Serving Nia

Building on the success of the 1999 powerhouse Grace, Ronald K. Brown brings his extraordinary fusion of ballet, modern, hip hop, and traditional African dance to Alvin Ailey American Dance Theater’s repertory once again. Using a movement vocabulary steeped in contemporary and traditional dances from the United States, Senegal, and Cote d'Ivoire, this exuberant work explores themes of duty and purpose. The rituals and preparation of service are examined through the main character, Nia, and the group of servants she trains.

Ronald K. Brown is not afraid to ask big questions and address large themes in his choreography. His 1999 sensation Grace depicted individuals on a journey toward grace, or the temple of God. Thematically, Serving Nia picks up where Grace left off.

"I see the piece as an exercise in learning your purpose, talking about a sense of duty in your life," Brown explained. "And we can shift [from their previous journey] to the level of these people understanding their sense of responsibility and purpose in their life. Nia means 'purpose' in Swahili, but it's also a woman's name. So, the idea is that there's this woman named Nia who trains servants."

Brown believes it is important to examine such issues in his choreography because today's society needs a wake-up call. "I feel in this race with technology and capitalism, we miss a lot of conversations about how we should treat each other, what is our real purpose here. I feel this spiritual conversation doesn't happen enough. What's the reason for working so hard?” 

A variety of musical selections underscore the melding of genres and the ballet’s themes. "The first piece of music I'm using is by [jazz musician] Roy Brooks and the piece I'm working with is a piece called ‘The Free Slave,’” Brown said. "His description of the free slave is someone who serves no one but the creator." From there, the soundtrack moves into a piece by Branford Marsalis that borrows from West African music, a percussion piece from Guinea, and finally shifts into Dizzy Gillespie's 'Swing Low, Sweet Cadillac.' There's a sense of humor in it. It starts with this Yoruba Chant… and that's where the piece finishes and it's all about these angels coming to get these people.”