The issue of race became problematic during the 12th annual season of Robert Moses' Kin. Choreographer Moses has crafted a successful, racially integrated company in the world of contemporary dance, no simple feat. His work is a quirky jumble of classical and urban, constantly juxtaposed. Moses frequently invites guest artists to work with his company, this year including choreographer Amy Seiwert.
This season, Moses also collaborated and performed with Aleta Hayes, a fellow academic and performer, on The Wall, an improvisational dialogue about race. The performers, who are both African-American (though Hayes might use the term International Black) sang and discussed the wide spectrum of the black experience; though The Wall was underdeveloped, it highlighted the elephant in the room.
Guest choreographer Seiwert also created a new work for the company, titled Slowly Watching Memory. The new piece was set on eight of the company's lightest-skinned dancers, and featured Seiwert's ballet-inspired language.
It was a jarring experience to see Slowly Watching Memory after spending the evening with a company of racially diverse dancers. Seiwert's pallet was clear, a stark contrast of red (costumes and lighting) and white (dance floor and skin tone). Moses' company was barely recognizable. The result was a chilly deconstruction of contemporary vocabulary and color. While Moses has trained his dancers to move in his idiosyncratic way, Seiwert created a sterile environment of intricate puzzles and movement in its palest shade.
Overall, the evening was a bit of a schizophrenic experience, the first half focusing on classical RMK repertory, Lucifer's Prance (2000) and This State of Annihilation (1997), and a world premiere, Penance. Lucifer's Prance featured Moses' athletic choreography and an overpowering score by Philip Glass. This State of Annihilation was a duet for Moses and Bliss Kohlmyer Dowman, who danced with brio. Unfortunately, the duet did not feature Moses' strongest dancing, and looked a little dated. Penance was danced with commitment, but had unflattering costumes and awkward lifts. Dancer Katherine Wells emerged as an elemental force, and the live score by Daniel David Feinsmith was intelligent and nuanced.
The strongest piece of the evening was Speaking Ill of the Dead, which premiered last year. Again, the issue of race becomes problematic. Moses has never been an artist who allows himself to be pigeonholed, creating a wide range of choreography. Speaking Ill is a bass-heavy, urban riff that features a jazzy industrial score co-written by Moses and David Worm. The thematic material deals with the loss of dignity and way of life, an authentic manifestation of the company's cross-cultural experience.
Robert Moses' Kin is a beautiful company, and the Bay Area is fortunate to have an eclectic choreographer creating work that represents our unique blending of people and backgrounds. Collaborators like Hayes and Seiwert add texture to the company. It was a brave choice for Hayes and Moses to sit at a table and have a dialogue about race.
Context is a crucial part of how we see art. Seiwert's work was nicely crafted choreography presented by a company that is not all light-skinned. If San Francisco Ballet performed Slowly Watching Memory, no one would notice that most of the dancers were Caucasian. When the company is Robert Moses' Kin, it becomes a little more obvious.
Robert Moses' Kin, through Feb. 18 at the Jewish Community Center, 3200 California St., SF. Tickets ($18-$26): (415) 292-1233.