SUCCESSFULLY SIMPLE
When the choreographer and Artistic Director of a dance company consciously makes the decision to eschew excess ornamentations such as costumes, lights, and recognizable movement vocabularies, one imagines how you would even go about choreographing a dance piece. I have seen minimalist-inspired pieces that either left 
me utterly appalled from the work’s pretentiousness or completely in awe by the captivating choreography. So, while waiting to see Mr. Rogers’ work at the Luckman Fine Arts Complex, I quietly hoped that I wouldn’t be sitting through an evening’s work of inaccessible abstract modern and ballet movement. Fortunately, Raiford Rogers Modern Ballet left me completely inspired and humbled. It truly takes commitment and tenacity to produce this caliber of work. Simply put, the artists cannot hide behind something that is already set up to be so minimal and subtle.
Mr. Rogers’ company consists of highly technical dancers whose ability to move was made very obvious after the first motifs performed in the reprisal of his Preludes in a Landscape, which uses music by John Cage and JS Bach. Their leg extensions stretched to infinity, but they attacked the technique with hesitancy. Their method had to be a force unto itself because they cannot rely on lyricism and technical elements to enhance their dancing. The slight adjustments of their feet for balance and their continued effort to make the dance seamless, demonstrated their commitment to the aesthetic vision and perhaps even their own personal mastery of the steps.
The world premiere of Schubert’s Silence left nothing to question. Although Mr. Rogers had no intention to choreograph a narrative piece, his dancers rendered a new respect towards his choreographic goal: unifying the dancers with the music – Franz Schubert’s Piano Sonata No.18 in G major, Fantasie D.894 – and not making one more important than the other. The dancers continued to showcase their technical ability by performing a series of partnering, solo work, and new movement phrases. The most captivating moment was at its close where the soloist moved from a tendu à la seconde to a full straight leg extension without a développé. There were no adjustments made, just movement from one position to the next. This slow lifting of the leg was precise and beautiful.
His closing piece, Chanel, with music by Amon Tobin, encompassed the brilliance of his work. Dressed in plain black Chanel labeled unitards (costumes by Yumiko), the dancers did nothing but walk, slowly descend to the floor, and from there 
unhurriedly transitioned from one movement to the next. They then repeated the phrase with the addition of the male dancers. Perhaps the sexy nature of the music titillated the audience and provoked laughter, but the humor was unintentional; the artists simply moved to the music.
If there is anything to be said about minimalism in dance, it is showcased through Mr. Rogers, his choreographic ideas, and his dancers. At their core, his pieces are technically demanding yet so subtle that they draw attention. For the uninitiated who may find abstract modern dance baffling, don’t wonder how it all comes together for Rogers’ company, just know that you will leave thrilled and satisfied.
previous production photos courtesy of Raiford Rogers Modern Ballet
Raiford Rogers Modern Ballet
Program: Preludes in a Landscape, Schubert’s Silence, Chanel
Luckman Fine Arts Center at Cal State University LA
played on June 29, 2013
for future Luckman events, call (323) 343-6600 or visit http://www.luckmanarts.org/
for more info on Raiford Rogers Modern Ballet, visit http://www.raifordrogers.com/
{ 3 comments… read them below or add one }
It strikes me that the work did not leave the reviewer inspired or humble enough to see the wit and humor in the Chanel piece which was anything but sexy or titillating. It was a smart and frisky comment on pretension in fashion. Mr. Rogers is comfortable and secure enough in his creativity to see that ballet has room for fun. Clearly that baffles dance critics. Surely they can laugh without fear of being called out. BTW, it was me who was laughing and thoroughly entertained. A great finish to a lovely evening.
Claudette:
I admire all of Rogers’ work from his last show. I thought his last piece was well choreographed, it was my favorite piece of the night. And because of the nature of his choreography, how he choreographs with no form of intent, I genuinely thought that the last piece was not made to make people laugh although I can understand the humor in the piece. I simply thought the humor was instigated by the movement accompanied with the music.
RR Ballet is the only consistently outstanding local modern ballet we have in LA. I wish more Angelenos could be exposed to this artistry which is both emotive and intellectual. RRB merits more venues and a longer season. I wish Angelenos actively supported local dance talent rather than remaining loyal to traditional east coast ‘brand name’ companies who occasionally visit and charge outlandish ticket prices.