January 31, 2011 - Ronald K. Brown's Evidence, A Dance Company will dance a repertory program including the West Coast premiere of "On Earth Together" choreographed by Brown and set to the music of Stevie Wonder, "Ebony Magazine: To A Village" and Brown's critically acclaimed "Grace" on March 9, 10 and 11, 2012 at the Music Center's Ahmanson Theatre. Evidence, A Dance Company was previously co-presented by the Music Center in the 2006-2007 season in collaboration with the REDCAT (Roy and Edna Disney CalArts Theater).

Praised by The New York Times as "one of the most profound choreographers of his modern dance generation," Artistic Director Ronald K. Brown blends modern dance with traditional and social dances from the US, Africa and Caribbean to tell stories that illuminate fundamental aspects of the human experience.

As Ronald K. Brown related to Indy Week.com last June, "Stevie Wonder had attended a concert of ours in Los Angeles, and the presenter there said that Wonder mentioned he wanted to do something with dance. So Renae Williams at the Music Center called my booking agent at the time and asked if I'd consider doing something to Stevie Wonder's music. I'd already done two solos to his music, so I said yes. And when these presenters and friends heard about it, they all started asking, "Have you started work on it yet?" And I'd say, "No, no, no-I need to figure out what it is first." This was four years ago. I started writing about what it could be. His catalog is kind of overwhelming. I was looking at his music that was about your responsibility to the world, being compassionate and all of these love songs that also have this kind of compassion and responsibility in it. I wanted a combination of songs: some that were kind of rare, so that people wouldn't focus on "Oh, that's my favorite song," and some that I felt had to be in there. And I just kept going."

"Ebony Magazine: to A Village" was originally commissioned and performed by Cleo Parker Robinson Dance Ensemble and became a part of the Evidence repertory in March 1998. Brown explains, "Ebony Magazine: to a Village" begins with a parade of individuals preoccupied with their own façade and beauty. The mantra in the score, "do you see what I see" is a challenge to question one's perceptions. The movement allows the dancers to shift from their self-consciousness to a physicality that is more connected to the ground and ultimately to each other."

Alvin Ailey® American Dance Theater premiered "Grace" choreographed by Ronald K. Brown, in 1999. "Grace" introduced Brown's work to worldwide audiences and remains in the Ailey repertory to this day, and became a part of the Evidence repertory in 2003. "Grace" is a spiritual journey set to the music of Duke Ellington, Roy Davis, Jr. and Fela Anikulapo Kuti, and weaves the story of a Goddess' journey to Earth to spread grace among humans, ultimately welcoming them to heaven.

"Grace is about people who are on a journey that we watch," says Brown. "The dancers' bodies deal with the choreographic material and their travels in different ways as we view their movements that continue to shift. My basic idea is that the people are living their lives without acknowledging the 'grace' that surrounds their individual existences, which is of course a reference to the title of the dance.

"I wanted to use music that was from a different time but that also had a sense of the contemporary in it. I needed something that was American and traditional, so Duke Ellington's Come Sunday gave me the spiritual grounding that the dance needed. Roy Davis' music is house contemporary, but it feels timeless as well, and it segues into the Kuti music which is Afro-Pop. Kuti's music has all the influences from the African-American tradition and at the same time it is coming out of West Africa. That piece talks about warrior folks who live in the city and are taking care of business, which is in line with what I wanted the dance to be about."

The New York Times says of Evidence, A Dance Company, "If there is any company working today whose dancers pack a more sophisticated and vibrant kinetic punch than those of Ronald K. Brown/Evidence, I can't think of it."

More about Evidence, A Dance Company

Founded by Ronald K. Brown in 1985 and based in Brooklyn, New York, Evidence, A Dance Company focuses on the seamless integration of traditional African dance with contemporary choreography and spoken word. Through work, Evidence provides a unique view of human struggles, tragedies, and triumphs. Brown uses movement as a way to reinforce the importance of community in African American culture and to acquaint audiences with the beauty of traditional African forms and rhythms. He is an advocate for the growth of the African American dance community and is instrumental in encouraging young dancers to choreograph and to develop careers in dance.

Evidence now tours to some 25 communities in the United States and abroad. The company has traveled to Cuba, Brazil, England, France, Greece, Hungary, Ireland, Mexico, Senegal, Nigeria, South Africa and Canada to perform, teach master classes and conduct lecture/demonstrations for individuals of all ages. Evidence brings arts education and cultural connections to local communities that have historically lacked these experiences. Annually the company reaches an audience of more than 25,000.

