On the evening of Sunday, Sept. 14, when all daytime visitors had gone home, the Solomon R. Guggenheim Museum bustled with another group of art enthusiasts. These patrons were gathered for an exclusive preview of choreographer Jamar Roberts’ new work for the New York City Ballet (NYCB).
The piece, which is yet to be titled, will debut at NYCB’s annual Fall Fashion Gala on Oct. 8, featuring costumes by Dutch haute couture designer Iris Van Herpen and music by Venezuelan musician Arca. Thanks to the non-profit group Works and Process, attendees were able to experience a sneak preview and a look behind the scenes.
Works and Process, which was founded in 1984, has grown to both support artists and encourage audiences to “participate beyond the stage.” Their creative residencies across five states provide artists with more than just funding — they also offer studio access, housing, health insurance enrollment and a transportation stipend, allowing grantees to fully dedicate themselves to their work. Their events, which take place at the Guggenheim — as well as at Manhattan West, the New York Public Library for Performing Arts and City Park Foundation’s SummerStage — invite audiences into the creative process.
The piece, which is yet to be titled, will debut at NYCB’s annual Fall Fashion Gala on Oct. 8, featuring costumes by Dutch haute couture designer Iris Van Herpen and music by Venezuelan musician Arca.
Works and Process Executive Director Duke Dang described these events as “show and tell for adults” and stressed the importance of opportunities for education on the creative process, especially in a time when compulsory arts education is lacking.
Roberts previously danced and choreographed for the Alvin Ailey American Dance Theater, and has created many commissioned works for renowned companies across the country — including two others for NYCB. He has taken part in multiple Works and Process residencies.
The audience got a look into Roberts’ creative mind through a panel discussion with NYCB Associate Artistic Director Wendy Whelan. Their conversation began with a focus on his original creative spark: climate protesters at a NYCB performance this past Earth Day. After lamenting the interruption, Roberts shared that he agreed with the sentiment and wants to explore the conflict between human technology and nature in his new piece.
The panel then meandered through every part of the rehearsal process. Roberts discussed his desire to create a dance that looked like technology, comparing the movements he created to Barbies, Legos and G.I. Joes — prompting a chuckle from the audience. Other inside creative knowledge included everything from where Roberts stands in the practice room — all the way in the back — to the creation of the costumes.
The anticipation was obvious between Whelan, Roberts and the dancers themselves. Whelan complimented the dancers’ versatility, calling them “a super open group,” and stressed her confidence in giving Roberts full creative license. Roberts admitted that he had surprised himself with his own willingness to take risks, going as far as to warn that the piece “could be a total flop or a total success.” Meanwhile, the dancers praised Roberts, crediting him as a remarkably collaborative choreographer.
Between panel discussions, two excerpts of the piece were performed by four current members of the corps de ballet, two soloists and one principal. Wearing everyday rehearsal attire, the dancers stunned with sharp, angular movements in what seemed like a constant battle to overpower each other’s perfectly-timed limbs — fitting for Roberts’ technology versus nature storyline. The music was full of technologically distorted sounds, immediately bringing the audience into the eerie and intense world of the piece.
The first excerpt, just a couple of minutes in length, elicited an audible “whoa” from the audience as it came to a close. The second excerpt, which Roberts hinted at being from the end of the full work, moved slightly away from the intense angularity of the first, becoming more gentle. The dancers moved in almost complete synchronization, impressing with their unwavering elegance through calm and precise movements.
As the night progressed, members flowed into the Guggenheim rotunda for the post-show conversation, a routine part of Works and Process events. Through casual, unmoderated conversation, attendees were able to discuss what from the night felt most important to them. Topics ranged from favorite choreographic moments, to particularly powerful comments made at the panel, to which NYCB shows each fan had already purchased tickets for. All around, the enthusiasm and adoration of the art perfectly encapsulated the Works and Process mission, proving that when you truly admire something, every step and small detail is worthy of obsession.