Rhythm and Fusion of ‘Black Nativity’

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Photo by Jenny Plevin

Black Arts Think Tank opened its Black Nativity with a beat. Traditional African drummers from Ko-Thi Dance Company assembled amid a rhythm that tumbled out of djembes and large metal drums. The traditional rhythms, which predate Christian Nativity, contributed to a beat that created all things echoing back to the big bang and beyond. The Marcus Center for the Performing Arts’ Vogel Hall was filled with a deeply resonant introduction to Langston Hughes’ rendering of the Nativity of Jesus in a deft weaving of traditional gospel spirituals.

The birth of Jesus was brought to the stage amid songs of celebration which felt like graceful echoes of the rhythm that opened the show. A humbly charismatic Syd Michael Robinson radiated warmth and precision through the character of Joseph. He was accompanied by Krystal Drake, endearingly laboring through her less-than-ideal journey in an advanced state of pregnancy. Their struggle and joy reverberated through a rather large and diverse African American ensemble under the direction of Azeeza Islam. With almost no set and minimal costuming, the ensemble itself was the substance of the action. D’Angelo Boston’s choreography was cleverly developed to work with all levels of dance experience and many different ages.

Obviously there’s a connection between the Nativity of Jesus at the heart of the story and the holidays, but Black Nativity reaches even further into the center of storytelling with a joy and passion that dances with an irresistible gravity that transcends any one religion. Taken out of the church and into a non-religious venue amplifies gospel music’s artistry and delivers it to the rest of us in a welcoming format that embraces the cultural fusion this city so greatly needs.

Black Nativity at the Marcus Center ran for one weekend only. For more information on the Black Arts Think Tank, visit facebook.com/battmke.