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April 13, 2007 > Arts & Entertainment > Backward with Conviction brings RDT talents forward

Backward with Conviction brings RDT talents forward

By Derrick Huang | Thresher staff

The members of Rice Dance Theatre are no strangers to taking the art of dance in new directions, and their spring show follows the progression of the troupe in its exploration of the art of dance. In Backward with Conviction, RDT exudes confidence in its choreography and performance, drawing the audience into a captivating show.

The title of the show comes from a simple direction that was given during a practice, but the instruction has taken on a deeper meaning in the context of the show. RDT Co-President Emily Douglas said that it is difficult to act without hesitation.

“If you’re going to do something that’s different, you might as well go all out,” Douglas, a Martel College senior, said.

From watching their performance on stage, it is clear that the members of RDT have taken this mantra to heart. Their dance styles are as diverse as their music, which ranges from the more familiar Johann Sebastian Bach and Missy Elliot tracks to eclectic and almost jarring pieces by Meredith Monk. The choreography ranges from classical, ballet-inspired dances to jazz and hip hop, hitting just about everything in between.

Regardless of the dance style or musical accompaniment, the dancers of RDT express their love of dance and confidence in their artistic abilities through their bodies and faces. While their strong performance does not outshine the creativity of the choreography, it certainly enhances the experience and makes it more enjoyable for even those who have a minimal knowledge of modern dance.

The show starts off strong with a dance choreographed by Douglas. “Reconnaitre l’enfance” features a quartet of dancers and is subtly elegant down to the muted grey costumes of the dancers. From there, the show takes off backward — and then forward again, and then in every possible direction imaginable in a nine-dance show. One of the highlights of the first half is “Sistahood,” choreographed by RDT Director Rebecca Valls. This piece focuses on the relationship between six sisters and is choreographed across four songs with varying styles. The sisters’ interplay is at times whimsical but also can be soft and touching. This wide range of moods, as well as its more concrete and narrative style, make this piece enjoyable and accessible to a wide variety of people.

Another more popularly accessible dance is the jazz and hip hop combination “Metro Fantasy,” arranged by guest choreographer Jacqueline Nalett. Featuring songs by Bobby Bland, Michael Jackson and Missy Elliot, this dance provides something fun and familiar to the pop culture aficionados in the audience. However, despite a strong dance performance, the music cuts in and out at awkward places, making the piece feel choppy at times.

However, the Backward is enjoyable on the whole and showcases the talent and creativity of the performers and artists of RDT. “RDT Improvisation” is a prime example of this innovation. In this dance, groups of dancers perform different exercises with a loose overall structure. The dance moves for each section are up to the dancers, whose names are randomly drawn before each performance. This piece may be a little less accessible than some of the other dances because of the lack of accompanying music and barebones technique of the exercises, but the dancers of RDT move with the same confidence and grace that characterizes Backward with Conviction.

Like always, RDT takes the enigma of modern dance and makes it enjoyable for all audiences.

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