diSiac’s ‘DRIFT’ redefines the capacity of hip-hop and contemporary

On the night of April 22, Murray-Dodge Theater bloomed with vibrancy as diSiac celebrated its 25th anniversary with its spring semester show “DRIFT.” When the show began, the dance company took to the stage with a vigor that ran constant throughout the rest of the show’s one-and-a-half hours.

One of the beginning pieces featured an octet of dancers grooving to Aaliyah’s “Are You That Somebody?” The song’s avant-funk beat was in sync with the diSiac members’ sassy movements, and its sensual, R&B qualities were reflected accordingly in the dancers’ fluid control of their bodies.

Following this was a more up-beat performance, in which “family ties” by Baby Keem and Kendrick Lamar fueled the energetic, swaggy footwork and arm motions of the dancers. These hip-hop-centered pieces were contrasted with slower-paced, avant-garde works that came afterward. Expressive gestures, dynamic rolls, and coordinated body jerks defined the artistic beauty of these dances.

An array of musical genres were interspersed throughout the various pieces, including Latin influence manifested in Lady Gaga’s “Americano,” spoken poetry in “Black Girl, Call Home” by Jasmine Mans, and soul music in Stevie Wonder’s “All I Do.” Accompanying this diversity of music were the various types of dance portrayed in the different choreographies. Ballet spins, the flexible body bends of contemporary, and the dramatic flare of jazz-funk were among those that were spotlighted, giving the audience a taste of diSiac’s impressive dance repertoire.

After all, Haley Baird ’24, diSiac’s Artistic Director, said that “one of the coolest things about diSiac is the diversity of talents among our members.” She specified how “everyone comes from a very different dance background and adds their own style to the company.”

The diversity in backgrounds was visible within each piece when multiple styles of music and dance were synthesized together to create a dichotomous harmony of moves: smooth yet abrupt, bold but delicate, free-flowing though well-restrained. Between the transitions of beat-drops or beat-ups, the dancers’ mastery of vastly-different dance styles, namely hip-hop and contemporary, induced awe. Though it was clear which dancers leaned more towards hip-hop and which leaned towards contemporary dance, based on their recurrent appearances in certain pieces, they all managed to hold their own when the choreography shifted between different styles.

The artistry of the choreography was boldly extravagant, challenging conventions of hip-hop, contemporary, and everything in between. Johana G. Lara ’25, president of diSiac, commented that the company “puts a lot of trust into its choreographers” and that they “respect artistic vision.” It was evident that these choreographers went all out in carrying out the vision for their pieces. Whether it was reflective pants for the moody, yet expressive alternative songs or hot pink attire and black stilettos in theme with the daring sultriness of Pussycat Dolls’ “Buttons,” the dancers did not hold back when showcasing their powerful, alluring moves.

Speaking about this creative freedom entrusted to the choreographers, Lara said that allowing them “to have this space of honesty and exploration is important to diSiac,” as they “[bring] out a new side of themselves for diSiac to embody in the show.” Furthermore, Lara is proud she gets to learn more about the members through the vision and artistry of their choreographed works.

It seems that this was a wise strategy on the part of the company, as the choreography throughout the show successfully conveyed a hybrid of swag and elegance. Grand, yet controlled movements alongside fierce, but suave body language blurred the line between hip-hop and contemporary.

Emily Krueckeberg ’26, who joined diSiac in the fall semester, described her experience as a first-time choreographer for “DRIFT” as amazing and fun. In alignment with the show’s theme of drifting and racing cars, she, along with co-choreographer Satuye Lacayo ’23, focused on cultivating a “vibe of high speed, high energy, [and] racing moves,” keeping in mind “this high energy theme that [she] wanted to underlie [the] piece.” For her piece, Krueckeberg revealed how it “mirrored a car race: it started slow and steady, with more intentional moves aimed at precision.”

Krueckeberg’s piece, best characterized as dynamic, intense, and bold, captured the fearlessness and innovative artistry of diSiac. Every aspect of “DRIFT,” from the outfits to the song choices to the lighting, amplified the high energy consistently present throughout the show. Shamelessly performing moves like getting low or onto the floor, the company was not afraid to explore how to expand its interpretation and presentation of dance.

Closing out the performance, the dancers seemed to exert an overwhelming vitality, visible in their commanding moves and facial expressions, to match the pace and ambiance of the final piece, which Krueckeberg described as “an escalation where we used all of our energy to get the crowd as hyped as we could, like the final burst in a race.” With strobe lights flashing and a whole lot of jumping, “DRIFT” valiantly sent the spring semester off in style, swag, and sass.