Law of Humanity

Law of Humanity is hip-hop piece that serves as a commentary on the state of the world. People aren’t connecting; they’re constantly missing one another. In the beginning, the dancers aren’t human; they’re just bodies in space. It is a distant, surreal world lacking the human touch. It is sterile and interrogative. As the piece progresses, the law and structure begin to have emotion and humanity injected into it. Eventually, the piece reaches an emotional breakthrough where the human experience can no longer be held in. By the end, it’s like a new day. The piece has a sense of hopefulness, without denying where we actually are.

This piece had over 200 light cues. It was executed through a combination of stage manager called cues and EOS Timecode. The embedded videos, especially the clip from section 3, showcase samples of the most cue-heavy parts of the piece.

Divided into four sections, the choreographer used statements inspired by Newton’s Laws of Motion to begin each part. Section 1 begins with, “An object in motion will remain in motion unless an external force acts on it.” Here, the dancers’ bodies were used as structure and object, not as humans. The use of only hash, white light and rhythmic, calculated lighting shifts exposed the starkness of this reality.

Section 2 begins with, “An object at rest will remain at rest unless an external force awakens it.” We acknowledge the state of the world in which everyone constantly misses one another. This section included the first use of color in the piece. The icy, cold feeling enhanced the uncomfortableness of realizing this reality of separation.

Section 3 states, “A person in pain will remain in pain unless another person helps them.” This part of the piece was painful and desperate. Society is at its breaking point. Every cringe and shudder was felt through the music, choreography, and lighting. Strong red looks constituted the color palette of this section.

Finally, we reach the breaking point. Section 4 says, “A word in turmoil will remain in turmoil unless we make a change; unless you choose to make a difference.” This begins a recovery. Section 4 reveals kindness, love, and compassion. The dancers acknowledge each other for the first time. They see each other, touch each other, and help one another up. The lighting begins with a sunrise effect on the cyc, establishing a bright, clear day feeling for the rest of the piece. Throughout section 4, the choreography includes visual reprises of earlier sections, but with newfound humanity and emotion. The lighting included more realistic angles and color temperatures than the first iteration.


Choreography: Robert Green

Rehearsal Director: Ashley L. Tate

Lighting Design: Dallas J. Cook

Costume Design: Shevaré Perry

Sound Design: Robert Green, Jake Kodish, Benjamin Stickels

Sound Engineer: Jake Kodish and Benjamin Stickels

Stage Management: Amaree Ratliff

Performers: Sophia Batista, Kaitlyn Bego, Quenton Bowman, Mikeala Burney, Danielle Devine, Mike Graham, Niya Kerr, Sydney Lin, Keegan Martin, Riley McGowan, Abbey Murphy, Macy Turner, Ella Zuchowski

Music: Thom Yorke, Sontag Shogun

Photos by Dallas J. Cook and Kat Lawrence