Martha Graham Dance Company returns to Mexico City for centenary, premieres 'We the People'

The Martha Graham Dance Company is set to return to Mexico City after a 45-year absence, marking its centenary with two performances at the Palacio de Bellas Artes on October 20. As part of the celebration, choreographer Jamar Roberts, known for his work with the New York City Ballet and Juilliard Dance Division, will premiere his latest piece, "We the People" (2024). The program also features iconic choreographies from the 1930s, including "Lamentation" and "Chronicle," alongside "Dark Meadow Suite," an adaptation by artistic director Janet Eilber of Graham's original work, with music by Carlos Chávez. These selections aim to showcase the combative spirit of one of the 20th century's most influential artists.

In an interview, Roberts discussed the pronounced political character of "We the People," commissioned for the company's centennial. He described the piece as an exploration of the power of people to enact change, particularly within the American context, given his own nationality. The choreography alternates between full company performances with music and quieter moments with smaller groups. These silent sections represent marginalized communities within the U.S. The work includes a solo dedicated to women of color, a small silent piece for women and the LGBT community, and a solo for a man of color, highlighting the experiences of various minority groups.

Roberts expressed his admiration for Martha Graham's legacy and his excitement about creating a new choreography for the company. He collaborated with folk musician Rhiannon Giddens, whose work he deeply respects. Roberts felt compelled to address contemporary issues, recognizing Graham's own engagement with political themes in her work. He noted that the societal problems prevalent in the U.S. during the piece's creation persist today. "Things are coming to the surface, and it will take time to get through these problems and perhaps reach some agreement to live in equality," he stated, emphasizing the enduring relevance of peace. The choreographer acknowledged the need to identify and confront those who are "different" as an "enemy," attributing this tendency to ignorance, racism, and xenophobia, while also recognizing its complexity.