestral Memories” features tightly timed and expertly executed leaping entrances that recall Dunham’s background in classic ballet as well as her studies in ethnic African dance.
Sons/Ancestors Players performs a reading/dance interpretation of an African tale, “The People Could Fly,” in one of the show’s high points. And several alumni of S/BAD return to perform in “Past, Present, Future,” among them Renee Waters (1997-98), who performs in “New Directions” from her season with the company, and Nicole Manker (1997-2005), who created and danced the solo piece “Release,” performed to “Nessun Dorma” sung by Aretha Franklin.
“Past, Present, Future” will be performed at 6:30 p.m. today (thurs), 8 p.m. Friday and Saturday and 2 p.m. Sunday at the DanceSpace. General admission tickets are $8 general today and $12 for all other performances. Tickets are $10 for students and seniors and $8 for children Friday-Sunday. They are available at the campus ticket office, (916) 278-4323 or www.tickets.com.
A gala anniversary celebration featuring dinner and guest performers will be held April 28 at the Sheraton Grand Hotel Sacramento. Tickets are $65 until March 11 and $75 after that date. They may be purchased at an S/BAD performance or reserved by e-mailing sacramentoblackartofdance93@yahoo.com.