A Piece of White Cloth 2004/2009
Blood & Sugar 2008
La Madre 2005/2011
After Rain 2006
House of Water- swimming Away excerpt 2015
Quality of Movement 2015
What is Happening Here? 2018
Alayo and Aguas Performance at Dance Mission Theater
On November 30th - December 2nd, 2018, Alayo Dance Company alongside Aguas Dance Company performed a series of performances called Bound Together at Dance Mission Theater.
Alayo Performance at MoAD
On February 8, 2018, Alayo Dance Company presented a series of performances at the Museum of the African Diaspora (MoAD) in San Francisco, as part of their celebration of Black History Month. The performance, which attracted a standing-room-only crowd, highlighted a variety of elements of Cuban dance, beginning with a Rumba performed led by Master musicians Yoel Mulen-Robert and Jesus Diaz and featuring dancers Ramon Ramos, Jamaica Itule-Simmons, with Stella Adelman as Eleggua. The performance then moved upstairs for a mesmerizing Contemporary composition of Alayos' entitled "Corriendo," performed by Adonis Damian Martin, Edisnel Rodriguez Gonzalez, and Delvis Friñon (pictured above.) Rounding out the program was a high energy Salsa/Cabaret piece performed by choreographer Yismari Ramos Tellez along with Chloe Campbell Clark and Katy Yong. Thank you to all who came to support Alayo Dance Company!
Three Trees and Traces
In what author Jalal Toufic calls an “untimely collaboration,” Ramón Ramos Alayo’s Three Threes is a conversation with the acclaimed Cuban choreographer Narciso Medina’s seminal work, Metamorphosis. Medina’s award-wining choreography debuted over twenty years ago and has since achieved the status of cultural icon in the Afro-Cuban modern dance world. Medina called out, and a generation later, some Cuban choreographers have felt compelled to respond.
Ramos does not answer Medina’s work with a sequel, but
unexpectedly, honors his predecessor by choreographing a prequel, or rather, a pair of prequels that intersect with the third. Ramos’ dual compositions, Elements and Moments, investigate the nature of relationship and the set the stage for Medina’s commentary on the process of transformation.
Through the use of pointed titles, Ramos deftly defines the preconditions of transformation – substance and time. Further, by elevating Medina’s piece to the final chapter and emotional climax of a narrative triad, Ramos crafts an even more forceful reading of Metamorphosis than as a stand-alone oeuvre. Ramos’s strategy in Elements and Moments is to lyrically soften boundaries, thereby intensifying Medina’s already breathtakingly intense work.
Ramos uses his signature style of close in, relational movement to poetically comment on the nature of intimacy, singularity, and unity. Cleverly using a self-similar structure, Ramos constructs a tri-part composition exactly similar to the smaller parts of itself. The braided architecture of Three Threes reflects the closeness of dancers movements. Three times, three bodies cluster in space to create three cohesive entities, which in turn, intersect to form an integrated whole.
In Traces, Ramón Ramos Alayo fuses Cuban popular dance with Afro-Cuban modern in a collaged composition of likeness and difference. Though these dance forms coexist and influence one another, rarely are they merged seamlessly in one chorographic composition. For the first time in the repertoire of Alayo Dance Company, Ramos embroiders the framework of Afro-Cuban modern dance with threads of popular Cuban dance movement.
Ramos’s modern dancers travel the history of Cuban dance, tracing with their bodies the rise and fall of popular forms such Danzón (ca. 1879), Danzonete (ca. 1929), Mambo (ca. 1943) and finally, Rumba. Spanning decades, these dances embody the shifting complexities of Cuban history. Each familiar gesture mirrors the multifaceted identities and economic realities of Cuban society.
In Traces, Ramos presents this lineage in rough chronological order, punctuating the modern dance vocabulary first with Danzón, typically danced in the early years of the twentieth century by the restrained upper classes. Moving through Danzonete to the lively Mambo of the fabled Havana nightlife in the 1950s, the choreography eventually circles back to Rumba, an expressive, low-bodied, street dance of the lower classes. With its distinct African origins, Rumba is defined simultaneously as a gathering, music and dance. Only in recent decades have Cubans, perhaps as an expression of cultural unity, embraced the form as the nucleus of Cuban dance and music.
In Cuban popular dance, there is an emphasis on human connection. The movements are not simply patterned steps counted out at intervals. Rather, they constitute a visceral and visual language of relationship – personal, social, economic, and racial. Referencing the intricate, and sometimes fractured, social history of Cuba, Ramos uses these popular dance forms to weave his dancers into multiple liaisons and finally into a social whole.
- Deborah Valoma