Sarah Hayes Watson in “Chaconne.” Photo by Christopher Record

Collaboration was the main theme running through the 2014 performances of North Carolina Dance Theatre’s “Innovative Works,” but diversity in collaboration took the choreography on divergent paths, creating a wonderfully inspiring miscellany. This year’s “Innovative Works” featured four pieces: “Contrast” by Mark Diamond with guitarist Troy Conn, “Chaconne” by Sasha Janes, “Transformation” by Jean-Pierre Bonnefoux and Quentin “Q” Talley, and “Sit-In, Stand Out” by Dwight Rhoden with collaboration from the Levine Museum of the New South.

Diamond’s “Contrast” started out the evening, exploring the wide range of musical styles possible, blues, classical, metal and jazz, with only one type of musical instrument: the guitar, played live by Troy Conn. This diversity was significantly reflected in the dancers’ movement, which harmonized with the variations in speed and emotion each type of guitar and style evoked from a combative anger with metal to a lilting, romantic swing with jazz.

Following “Contrast” was Sasha Janes’ piece, “Chaconne,” named for the finale of Johann Sebastian Bach’s “Partita No. 2 for Solo Violin in D minor” and danced to the same music. “Chaconne” was most imaginative for the interaction between stage design and dancers; the choreography utilized a stage curtain made from black ribbons in the background that the dancers materialized through and vanished into as they followed a rigorous melody.

Perhaps the most truly collaborative piece was “Transformation,” created by Jean-Pierre Bonnefoux and Quentin “Q” Talley, with choreography credit also given to dancers Melissa Anduiza and Pete Leo Walker. Talley, well-known for his spoken poetry, put this talent to music and dance, posing the question “Do you want to evolve?” “Transformation” broke down barriers between audience and performers with Talley emerging from the seats to perform with Anduiza and Walker, while mirrors spun in the background, revealing the audience to themselves.

Offering more food for thought was Rhoden’s piece, “Sit-In, Stand Out,” featuring photographs from the Levine Museum of the New South’s “Focus on Justice” exhibition about the Civil Rights Movement in the Charlotte region. Dancers began the performance by viewing these photographs projected on one wall of the theater, then proceeded to dance a narrative of the struggle African Americans and supporters of Civil Rights went through to achieve equality. “Sit-In, Stand Out” made the fear, anger and bitter sorrow felt during this period evident through the dancers’ repetitious shuttering, intense movements and depressed body language. There were moments of hope coinciding with music rooted in the gospel tradition, but overall this was not an optimistic piece.

“Sit-In, Stand Out.” Photo by Jeff Cravotta