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Ayikodans Initiation. Photo by Daniel Azoulay.
Marking the sixth consecutive season in its second home of the Adrienne Arsht Center's Carnival Studio Theater, the Haitian company, Ayikodans was given a warm welcome back to Miami with familiarity, support and enthusiasm. After seeing the weekend's opening night performance, there isn't a doubt as to why. Choreographer, director and founder, Jeanguy Saintus, presented an intense and compelling program that took on political issues and ended with a celebration of the beauty and passions of Haiti's sacred ritualistic dances. Throughout the entire program, effective, elegant and moody lighting was crafted by arc3 design and Al Crawford.
In the, just long enough, hour and a half program, the haze-filled atmosphere became a sacred space as these committed and intense dancers, singers and musicians mesmerized the audience with the beauty and austerity of their presence and the simple power of their message. Saintus elegantly uses a contemporary vocabulary that is rooted in culture and technique while imbued with soulful inspiration.
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Ayikodans Initiation. Photo by Daniel Azoulay.
Power was abundant in "Rencontres" as Saintus showed glimpses of personal strife through soulful and intimate vignettes. In the opening solo choreographed by Johnnoiry Saint Philippe, the sculpted Emmanual Gérant was angst ridden in a lone space with a ballet barre. A ballet barre can carry many ghosts; finding one's self, confidence, survival, breaking genres, and overcoming obstacles. There was power in his moves, especially in direction changes and sheer strength and control, Gérant moved over under and through the barre until he precariously perched in a desperate reach for the sky.
Ayikodans Initiation. Photo by Daniel Azoulay.
Continuing the look at personal challenges, a trio of intensity and focus led into the massive extension and calculated exploration of Markenley Georges. The exotic Sephora Germain and Gérant wove a duet of care and gentleness. Saint Philippe and Mackenson Israel Blanchard owned the difficult duet of two men in a relationship. While they faced difficulties internally and socially, and their bond was tumultuous, they were persistent in their struggle. As the byline said, "How do we accept ourselves if we have to live in a world where we must always hide our true faces?"
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Ayikodans Recontres. Photo by Daniel Azoulay.
During the 15 minute, hazy interlude, no one left the serene space of the theater. It was an apt preparation for the ritualistic "Initiation" choreographed by Saintus. In the Haitian tradition, the Vodou rituals are a way of invoking the spirits to address a particular aspect of life. This episodic work embraced us in a contemporary version of a Vodou initiation ceremony including the melodious and haunting voices of James Germain and Hadler Chery, accompanied by the percussive sounds of Les Tambours d'Artcho Danse: Jackson Saintil, Dimitry Etienne, Castera Saintil, Mackendie Léon, Berthony Durosier, and Gregory Fanor.
Ayikodans Recontres. Photo by Daniel Azoulay.
In a trembling and passionate solo, Germain invoked Legba, the gatekeeper spirit to allow contact with the other lwa spirits. A sinewy solo with a red scarf wrapping the body and covering the face was a confining and stately transition to Germain and Christina Clodomir representing the twins, Marasa, in a duet of contemplative energy. A thrilling transition showed the entire cast in the pure color of white, flourishing frenzied tribal moves, staying low to the ground, hips undulating, each company dancer individual yet having a collective presence. The final unexpected image was a dance of the yanvalou, representing undulating waves with the wash of water offering energy and life. As is said in many religions, "We nourish all living things with the sacred gift of water."
Aiyokodans takes us on a journey of passion and soul with their energetic, committed and focused performance. It is no surprise that they have developed such a following.
