“What we are doing with the material is asking our community to join in the conversation,” Stacy West, Executive and Artistic Director of Modern American Dance Company (MADCO) told the crowd before the start of their encore presentation of “Freedom.”
After a sold-out run of performances this spring, MADCO brought the powerful show back to the Touhill for those who didn’t get the opportunity to see it.
“We don’t believe that art alone can heal all of the things going on in our community and our country,” West said. “But we do believe that art is part of the formula.”
Though the dance concert was created in response to Ferguson, the encore presentation of MADCO’s production of FREEDOM was especially timely considering the region’s current unrest.
We who believe in freedom cannot rest
We who believe in freedom cannot rest until it comes
Until the killing of black men, black mothers’ sons
Is as important as the killing of white men, white mothers’ sons
The diverse company of dancers who moved along with the lyrics of the Sweet Honey on the Rock Civil Rights anthem “We Who Believe in Freedom Cannot Rest Until It Comes.”
Part of the “Repass” ballet by Cecil Slaughter and The Company, the selection was meant to speak to Lezley McSpadden. But the piece could also apply to Annie Smith, mother of Anthony Lamar Smith, and countless other mothers of the people of color who have lost their lives at the hands of law enforcement.
Slaughter was one of four choreographers commissioned to create in response to Ferguson. They were also allowed to go through Washington University’s Olin Library – which holds the National Civil Rights Collection – for inspiration.
The other choreographers for FREEDOM included Jennifer Archibald, Nejla Yatkin and Gina Patterson.
During a scene in Yatkin’s “Between The Lines,” the company dances to an instrumental version of “Strange Fruit.” Soloist Darrell Hyche performed movement while intertwined in a long, draping piece black material. It ended with a simulated hanging.
“Layered with imagery and emotional currents, “It is” responds to the disturbing interviews and disturbing archive photos with questions,” Gina Patterson said in her choreographer’s notes.”
“How does one forgive angering, unforgivable actions,” Patterson continues in her notes. “Do we overcome civil rights issues or do they just take another disguise?”
MADCO will present excerpts from FREEDOM on October 5th and 6th at The Missouri History Museum.
“The purpose of that performance is to allow audiences to really see the behind the scenes process of creating FREEDOM,” West said. “It’s been a two-and-a-half-year journey and there are a lot of interesting stories about what it took to get us to where we are tonight.”
Post it notes were placed inside the program and West asked guests of FREEDOM to share their thoughts on the production, the current racial climate or whatever the performance conjures up in them.
“Art leads to conversation. Conversation leads to understanding and understanding leads to healing and change,” West said. “That’s really what our aim is for this project – to open the conversation.”
For more information on the MADCO performances this weekend at The Missouri History Museum, visit www.madcodance.com.
