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Barbea Williams Brings Home The Beauty Of Africa
By Margaret Regan
HYPNOTIC drumming and dance conjure up the ancient African
past in Barbea Williams' exuberant new dance theatre piece, Something
We Lost...1230 A.C.E.
Swathed in the exquisitely colored cottons of Africa, some two
dozen dancers gyrate not only to the rhythm of the drums (played
by live musicians), but to a poetic spoken text drawn from African
tales. Moving from the days of the Mali Empire in the 13th century
to contemporary days of cultural dislocation, the loosely structured
narrative delves into birth and death, battle and kingship, slavery
and liberation.
The passionate work is the first Williams production in nearly
five years, though the Tucson choreographer, dancer and teacher
has been busy in the interim staging dances for such mainstream
groups as Arizona Theatre Company and Invisible Theatre. Something
We Lost is a return to Williams' heartfelt mission to revitalize
African dance and music. A student of African arts and history,
she's reconstructed some seven dances traditional to about a dozen
clans of West Africa, and put together a text drawn from older
writings. Guest artist Eno Washington, an elder statesman of black
dance who retired several years ago to Tucson, contributed three
more dances. And luckily for the audience, the gifted Washington
also performs. At a full dress rehearsal last week, Washington
raised the quality of the show, lending his supple talents to
a troupe that otherwise mixes professional dancers with less experienced
"community" dancers and children.
The two-act work divides fairly neatly, with the first half evoking
the almost mythical African past and the second half treating
the Diaspora of Africans in America and the loss of their heritage.
A traditional African storyteller, or griot (Anthony Johnson),
narrates the somewhat convoluted story. It begins in the year
1230 of the common era. An omen has foretold the birth of a new
king, Sundiata (Washington), who will unite the 12 separate clans
into the Mali Empire. There's a nicely choreographed birth scene,
with his mother Sologon (Teena Scott) attended by midwives, but
Sundiata emerges crippled. His disability prompts another of his
father's wives to push her own son as heir. The first wife's schemes
allow for some showcase dancing by her allies and her son (played
by Williams' own 9-year-old son, Beyah Williams-Rasool), and a
fun scene with nine witches. When Sundiata finally begins to use
his legs with the help of the magical blacksmith, Washington finally
gets to do some astonishing moves of his own.
The piece opens and closes with knockout ensemble dances. The
first, "Twelve Clans," hints at the luscious variety
of African dance, with each of 12 dancers performing different
moves, and each dressed in the garments of a different clan. The
ending, "Domba (Big Dance)," celebrates a renewed unity
among contemporary blacks. African dance derives much of its power
from its repetition of movements, alternately performed in unison
by large groups, and then in stunningly athletic solos. Performed
barefoot, the dances suggest a close relationship with nature:
The dancers reach their arms toward the sky over and over, then
bend their bodies toward the earth. Sometimes, especially in the
show-stopping solos, dancers even dance on their hands or throw
themselves onto the ground and leap up again. But even the slow
movements are lovely. A dance suggesting the bound hands and feet
of slavery--Washington curves his body backward on the floor and
grasps his ankles--is especially evocative.
The narration is lyrical, studded with vivid images of yams and
owls and torrential rains, but it can be difficult to follow at
times. The later scenes are funny, what with their culturally
unaware black stockbroker and their African-American woman lamenting
her hair travails, but after the grand mythical themes of the
first act, they deliver a bit of a post-modernist jolt. Williams
clearly intends her ambitious work to raise the consciousness
of African-American and white Americans alike. But this work's
greatest success--and greatest pleasure--is in the exhilarating
beauty of its music and dance.
Something We Lost...1230 A.C.E. continues this
weekend at the Tucson Center for the Performing Arts, 408 S. Sixth
Ave. Shows are at 8 p.m. Saturday, November 1, and at 3 and 7:30
p.m. Sunday, November 2. Advance tickets are $10 for adults,
$8 for students with ID and seniors. At the door, they're $12
and $10. Children under 12 get in for $5. For advance tickets
or more information, call 628-7785.
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