Paga 6--Saturday, May 26, 1979-The Michi an Daily
Dancers cook diverse Goulash'
By ANNA NISSEN
The University Dancers present "Goulash", a two-
hour potpourri of student works, Thursday through
Saturday nights this week at the Dance Building.
Composed by the most prolific of the students
represented, Whitley-Anne Strakian's "2 Sinfonias"
seems to reinforce the rule that one should never dance
one's own choreography. In a rather lukewarm solo
opening, Ms. Setrakian's balance and strained exten-
sion seem to result from her knowing all too well where
accents and pauses ideally should come. Her solo "86th
and Third" suffered much the same problem ; her own
spine is too inflexible for the movements she conceives.
Barbara Rinaldo's self -designed solo was superb,
however, her choreography working within her
strengths and limits as a dancer. She is taut, springy,
and elastic, her movements articulate and clean. With
an apparently solid background in classic ballet, she
floats momentarily at the sol stice of every move.
WHITLEY-ANNE SETRAKIAN should not be
passed off as justan amateur choreographer. Her real
forte with group pieces is demonstrated in the second
"Sinfonia," danced by her and four other students en-
thusiastically. Ms. Setrakian has a rare gift for in-
troducing contrapuntal movement and asymmetric
floor patterns without congesting or confusing the stage
space. Transitions from individual solos to corps
sequences are also effected well, each soloist ebbing
slightly as the others merge into her movement.
The flow of Ms. Setrakian and her friends is interrup-
ted at times by technical snags. Several of the dancers
lack the gratuitous extension and limber spines which
the work requires. Also at times there is uncertainty as
to what the arms should be doing; they hang rather than
complement leg leaps and stretches.
Setrakian's "Deva Duta" alludes to three divine
messengers in Buddhist theology and is performed by
Setrakian, Barbara Bellamy, and Loi Kail-tsubota.
These Three Graces of the Orient vary dynamics in-
triguingly, but their jerkier movements and casual
pedestrian ambling contradict the consistent grandeur
of the Barber orchestration. Again, each messenger has
a solo passage, and these are blended masterfully wih
trio phrases.
this piece that prevents it from being truly professional.
In the last twenty years the deluge of modern dances
dealing with pre-Adamic biological strife has rendered
the genre a cliche. Even so, Marko's number was not
without value as an experimental piece. His dancers
arrived at some interesting amorphous floor patterns,
and we now know that polyethelyne does not make the
most effective screen between audience and perfor-
mers.
SET TO A charming recording of "The Walrus and the
Carpenter," Loi Kail-tsubota's dramatization of the
Lewis Carroll poem is pure delight. Mark Dolengowski
as the tuxedoed Walrus is appropriately portly and
luuos n the t hre=ubl, oy-oy yses r A m ericans
really cute enough to bite.
The most professional piece in the program is
Setrakian's poetically titled "and the heart an involun-
tory muscle after all . .. , performed by Let Kail- c p C n e
tsubota ina slippery green Lycra bodysuit. This dancer,
with her high arches, hyperextended knees, and f ilm aw ards
CANNES, France (AP) - The Cannes F
Festival, which once treated American films as
grade schlock, awarded all of its top honor
American films Thursday.
Apocalypse Now, Francis Ford Coppola's unfini
Film
low-
s to
shed
spineless torso, embodies Setrakian's highest visions of
how the human body can be made to look and move.
Kail-tsubota reaches, blossoms, and contracts with sen-
sual regularity, not unlike the effect of time-lapse
photography. Limbs attentuate as tendrils, and she con-
veys the grace, spontaneity, and passion of organic
growth.
Ken Marko's experimental "Primordial Amorphic
Metamorphosis" concludes the program. Behind an
elaborate polyethelyne stage set, amoebic dancers in
various colored leotards squirm and roll. At least I think
they were squirming and rolling; the plastic curtain,
while it lends a definite embryonic quality, also suc-
cessfully obscures the view. Three dancers suspended in
polyethelyne cages crawl down, provoke the amoebas to
frenzy, and are eventually coaxed back into their cages.
Meanwhile, slides from Microbiology 201 are being
flashed on the stage walls. It isn't so much the
choreography or execution as the general conception of
$30 million Vietnam War epic, was named best film,
sharing the Golden Palm award with West German
director Volker Schlondorff's The Tin Drum.
Jack Lemmon was awarded the title of best actor for
his portrayal of a nuclear reactor technician in The
China Syndrome, a movie about an accident and its
subsequent cover-up in an atomic power plant.
Sally Field picked up the best actess award for her
title role in Norma Rae, a recently released chronicle
of attempts to unionize workers in an Alabama textile
factory.
Still another American, Terrence Malick, was
named best director for Days of Heaven, a harrowing,
exquisitely photographer story about love and greedset
in the wheatfields of Texas just before World War I.
The award for Coppola marked the second time he
has won best picture honors at Cannes. His movie The
Conversation won the award in 1974. Coppola is best
known in the U.S. for his films The Godfather and
The Godfather Part II.
SPRING
ARTS STAFF
ARTS EDITOR
Joskoa Peck
ARTS STAFF: Sondra Bobrokf,Sarah Cassill, Mark
Coleman, Sara Goldberg, Eric Graig, Jock Hender-
son, Katie Herzfeld, Anna Nissen, Christopher
Potter, Nancy Rucker, R.J. Smith, Nina Shishkoff,
Tom Stephens, Keith Tosolt
Ann Arbor police reflect
community's diversity
< Continued onPare 5) black uniform. A clock-wa cher you
kidnapping is probably the most dif- - don't need."
ficult crime to solve, even though the Woodruffe also said officers who
most serious is murder, want to become detectives for the glory
ANN ARBOR recorded five aspect of the job, "aren't here too long.
homicides in 1978, and Woodruffe said it The farthest thing on your mind is to
is difficult to solve such crimes without shoot someone. We are here to protect
the help of cooperative citizens. the public."
Woodruffe, who is 47, said witnesses Potential detectives, Woodruffe said,
who volunteer information are "a big must pass a rigorous series of exams
help. If you would get no information during a six-month training period. The
from citizens, you'd be greatly ham- training period covers such areas as
pered. But you don't get as much as arson, crime prevention, assault, stolen
you'd like." property, bomb threats, checks-and-
Woodruffe is a 25-year-veteran of the fraud, and breaking-and-entering
AAPD, and has 34 people working for (B&E's).
him who range in age from 27 to 60. Woodruffe said handling missing per-
IN EVALUATING officers who want sons is particularly tough because
to become detectives, Woodruffe said "people have just disappeared. You
he looks for "the most mature person need a lot of information. If you don't
you can find." He said the AAPD needs have it, where do you go?"
"a self-motivated individual who is Woodruffe said the best part of police
aggressive and gets along well with and detective work is the street work
people; again, that key ingredient because "you're in on the situation first
evident in every person who dons the hand."
"Gimme a D
Gimme an A*
Gimme an 1 l... L . . .Y
Giv6 the MICHIGAN DAILY *
that old college try.
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