This year marks a significant milestone for Complexions Contemporary Ballet, as it commemorates its 30th Anniversary of artistic brilliance under the visionary leadership of co-founders Dwight Rhoden and Desmond Richardson. The celebration will unfold at The Joyce Theater from November 19 to December 1, 2024. 

The season will pay homage to Rhoden’s remarkable choreographic journey with a captivating retrospective themed “Love Revolution.” Dwight Rhoden has established a remarkably wide-ranging career, earning distinction from The New York Times as “one of the most sought out choreographers of the day.” 

Rhoden has created over 100 ballets for Complexions, as well as numerous other companies, including Alvin Ailey American Dance Theater, BalletMet, The Dance Theater of Harlem, Miami City Ballet, New York City Ballet, and many more. Rhoden has also directed and choreographed for TV, film, theater, and live performances including “So You Think You Can Dance”, Cirque Du Soleil’s “Zumanity”, and choreographed and appeared in the feature film “One Last Dance”. He has also worked with high-profile artists including Prince, David Bowie, Lenny Kravitz, Kelly Clarkson, Marvin Gaye, U2, and Patrick Swayze, among others. His various honors and awards include the New York Foundation for the Arts Award, and subsequent induction into the NYFA Hall of Fame, The Choo San Goh Award for Choreography, and The Ailey School’s Apex Award. 

Join us in celebrating three decades of innovation and artistry with Complexions Contemporary Ballet and Dwight Rhoden…

As Complexions Contemporary Ballet celebrates its 30th anniversary, how do you feel your choreographic style and vision have evolved over the years, and what do you hope audiences take away from the retrospective “Love Revolution”?
My Choreographic style has definitely evolved over the years.  Like anything - with time and opportunity - my voice as a choreographer has deepened, and the desire to use this art form to touch people in a real way is even more important to me.  I feel the understanding of artists - and my vision for always keeping them as the prime inspiration - has also remained a constant throughout the years. So, collaboration is vital & has always been about the individual and unique stories of our artists collectively - thereby bolstering the diverse backgrounds and perspectives that they bring to the table.  The other part of the development of the choreographic style- is the continued need to talk about world issues, politically, environmentally, morally, and from a humanistic standpoint.  We have always been a message-driven Ballet Company- a ballet company with a personality, one that makes bold moves and uses its platform to make our audiences think and feel.  

Complexions is known for its groundbreaking approach to dance, blending various styles and cultures. Can you share some of the challenges and triumphs you've experienced while pushing the boundaries of traditional dance forms?
Our approach has always been about fusion, the combining of styles, influences, and cultures.  We look at it as - we are celebrating the beauty and strength of our differences by being examples of how those contrasts can be harmonious and send a greater message of Unity.  I never understood- how far away the genre of Ballet was from Contemporary back in 1994, for me it was all “dance” - and combining dancers from different backgrounds, using a variety of music and turning things upside down - I never realized it would be so surprising to some. I think at first glance, you may respond to the energy and passion of the company, but the composition of artists, the multiple textures and styles, what the work talks about, and the spirit of the company speaks volumes.  We were pioneers when we started - there wasn’t really a company that was quite like us.

You have collaborated with numerous artists across different disciplines, including music and spoken word. How do these collaborations influence your choreography, and what role does music play in shaping your creative process?

Music and Poetry have a big role in the eventual outcome of the work - but to be honest, there are times I don’t know what the music should sound like until I hear it. I may have an idea that I want to make a ballet about and then must search for the score. Spoken word and poetry are the ways that I usually begin a new work. I like to write creatively about my idea, and in many ways, it helps me to dig in and discover all the possibilities. I have been so lucky to work with various musical artists, poets and rappers throughout my career - working with iconic artists such as Prince or Lenny Kravitz to Diana Vishneva, Misty Copeland, Desmond Richardson, the many composers, orchestras and incredible dancers over the years has been thrilling, and it has really crafted itself in a way. The artists all come with their full selves, and that creates another layer of dimension that is then created for.  

As you look ahead, what are your aspirations for the future of Complexions? Are there any new projects or themes you’re particularly excited to explore in the coming years?

Complexions aspirations involve a permanent home for the company and school.  We have remained nomads for 3 decades now, and it’s a difficult thing to sustain.  We want the Academy to flourish all year long so that we have a training ground for the many young dancers that we have mentored and trained over the years. Going forward after this milestone 30th Season, my focus creatively will be on full evening works, re-imagined classics, ballets with a narrative, and more dance theater.  We are a repertory company and want to continue to make a place for Choreographers at every level to have a chance to make work for the company.  

Complexions aims to reflect the interconnectedness of our world through dance. In your opinion, how does dance serve as a medium for addressing social issues and promoting unity among diverse communities?

Dance has the reach viscerally - that I think communicates in a most effective way because of the high level of physicality.  I have made works that address our social issues, as well as world issues. Works like WOKE, Snatched Back from The Edges, Mercy, The Promised Land (SFB), etc. For me it is a very gratifying way to not necessarily make “hard opinions” on anything other than from a more humanistic point of view - but to be a part of the discussion and to offer a creative perspective that can be message-driven.  The accessibility of the work, the way it reaches people, and the generosity of the CCB artist bring you into whatever they are performing. I like to think, from many vantage points - our message of Unity is clear. 

The season will kick off with a Gala event on November 19, honoring the artistic vision of Dwight Rhoden. Tickets for this highly anticipated event are available online at Joyce.org + for all Complexions Contemporary Ballet programming, visit Complexionsdance.org.