Review: DRUMFOLK at Arena Stage

Good art entertains. It inspires. It teaches. It transforms. It takes us to another place. It makes us think.

Great art does all of those things at once, and Drumfolk, the latest polyrhythmic percussive dance production by Step Afrika! is unquestionably great art. Drumfolk, which opened this week at Arena Stage, marks the beginning of a multi-year partnership between the two groups that will have Step Afrika! in residence at the Fichlander for at least three years.

Step Afrika!, founded by C. Brian Williams, is a step ensemble that chronicles and celebrates the African-American experience in America. Drumfolk tells the story of the 1739 Stono Rebellion, a slave uprising in the colony of South Carolina. In the wake of the revolt by the enslaved people, the South Carolina legislature passed the Negro Act of 1740, which outlawed teaching slaves to read and write, restricted the ways in which they could gather and assemble, and took away the drums they used to communicate and plan the uprising. In the wake of the Negro Act, African Americans began using their own bodies, creating new ways of expression like ring shout, tap, hambone and stepping. They became the Drumfolk. In the words of Dr. David Pleasant, "They took the drums away...but they could not stop the beat."

The magic of Drumfolk begins as you enter the theatre - a mist hangs over The Praise House, a spare minimalistic representation of a clapboard meeting house that served as a spiritual and community gathering place. Rough hewn floors and crude benches define the space. An entire side of the Fichlander space has been converted to a raised platform, filled with drums of every size. On opening night the energy in the room was palpable, a foretaste of the incredible energy that infused every moment of the ensuing performance - five long form pieces that combine powerful choreography, explosive percussion and a wide range of vocal performances that move seamlessly from ring shout chanting through spirituals to jazz and hip hop.

Drumfolk20, choreographed by Jakari Sherman, Dr. David Pleasant, Jeeda Barrington and Mfoniso Akpan, opens the show and introduces the Drumfolk, and foreshadows the 20 enslaved people who initiated the Sono Rebellion. In the Wilderness (Choreographed by Dustin Praylow and Ronnique Murray) moves the action to a "praise house" - one of the few places Africans were permitted to gather. The work includes music and lyrics from All Africa by Max Roach, In de Wildaness composed and recorded by Steven M. Allen and lyrics based on A Plantation Melody by Paul Laurence Dunbar.

The first act ends with Stono (Choreograped by Jakari Sherman, Jordan Spry, Mfoniso Akpan and Júlio Leitão) and tells the story of the 20 slaves who organized the rebellion, how their ranks swelled to nearly 100, and how the rebellion was ultimately put down by armed colonists.

Un/Afraid (Choreograped by Jakari Sherman with contributions from Jeeda Barrington, Conrad R. Kelly II and Dustin Praylow) melds the 18th and 21st centuries, showing how the African heritage of stepping and drumming are at the root of modern art forms like beatboxing and hip hop. From Ezekiel Saw de Wheel (performed by the Tuskegee Institute Choir and arranged and conducted by William L. Dawson) the piece moves seamlessly into Nxt/Step Hip Hop, which was composed and recorded by Jakari Sherman. Free (Choreographed by Jakar Sherman) brings the production full circle, returning the emphasis to the beat, with drums and stamping sticks leading the way to a thunderous conclusion.

Drumfolk is a feast for all of the senses, with an incredibly talented ensemble of artists - they dance, sing, chant, and create an amazing array of sounds and rhythms - and all while doing a wonderful job of storytelling in each piece. (Even for those who don't normally partake of dance and movement performances, it is remarkably easy to follow the stories, without consulting the program.) The dance elements of the production are both powerful and graceful - the performers all possess a level of strength, stamina and flexibility that would be the envy of any professional athlete - and they are in constant motion, creating flowing and beautiful images. The drumming and rhythmic elements are visceral and primal, as if they have sprung from the Earth itself, whether the whole company is thundering away, or a single drummer is communicating in the quieter moments of the show. The musical and vocal elements of the show, ranging from instrumentals and spirituals through modern hip hop, provide a wonderful contrast to the rhythm elements, at times complimenting, and at other times contrasting. The show flows briskly from piece to piece, and Director Jakari Sherman has created an overall sensory experience that takes the audience from Africa, to Colonial America, to modern, urban America, while also paying homage to the influence of African culture on the Caribbean, as well. This is particularly evident during the pieces that utilize large, elaborate mask costumes - it is authentically African, while also suggesting the Bahamian Junkanoo festival. The masks, by Mask Designer Erik Teague, are simply breathtaking. Costume Designer Kenaan M. Quander's work on the production is likewise a perfect palette for each piece being performed. Lighting Designer Marianne Meadows shows a deft touch, knowing when to make the lights prominent in a scene, and when a spare, single, white spotlight is most effective. Patrick Calhoun's Sound Design underpins the production with a variety of natural and organic sounds that further enhance the mood.

Although Drumfolk is truly an ensemble show - and the whole is certainly greater than the sum of its incredibly talented parts - special mention must be given to DC's own Christylez Bacon, who provides a great deal of the modern vocal elements in the production. His onstage energy and presence is infectious.

Like many contemporary shows, Drumfolk seeks to educate and broaden our understanding of history and culture. In that respect, the show celebrates African culture and lays bare uncomfortable truths about our shared past, without becoming heavy handed or preachy. It's thought provoking, but it starts and ends in a place of joyful celebration.

As amazing as this production is, the real cause for celebration may be the budding relationship between Arena and Step Afrika! which will keep them here in Washington for several years. Step Afrika! will open doors to a whole new generation of thatregoers, and will no doubt be a wonderful ambassador to our schools.

Approximate running time is 95 minutes, with one 15 minute intermission.

Drumfolk runs through June 26th. For more information, click here.

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