BY KATHRYN STOMSVIK | On June 6 at 7pm, a lively crowd of hundreds gathered on blankets across the lawn of Pier 63, to see the Hudson River Dance Festival. Sponsored by The Joyce Theater Foundation, this year’s event featured some of New York’s most prominent voices in the dance community. As a tugboat passed along the river, spraying water cannons in the evening sky, viewers were captivated by performances as diverse as New York itself.

Beginning the evening, tap artist Dormeshia performed an “improvography” alongside percussionist Gabriel Roxbury, in a work entitled Rhythm Migration. This dance is a continuation of a discussion held at Jacob’s Pillow Dance Festival regarding the authentic connection between tap dance and African rhythms. Dormeshia is a highly accomplished performer who has enjoyed numerous appearances on Broadway, including “Bring In Da’ Noise, Bring In Da’ Funk,” in movies such as Spike Lee’s “Bamboozled,” and numerous television performances.

Next on the program, Taylor 2 performed Paul Taylor’s longstanding classic, Aureole. The dancers, dressed in white costumes with women wearing light chiffon skirts, could have been mistaken for a classical ballet company. The movement, set to excerpts from Handel’s Concerti Grossi, was lyrical, light, and effortless, punctuated by modest lifts and the characteristic Taylor quirks such as flexed feet, comical gestures, and downward facing heads. The breezy character of the dance was befitting such a pleasant setting. Taylor 2 is an outreach extension of the Paul Taylor Company’s commitment to bringing the art of Taylor and modern dance to a broader audience via non-traditional venues.

O, Round Desire, presented by doug elkins choreography, etc. (intentionally lowercase), carried the audience on an exciting journey of exploratory weight-bearing, weight-sharing, and momentum-based lifts and flips, arrived at through the art of collaborative contact improv—set to a montage of eclectic music, the origins of which were not listed in the program. The movement was constant and seamless, with a variety of isolated undulations that appear influenced by forms of street dancing and release technique. The title seemed to reflect both repetitions of circular motifs found within the choreography, and sections of the soundtrack emphasizing the title within lyrics. The company was founded in 2009, as a way to brand independent dance, theater, and teaching projects for Doug Elkins.

Ballet Hispánico took the stage with an all-female version of Annabelle Lopez Ochoa’s Sombrerísimo, a dance inspired by the surrealist paintings of René Magritte (famous for his images of men in bowler hats). The choreography was a reflection of how hats, particularly sombreros, play an important role in defining culture. The dance theatrically incorporated elements of ballet, modern, jazz, and flamenco. Dancers wore bowler caps, playfully using them as choreographic devices, by switching them from head to head—tossing and catching them as they executed impressive lifts, high extensions, and exciting leaps. A compilation of music by Banda Ionica featuring Macaco el Mano Loco, Titi Robin, and a soundscape by various artists added a jazzy, gypsy flamenco flair. Ballet Hispánico, one of New York’s most treasured ballet companies, artfully combines traditions of ballet with multiple dance forms and cultural influences.

The Big Apple got a taste of the Big Easy, as the spirited Camille A. Brown & Dancers, in black costumes and tiny umbrellas, paraded beneath the setting sky, with a contagious pulse of celebration. In New Orleans, a brass band parade is traditionally seen at weddings, social events, and funerals, and is followed by a wave of people spiritedly dancing, known as the “second line. This dance, titled New Second Line, is an electrifying African dance style tribute to the enduring spirit of New Orleans following Hurricane Katrina and its devastating impact. The marvelous music by Los Hombres Calientes (featuring Kermit Ruffins) added another layer of bold New Orleans style and cultural richness.

This is the fifth consecutive year The Joyce and Hudson River Park have presented this festival. It is part of a full summer of events, activities, and programs offered free to the public through Hudson River Park. Click here, to check Hudson River Park’s website for a calendar of more concerts and events.

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