Dwight Rhoden has blazed a path for emerging creative luminaries through his odyssey as a dancer, choreographer, professor and artistic director, resident choreographer, and co-founder of Complexions Contemporary Ballet (CCB) in New York City. His career, impressive in both its breadth and depth, is decorated with awards and milestones coveted by dance artists around the world.
Rhoden has been a company member with Dayton Contemporary Dance Company, Les Ballet Jazz de Montreal, the Alvin Ailey American Dance Theater, and a performer in a multitude of television specials, documentaries, and commercials. As a choreographer, he has led the conceptualization and execution of groundbreaking repertory for CCB and dance institutions worldwide, including his creation of over 80 ballets.
Rhoden’s work has also been viewed on “So You Think You Can Dance,” E! Entertainment’s “Tribute to Style,” Amici, Cirque Du Soleil’s “Zumanity,” and the feature film “One Last Dance.” To boot, he has worked with icons including Prince, Lenny Kravitz, Kelly Clarkson, Nina Simone, Pail Simon, Marvin Gaye, and U2.
Rhoden began his dive into the world of dance at 17 years old – a rather late age for the art form. A close friend brought Rhoden to Dayton Contemporary Dance Company (DCDC) to watch class and, upon viewing and understanding dance as a viable career path, Rhoden felt immediately changed.
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“I had played the clarinet, the flute, and the drums, but I didn’t stay with anything. I had risen up in the ranks at Kroger, and I quit my job. I came home that day [after seeing DCDC] and I told [my mother], ‘I found it,’” Rhoden recalled to the Sentinel.
Rhoden soon joined the subsidiary second company of DCDC alongside a select group of football players, who founder Jeraldyne Blunden invited to serve as male dancers for the ladies in the first company. He began his time at DCDC with an eagerness to conquer the challenges before him, fueled by a powerful work ethic instilled by his mother, who reminded him, “you gotta work hard, twice three times as hard – and you can do it.”
He certainly put in his 10,000 hours. Rhiden immersed himself in classes after rehearsals, motivated by a hunger to learn and a natural ability that included strong legs and feet. He even asked his friends within the company to stay after rehearsals so that he could set his own choreography on them.
“I lived, drank, and slept dance. It was all I could think about,” he reminisced.
Rhoden’s dedication to growth led him to renowned companies like Le Ballet Jazz du Montréal, where he honed his skills and worked with trailblazing choreographers such as Ulysses Dove. This period expanded his understanding of blending classical ballet with contemporary forms.
Later, his time as a principal dancer with the Alvin Ailey American Dance Theater proved transformative as he delved into choreography under the mentorship of Judith Jamison. The opportunity to present his first work, critiqued by Alvin Ailey himself, marked a milestone in his choreographic evolution. Soon after the critique, Ailey introduced Rhoden to dancer/choreographer/director Maurice Béjart as “our future competition.”
It was during Rhoden’s time at Ailey that he met Desmond Richardson, who would become not only his muse, but also his close friend and collaborator in founding Complexions Contemporary Ballet in 1994, and even their own dance technique, labeled “‘Nique.” Their shared vision was to break boundaries within the dance world by merging diverse styles and perspectives.
“My intention with Complexions was to buck the system a bit. I felt like we needed to mix things up and explore. But we didn’t know it would turn into what it is today,” Rhoden said.
He and Richardson sought to create a company that celebrated unity and innovation, blending ballet, modern, and commercial dance in a way that had not been explored. Complexions quickly gained traction, touring internationally and becoming a beacon for inclusivity in dance.
Over the years, Rhoden’s work with Complexions has explored themes of love, social justice, and resilience. Pieces like “Woke” inspired by movements like Black Lives Matter, and “Mercy,” addressing issues of peace in the Middle East, reflect his commitment to impactful storytelling. The company’s recent 30th-anniversary celebration at New York’s Joyce Theater showcased works that defined its legacy, including “Rise” and “Higher Ground.”
As Rhoden looks to the future, his ambitions extend to new projects like “Speakeasy,” combining spoken word with ballet, continuing his tenure as a dance professor at Chapman University, finishing his poetry book, and preparing the next leaders of Complexions. His artistic philosophy remains rooted in courage, creativity, and a relentless pursuit of connection through dance.
“If I’m not making an impact, then I’m just making pretty dances,” Rhoden observed. “
Love, inclusion, courage…those are messages needed 30 years ago, needed 100 years ago, and needed right now.”
