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There are not many performance ensembles to which the word "institution" is applicable. And when it is, we are often discussing groups that rest on past accomplishments, preserve what has come before, and live on nostalgia. All of this could not be further from the truth when discussing Sweet Honey in the Rock, the colorful and world renowned African American women's a cappella ensemble that was founded here in the District, 35 years ago. Sweet Honey will celebrate this milestone with a special concert tomorrow night at the Warner Theatre, along with another artistic treasure, the Alvin Ailey American Dance Theater.
"It's a good time for the community to come out and check in on the group," said Aisha Kahlil, a current member of Sweet Honey in the Rock. "It's a time to celebrate and connect with the roots of Sweet Honey here in the Washington, D.C. area."
Drawing its name from Psalm 81:16, Sweet Honey's story begins in 1973, borne out of the Civil Rights movement and the African American community's rekindled interest in its cultural roots. Bernice Johnson Reagon formed the group and led its first performance that year at Howard University's W.C. Handy Blues Festival. Over time, Sweet Honey released several albums, performed to appreciative audiences all over the world, and garnered numerous accolades, including a 2005 profile on PBS's American Masters series, and a 2008 Grammy nomination for Experience... 101, its fourth children's album.
While there has been fluidity in the lineup and repertoire, with members coming and going to start families or work on other projects, the ensemble's core principles have always remained, up through and past Reagon's 2004 retirement. Sweet Honey retains a steadfast commitment to justice, respect, and exploring the African diaspora's cultural diversity.
"It's about leaving yourself open to the forces of the universe," Kahlil said. "It's a very flexible group, but if you keep the rock solid, the sweet honey will flow."
On Friday, the Alvin Ailey dancers will provide movement on Go in Grace, a collaboration between the dance troupe, Sweet Honey, and choreographer Hope Boykin. The piece casts the dancers and singers as members of a society that unites around a young girl. In addition to other guest appearances, the audience can expect many of the spirituals, traditional blues songs, and hymnals from Sweet Honey's catalog. But Kahlil is quick to note that the ensemble strives to remain relevant to today with vibrant contemporary material, drawing from hip-hop, jazz, and international influences.
"The things we're doing are very fresh and contemporary," Kahlil said. "We have a fresh approach to the group now, and it's exciting."
The Washington Performing Arts Society presents Sweet Honey in the Rock along with the Alvin Ailey American Dance Theater tomorrow, Oct. 23, at the Warner Theatre, located on 13th Street b/w E & F Streets, NW. Tickets to the 8 p.m. show are sold out, but contact the box office at 202-785-9727 for last minute availability.
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Near the end of their set at The Birchmere last year, I saw one Sweetie check her watch and signal to the others that they had fulfilled their obligatory contract minutes. Earlier this year, while watching Alvin Ailey's company at KenCen, the audience went wild over average dancing with a lot of glitz heaped on top. It seems to me that these two make a perfect pairing dazzlng yet dated has-beens (being labeled an institution isn't always a compliment) that sold out their previous excellence in performance values. Talented? Yes. Smooth operators? Moreso. You couldn't pay me to go see either of these acts again.
I remember seeing Hope Boykin dance when she was with Philadanco, and her work was incredible. Thanks for letting me know about her pairing with Sweet Honey.
Hello! Since Sweet Honey gets google alerts, I had the chance to read your comment and am sorry your experience with our group was less than satisfactory. Working with Ailey over the last year was a great honor for us and a learning experience both groups. We know it was a departure from what our audiences are used to seeing. Re: one of us checking our watch at the Birchmere, it is important for us to respect the time a producer has given us for a performance. When an artist goes overtime, someone has to pay for it cause everyone who stays has to get paid. Thats the bottom line, respecting what the producer has asked for. This year in DC, we went 4 minutes over the 10:35 cutoff and the curtain went down when we left stage and didn't come back up, despite the audience applause - not even a final bow. Thanks for your comment. We really do our best to give a good show. All the best to you.
My comment was a reply to common_tater ;=))