Spectrum Dance Seattle stands as a significant force in the contemporary dance world, largely shaped by the vision of its Artistic Director, Donald Byrd. Byrd, formerly of the critically acclaimed Donald Byrd/The Group, brings a wealth of experience and a multifaceted artistic approach to Spectrum Dance Seattle, establishing it as more than just a dance company, but as a platform for social dialogue and civic engagement. His journey, marked by choreographic complexity and thematic breadth, has positioned Spectrum Dance Seattle at the forefront of dance that is both artistically innovative and socially relevant.
Byrd’s career trajectory is characterized by a dynamic exploration of dance forms and narratives. The New York Times aptly described him as “a choreographer with multiple personalities…an unabashed eclectic,” highlighting his stylistic versatility. This eclecticism is not random; it’s underpinned by a “love of order,” a deliberate approach to form even within diverse expressions. Like George Balanchine, to whom he is often compared, Byrd navigates the interplay between harmony and disruption, creating works that are both formally compelling and conceptually rich. This duality is a cornerstone of his work at Spectrum Dance Seattle, where abstract pieces coexist with narrative-driven productions.
At Spectrum Dance Seattle, Byrd’s choreographic range is vividly displayed. He is equally adept at crafting abstract dance pieces, such as LOVE (2012), set to Benjamin Britten’s cello suites, and Euclidean Space (2011), using the electronic music of Amon Tobin. These works showcase his mastery of pure dance form and his ability to translate music into movement. Conversely, his narrative works, like the reimagined ballets Petrushka and Miraculous Mandarin, reveal his theatrical flair and his penchant for reinterpreting classic stories through a contemporary lens. This spectrum of styles is a defining characteristic of Spectrum Dance Seattle under his direction.
Beyond abstract and narrative forms, Byrd’s deep engagement with classical repertory shines through in works like The Harlem Nutcracker (1996) and The Sleeping Beauty Notebook (2005). These pieces are not mere recreations but imaginative tributes, infused with his unique choreographic voice. His exploration of jazz music is also prominent, evident in pieces like In A Different Light (2000) set to Duke Ellington, Burlesque (2002) to Louis Armstrong, and Jazz Train (1998) with scores by Vernon Reid, Geri Allen, and Max Roach. The Harlem Nutcracker, with its Duke Ellington/Billy Strayhorn score, exemplifies his ability to create works that are both critically acclaimed and audience favorites, touring extensively and broadening the reach of Spectrum Dance Seattle.
Donald Byrd’s designation as a “citizen artist” resonates deeply with Spectrum Dance Seattle’s core mission. This concept, viewing “dance as an art form and as a social/civic instrument,” is central to the company’s identity and Byrd’s personal ethos. Spectrum Dance Seattle, under Byrd’s leadership, actively pursues this mission, creating works that not only entertain but also provoke thought and encourage dialogue on pressing social issues.
Early projects at Spectrum Dance Seattle solidified this citizen artist approach. Interrupted Narratives/WAR (2007) critiqued the Iraq War, while The Theater of Needless Talents (2008) served as a poignant memorial to artists who were victims of the Holocaust. These works set the stage for a series of evening-length pieces that tackled complex global issues. A Chekhovian Resolution (2008) offered a personal reflection on the Israeli-Palestinian conflict, Farewell: A Fantastical Contemplation on America’s Relationship with China (2008) drew inspiration from Ma Jian’s Beijing Coma and the Tiananmen Square protests, and The Mother of Us All (2010) presented an abstract meditation on contemporary Africa. These ambitious projects demonstrate Spectrum Dance Seattle’s commitment to using dance as a medium for exploring and understanding the world.
Spectrum Dance Seattle’s dedication to social justice is further exemplified in recent seasons (2015-2022) under Byrd’s direction. Projects like #RACEish – An Exploration of America’s 240 Years of (failed) Race Relations, America – Identity, Race, Culture?, and Bringing It Home – Dancing Towards A More Just and Equitable America directly confront issues of race and identity in America. WOKE??? and Land of the Shucks, an innovative online virtual production, addressed the impact of climate disaster. The INSIDIOUS Trilogy delved into the enduring legacy of Jim Crow. Through these works, Spectrum Dance Seattle actively engages with contemporary societal challenges, using dance to question, raise awareness, and inspire action on issues like racism, climate change, gender equality, xenophobia, and police brutality.
Donald Byrd’s influence extends beyond Spectrum Dance Seattle. Over his 40-year career, he has created works for numerous prestigious companies, including Alvin Ailey American Dance Theater and Pacific Northwest Ballet, showcasing his versatility and broad appeal within both classical and contemporary dance spheres. His work in theater and opera, with companies like Seattle Opera and New York City Opera, further demonstrates his interdisciplinary approach and his impact across performing arts.
Byrd’s contributions have been widely recognized through numerous awards, including a Doris Duke Artist Award, an Honorary Doctorate from Cornish College of the Arts, and a Dance/USA HONOR AWARD. He was also honored as the 2022 Laureate of The Rainier Club, highlighting his significant cultural impact. A pinnacle of his career was the 2019 museum exhibition, Donald Byrd: The America That Is To Be, at the Frye Art Museum in Seattle, a testament to his artistic vision and his profound influence on the cultural landscape of Seattle and beyond. This exhibition underscored his role not just as a choreographer, but as a significant artistic voice reflecting and shaping contemporary American identity, deeply rooted in his work with Spectrum Dance Seattle.
