Beginning with his 2021 dance film Water Rite, and followed by his 2022 premiere Emanon—In Two Movements, choreographer Jamar Roberts’ history thus far with New York City Ballet has reflected the world beyond the theatre’s doors. In the case of Water Rite, the very nature of the work was defined by the pandemic shutdown and the resulting delay of his first NYCB commission, while with Emanon, Roberts was inspired in part by the dancers and audiences’ resilience as the Company returned to live performance.
Now that the former Resident Choreographer of Alvin Ailey American Dance Theater is returning to NYCB for his third commission, he describes the circumstances, in a recent conversation, as “a completely different experience.” Roberts is feeling an increased sense of security and freedom in NYCB’s studios, which he ultimately credits to the dancers: “Sometimes, when I stand in front of a dancer and we move together, I can automatically feel their willingness and openness, and I can go with that flow. It allows me to be more willing and more open, and breaks down the veneer of ballet’s aura. And then it gets really human."
For this commission, Roberts has selected music by the Venezuelan-born electronic artist Arca, whose techno-inflected style may feel like a stark departure from the jazz and Americana used to score much of the choreographer’s previous work at NYCB and beyond. But to Roberts, it’s a reflection of who he has always been. “When I was young, I was listening to Björk, Brandy, Daft Punk—I’m a pop millennial. So it’s not that much of a stretch.” He describes his previous focus on jazz as stemming largely from being a dancer in, and choreographer for, Ailey—“Jazz is very much a part of the culture of that company”—as well as an effort to plumb the depths of the genre; his use of the late jazz saxophonist and composer Wayne Shorter’s innovative works for Emanon is a perfect illustration of this. “The choice to use Arca’s music is more personal than anything else,” he says. “Jazz is very sophisticated and complex; I feel like I’ve delved into enough of it, and I don’t necessarily need to always keep going down that road. It’s time for me to do something a little bit different.” He notes that the Arca selections are challenging for the dancers, but so far, they’ve been enthusiastically on board in the studio.
The sinuous yet cutting-edge creations of Dutch fashion designer Iris van Herpen suggest a natural match for Arca. “The music is very high tech, and I thought Iris would be a good fit,” says Roberts. “A lot of the work that she makes is inspired by nature, but the processes that she uses are very technical and scientific.” (Van Herpen’s designs have previously been seen at NYCB in Benjamin Millepied’s 2013 ballet Neverwhere.) Roberts had a clear vision for the costumes prior to connecting with van Herpen; he was surprised, then, by the collaborative turn their work together took. After sending her the music, she sent the choreographer her initial sketches, which, as he describes, “blew my mind. Her designs gave my ideas a little bit more context, a little bit more meat. She really inspired the work through the costumes.” The combination of Arca and Iris van Herpen begins to suggest a certain universe within which Roberts’ newest work might play; realizing such a space onstage, he notes, would be impossible without the help of one of Roberts’ longstanding collaborators: lighting designer Brandon Stirling Baker. “He is a necessity,” says Roberts. “He takes these worlds that I think of and gives them more structure. It’s priceless."
What is the nature of this universe, the “idea” emerging from such a potent meeting of artistic minds? “There’s always something in my work that’s tied to our collective experience,” Roberts says. He suggests that ballet, though steeped in history and tradition, can still play an active role in the discussion of the political and social issues of the world beyond its walls—whether in terms of an unprecedented modern-day pandemic, or the climate, to name two. “If you have the floor, and you have a house with thousands of people, why not say what’s in your heart or on your mind? We’re in a new space, we’re in a new time, and these are our stories."
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