Spectrum Dance Theater, under the artistic direction of Donald Byrd, presents a compelling exploration of contemporary issues through the language of movement in their performance, “The Immigrants.” This production underscores Byrd’s vision of concert dance as a “civic instrument,” using choreography to engage audiences with complex political and social themes.
During the performance, Byrd himself took to the stage between pieces, creating an unusual opportunity for direct engagement with the audience. These interludes, initially necessitated by costume changes and dancer recovery, transformed into moments of valuable interaction. Byrd’s presence allowed for questions and provided deeper context, enriching the audience’s understanding and highlighting the deliberate choices embedded within the choreography. This direct dialogue emphasized the informational aspect of the performance, turning it into a more accessible and thought-provoking experience.
Byrd’s concept of dance as a “civic instrument” is powerfully illustrated in “The Immigrants.” He suggests that the political weight of the work lies not in overt narratives, but rather “in the choice of the music rather than the content of the piece.” This subtle approach allows the choreography to explore a range of politically charged emotions and experiences. The formations and movements convey abjection, unrestrained joy, and bitterness, reflecting the precariousness of contemporary life and dominant narratives surrounding immigration. These emotional sites become politically consequential through their visceral expression in dance.
The final piece of the program directly references the U.S.’s first mass shooting, the August 1st, 1966 tragedy. This piece, while being the most literal in its depiction of horror, paradoxically becomes a platform for intensely moving solo performances. Mikhail Calliste and Paul Giarratano delivered gut-wrenching solos, showcasing the emotional depth and technical brilliance of the Spectrum Dance Theater company.
“Rambunctious Iteration 3: The Immigrants” is a testament to disruption as a generative force. It celebrates the cumulative effect of past experiences – prior movements, archives, and national histories – on American life. Spectrum Dance Theater invites audiences to reconsider assumptions and acknowledge the richness brought by the contributions of those who have come before. The very title of the program, juxtaposed with the dance content, serves as an initial lesson, prompting viewers to examine their preconceived notions about immigration and its representation in art. Spectrum Dance Theater, through this performance, effectively uses dance to disrupt conventional perspectives and foster a deeper civic engagement.
