Benita Bike’s DanceArt Company in Concert was held at Lineage Performing Arts Center on April 6th, 2025, a lovely Sunday afternoon. The Center itself encompasses a nearly perfect black box theater where every seat allows for an unimpeded view of the stage. All choreography was by Ms. Bike which was enhanced by Shawn Fidler’s thoughtful lighting design.
“Griot Songs” – Dancers Sarah Chan, Dalya Modlin, Emily Wallace, and Dakota Merritt – Screenshot by Dean Wallraff.
First up was “Griot Songs,” a piece that I saw in development in 2022 and wrote this at the time; “The “Griot” or “Storytelling” music from Ghana sets the premise that this will be a “story” dance and it will tell us something.” Now though it has been beautifully realized in movement, the story/theme is still obscure. I did, however, derive a clear sense of sisterhood from the work and perhaps that is enough. Swept away by the wonderfully rhythmic music of Kassé Mady Diabaté with vocals by “Sinanon Saran” we fall into its’ hypnotic spell. Heavily featured in the score was a Kora, a thrumming twenty-one stringed traditional West African instrument. Pleasant and danced with ease, this was a nice way to open the show. The dancers dressed in blue pants and light tops moved with intention and discipline while maintaining an effortless restraint. Bike has an excellent eye for staging and she does not disappoint here or throughout the show. The choreography is fluid yet syncopated as it touches on traditional Thai and Indian dance styles. Bike moves the dancers seamlessly from one moment to the next creating a mesmerizing effect allowing this piece to begin and end like a gentle dream. The four dancers, Sarah Chan, Dakota Merritt, Dalya Modlin and Emily Wallace, execute Bikes’ work with commitment and style. Additional music was “Splendid Wood” by Jennifer Higdon and “Vero” by Ensemble 3MA. All of which worked perfectly as one piece melted into the other.
Sarah Chan and Lauren Gold in “For Rose” – Screenshot by Dean Wallraff.
Next up was a rather baffling piece titled “For Rose,” danced by Sarah Chan and Lauren Gold. The scene opens with the tall Gold sitting on a chair in silence. She moves despondently on and around the chair until she collapses into stillness. Joining in this delicate moment is petite Chan wearing black and blue dancewear while Gold wears a full skirted dress. These costumes emphasize their size disparity which may or may not have meaning. The room stays silent for too long and thus it is a true relief when the beautiful “Andante from Sonata No. 13 in B Minor” by Giuseppe Tartini begins. Though not explained in the notes, the story or throughline, appears to be a despairing Gold aided by Chan in an effort to keep her from losing all hope. This struggle is not to be rewarded and, in the end, Gold gives in to desolation. Because we do not know the origin of the emotional pain, or the relationship of the characters we cannot completely connect and thus the piece loses momentum. Unfortunately, some of the movement was awkward and was lacking the flow that Bike is so capable of designing. Still, Bike as always creates unique moments and there were many here too but a more-clear focus was needed for full emotional impact.
Dakota Merritt in “From Where I Sit” – Screenshot by Dean Wallraff.
The Premier of “From Where I Sit” was the strongest work of the afternoon. The five dancers dressed in red, black and white enter one by one each displaying an aspect of womanhood. Here we see solos depicting such titles as “Ascending,” “Tired of It All,” “Corruptor,” “Solace,” and “On Edge.” Each dancer carries a stool as they enter. One by one they take a moment to physically express the idea set before them before joining the seated dancers upstage. This was a clever set up by Bike so that the characteristics of each were clear. Technically and emotionally the performers were convincingly up to the task never wavering from the emotions of their persona. Dakota Merrit stood out as “Corruptor.” Sensually dressed in a tight dress and heels Merrit uses her sexuality in a duet with her chair. Dalya Modlin also brought a fierce emotional punch to her solo. Each solo set up for the next until all converged together moving their chairs in ever evolving patterns, while dancing with the energy of those truly living in the moment. The music begins with “Suite for Cello and Piano” by Nicholas Slonimsky which eventually gives way to “Lullaby” by Howard Skempton. Bike fully understands the complexity of the score and how to make the most of it by using every build, accent and nuance to the advantage of the choreography and thereby creates a truly cohesive and emotional dance.
“Off the Path” – Lauren Gold & Emily Wallace on the floor & (l to r) Dakota Merritt, Sarah Chan, Dalya Modlin – screenshot by Dean Wallraff.
After a short intermission, the show resumed with “Off the Path, A Fantasy.” This began as a lovely and peaceful way to bring us back to the room. The unique music “Concerto for Violin and Percussion Orchestra” composed by Kati Agócs immediately draws us into a mystical fairytale world of sweet melodies. Drawing on this motif a stream of whitish blue cloth is laid out onstage covering the dancers beneath. Into this world comes a stranger, Sarah Chan, dressed in jeans and a yellow shirt. Is she the protagonist? Slowly the rest of the dancers emerge from under the cloth in flowing costumes of light blue like water nymphs rolling out of the sea. The music with its’ shades of mystery and aggressive tympany evolves into an awakening and it is this that Bike embraces by bringing the “stranger” into the fold as ultimately Chan joins the nymphs in blue. As usual Bike’s choreography reflects the music but here the limits of the dancers come to the fore as they and Bike try to keep up with the complexities of the score. Still there is much to be admired even if the vision is not completely fulfilled.
L-R Emily Wallace, Sarah Chan, Dakota Merritt, Lauren Gold, Dalya Modlin in “Aspects Of Me” – Screenshot by Dean Wallraff.
The final piece of the afternoon “Aspects of Me,” again brought interestingly complex musical choices. However, something simpler and more easily relatable would perhaps have closed out the day in a more satisfying vein. Again, we have a serious piece to contemplate as the dancers in basic dance clothes ably perform the thought-provoking movement. Bike again uses her vast vocabulary of patterns, floor work and satisfying ensemble choreography effectively here as she keeps the stage moving with ease. The featured music was, “Room to Move” by Viet Cuong, “Suite Mon Cirque: IV. Paillettes” by Paul Tortelier, and “Prelude” by Karl Fredrick Abel.
Overall, the show teetered on the edge of sameness; lacking was thinking outside of the creative box for Ms. Bike. A touch of humor, whimsey or joy would add greatly to her repertoire and impact the audience positively. This is something Bike is completely capable of doing as was evident in her 2022 show.
I am an admirer of Benita Bike’s contribution to the world of dance, her commitment to community and her unfailing humility regarding her accomplishments. Though not every piece worked perfectly in this performance so much of it did that I can recommend that if you have a chance to see her company, go, there will always be something worth your time.
To learn more about Benita Bike’s DanceArt Company, please visit their website.
Written by Tam Warner for LA Dance Chronicle.
Featured image: Dalya Modlin, Dakota Merritt, Lauren Gold, Emily Wallace, Sarah Chan in “From Where I Sit” – Screenshot by Dean Wallraff.