More about Ronald K. Brown

Ronald K. Brown has been making dances since the second grade. Growing up in the Bedford Stuyvesant section of Brooklyn, New York, he took classes in the Police Athletic League Dance Program and performed in his high school's musicals. He studied extensively with Mary Anthony, whose technique includes a combination of Martha Graham and Hanya Holm. Brown's first performance was held at Anthony's studio, financed by three family members each donating $200 for staging and costumes. Early on he performed with Jennifer Muller/The Works, who along with Bebe Miller and Maguy Marin were hugely influential to his work.

Brown's dances derive from his interpretation of the human condition and refer to numerous cultural sources. These sources include history, traditions, and dance forms from Latin America, the Caribbean and Africa, combined with kinetic storytelling, modern and urban dance movement. Through dance Brown explores the history of blacks in America and passes on African culture to a new generation. His stories and movement express traditional themes of community, ritual, and collective experience. He wants audiences to see commonplace subjects in new ways, to open their minds to new experiences, and to foster tolerance and spiritual growth. In Brown's words, he wants his work to represent "all the information that has gone into us - the stories, the history. It is really the human experience."

Brown selects dancers who interpret his choreography with an open, sharing spirit. He says, "It is a challenge to find dancers interested and willing to go beyond the façade. Classical lines are as essential in dance moves from Guinea as using the back in choreography from Haiti. The hip-hop culture is creating an openness and honesty about the way people live. Versatility is important, as is being able to go from one style to the next." Music and text fuel Brown's storytelling, and reflected in his programming is a broad range of musical forms from classical and world music to pop and hip-hop. Musical choices lend special meaning to the work. Upside Down, about a community in mourning is accompanied by a vocalist from Mali and music by Nigerian artist Fela Anikulapo Kuti. Come Yeis inspired by the work of jazz singer Nina Simone and the events of September 11th.

Brown is currently represented on Broadway with American Repertory Theatre's re-imagining of "Porgy and Bess," and has set works on Alvin Ailey American Dance Theater, Ailey II, Cleo Parker Robinson Ensemble, Dayton Contemporary Dance Company, Jennifer Muller/The Works, Jeune Ballet d'Afrique Noire, Ko-Thi Dance Company, Philadanco and others. He choreographed Regina Taylor's award-winning play, Crowns and won an AUDELCO Award for his work on that production. "I hope that when people see the work, their spirits are lifted. I am interested in sharing perspectives through modern dance, theater and kinetic storytelling. I want my work to be evidence of these perspectives," says Brown.

About Glorya Kaufman Presents Dance at the Music Center

Glorya Kaufman Presents Dance at the Music Center (KDMC) is one of the leading presenters of dance on the West Coast. The celebrated series offers significant works by prestigious ballet and contemporary dance artists from around the world. Entering its second decade, KDMC continues to be a powerful commissioning force through the support of new works and artists-in-residence projects by today's most influential companies and choreographers. Performances take place throughout the Music Center, from the historic Dorothy Chandler Pavilion to the iconic Walt Disney Concert Hall, providing the ideal setting for distinct and inspiring dance experiences.

About The Music Center

As one of the top performing arts centers in the world, the Music Center is committed to strengthening community through the arts. Set in the heart of Los Angeles' downtown cultural district and home to four internationally renowned resident companies -- LA Phil, Center Theatre Group, LA Opera and Los Angeles Master Chorale -- and the celebrated Glorya Kaufman Presents Dance at the Music Center, the Music Center offers the most compelling, highest quality engagements. In its effort to extend the reach and accessibility of the performing arts, the Music Center is a national model for experiences in which people participate directly through its Active Arts® at the Music Center. As well, the Music Center presents special productions, events and festivals for children and families, including World City at the Music Center, and plays a leadership role in advocating for and directly providing arts education in schools throughout the County. The Music Center boasts four venues -- the Dorothy Chandler Pavilion, Ahmanson Theatre, Mark Taper Forum and Walt Disney Concert Hall -- as well as a vibrant collection of outdoor theatres, plazas and gardens. For more information, please visit musiccenter.org.

Venue:	Ahmanson Theatre 135 North Grand Avenue Los Angeles, CA 90012
Performance Schedule:	Friday, March 9 - 7:30 p.m. Saturday, March 10 - 7:30 p.m. Sunday, March 11 - 2:00 p.m.
Tickets:	$28 - $110
In Person:	Dorothy Chandler Pavilion Box Office 135 N Grand Ave. at Temple St. Los Angeles, CA USA 90012
Online:	musiccenter.org
Phone:	(213) 972-0711
Groups:	10 or more, call (213) 972-8555 MCgroupsales@musiccenter.org
Information:	Online - musiccenter.org Phone - Music Center Dance Information Line (213) 972-0711