Page 8 - The Michigan Daily - Friday, February 3, 1989
Dance
too often ignored
BY PAMELA WARSHAY
"'IM a Psych Major."
"Oh yeah? That's really great. I'm a dance
major."
"That's really interesting. What kind of danc-
ing do you do? Ballet, Jazz...?
"No, modern dance."
"Oh, what exactly is modern dance? Is it kind
of like jazz or something?"
What exactly is modern dance? I've heard this
question one too many times. A verbal explana-
tion can't possibly describe modern dance clearly.
Only a visual one can.
STATE OF THE
Unfortunately, few people ever take the time
to see a visual explanation. The majority of our
..population cares little about modern dance, and
puts little effort into experiencing and learning
about it.
Art should be thought of as a precious jewel
on a velvet cushion. It's one of the many aspects
that make a particular society unique. Unfortu-
nately, many people don't realize this.
Why does such a slim percentage of the
population care about and support modern dance?
Why do the majority of the students at the Uni-
versity care more about purchasing football tick-
ets than dance tickets? Why would most students
rather go to a party on a Friday night than to a
dance concert? It's not that parties or football
games are wastes of time, but there should be
other options for entertainment. Most people
don't make dance a part of their weekend agenda.
Why is this?
Perhaps many individuals feel that in order to
enjoy dance, they must be educated in the art
form. This is not true. Modern dance is a form of
artistic expression which affects any individual,
whether that individual is a dancer, musician, en-
gineer, doctor or anthropologist. As a dancer and
choreographer, I am aware of the audience's re-
sponse to my work. The kind of audience I prefer
viewing my work is comprised both of dancers
and non-dancers.
Dancers tend to notice the technical aspects of
a performance more than its emotional con-
veyance and dramatic presentation. So when I ask
viewers about pieces which I have choreographed
or performed, critiques from non-dancers are just
a useful as those from dancers. Just as a person
who is not a visual artist sees a painting as a
whole, rather than analyzing every detail of it,
non-dancers see a performance with this same
type of untrained eye.
Dance conveys its own kind of excitement.
Seeing a live dance concert can put audience
members at the edge of their seat just like a
sporting event. The hope and anxiety an audience
member feels when watching a successful piece
is so thrilling. Hoping the piece goes smoothly
with no mistakes is one of the reasons why
watching dance is so entertaining. This anxiety
allows the audience to hope, pray that a given
dancer executes movement with physical
prowess, no bumps occurring.
Watching 15 people on stage, weaving be-
tween each other's paths perfectly or watching a
group of dancers move in unison, exact, precise
timing and movement, moves the audience.
Watching individuals dance together to make a
thought-out piece of art come to life is what
dance is all about; the audience seeing the cre-
ation of art as they breathe. Dancers are physical
masters. Seeing a dancer's years of training come
to a head on stage is a refreshing change from the
everyday hustle of pedestrian life.
After a successful piece, the audience ap-
plauds and screams - true excitement. This
burst of energy makes the audience's adrenaline
level increase to such an extreme that they will
want to jump up on stage and dance and frolic
around, whether they are dancers or not. It's true
inspiration. Not just an inspiration for this sin-
gle artform, but an inspiration for anything. This
is so much more thrilling than seeing a football
game or sitting around at a party with intoxicated
peers. If a person who is unfamiliar with dance
experiences the feelings incorporated with seeing
dance, they will undoubtably become addicted to
this artform.
Mavelock Ellis once said, "Dancing is the
loftiest, the most moving, the most beautiful of
the arts, because it is no mere translation or ab-
straction from life, it is life itself." Since dance
is such a mirror of life, an audience member, no
matter what their background, can learn and en-
hance their own life from the inspiration of
dance.
Fishbone is probably best known for its out-of-control live
shows, but the power of the L.A. ska/funk/etc. band comes
through on Truth and Soul.
Fishbone
Truth and Soul
Columbia
Most people don't remember Superfly, so I'll tell you the story. He was
a "dope man" who decided that he'd had enough of life as he'd known it.
Tired of inner-city corruption, crime, conflict and violence, he figured that it
was time for change. The same thing irks Fishbone, so much so that they
open this one with an angry cover of Curtis Mayfield's "Freddy's Dead,"
from the movie.
It's hard, yet versatile, as the groove switches over from menacing elec-
tric guitar riff and synth blasts to a probing bassline and eloquent violin-like
chords, while lead singer Angelo quizzes about "Reality. What does it
mean?" As a song, it's great. As a cover it's brilliant. It sets the stage per-
fectly for an angry, long look at urban society, hence the title Truth and
Soul.
J
0
a
Reach 40,000 readers after class,
advertise in
Alme iRIdluBn 9a1ig
MAGAZINE
Lost
Continued from Page 7
with the Acting Company.
"Ninety percent of making a good
Shakespeare production is clarity and
passion," claims director Giovanni.
This Saturday, Ann Arbor will judge
whether or not the Acting Company
adds up.
LOVE'S LABOUR'S LOST shows
tomorrow night at 8 p.m. Tickets
are $22.50 and $18 and are available
at the Michigan Theater Box Office,
open today from 11 a.m. to 6 p.m.
Fishbone is considered one of the world's best live bands. Their energy
and cleverness is well translated to vinyl here. Since their first self-titled EP
in '85, they've built a huge cult following with an unpredictable blend of
ska, rock, funk, hardcore, reggae, and on to new directions. The only thing
that eludes this group is commercial success. But that's not their problem,
it's radio's.3
Here they use their palette to paint a complex, slick, and complete pic-
ture, making this their best work yet. "Pouring Rain" utilizes more of that
muscular bass with a smooth, penetrating brass section to tell the story of a
"prophet... not respected in his own world." "Bonin' in the Boneyard" is a
tight, churning funk trip that both moves you and holds you in place when
needed, with elaborate horn sections and a rousing chorus of screams and
"yeahs."
"Truth and Soul" is clever, emotional, and strong. It proves Fishbone as
worthy of impending success. It cries out for change in a world of injustice,
and spotlights a group that refuses to sell out in the face of adversity. If you
ask me, these guys are too good for radio, but not for you and me.
-Forrest Green
INTRODUCING
ANN ARBOR'S 21 PRIME PROPERTIES]
AVAILABLE FOR LEASE FOR 1989-1990 SCHOOL YEAR
Worm
Continued from Page 7
that flicker like a strobe light. Rus-
sell effectively creates an "other
world" that has never been seen
Russell is undoubtedly a film-
maker with a unique style. Unfortu-
nately, he is also the author of the
screenplay that eventually drags Lair
of the White Worm down into the
mire of "common horror film" - the
very thing the film was rising above
during the first half. The ending
seems like an endless battle between
human snakes and normal people.
The special effects take over, quickly
diminish Russell's style, and slow
the momentum of the film.
Lair of the White Worm is not
for all tastes, and if it was not made
by the inimitable Russell, I would
simply dismiss it,.But .it is a Ken
Russell film and contains all the el-
ements of B-horror films with that
classic Russell touch. He's similar to
directors John Waters or Russ Meyer,
but with an art school education and
a respect for Victorian fiction. People
unfamiliar with the Russell mystique
may find this film trite and repug-
nant, but Russell fans will be enter-
tained. And when the film gets nasty,
they can knowingly say, "Oooh.
That nasty Ken is at it again.., the
crazy nut."
LAIR OF THE WHITE WORM is
showing at the'Ann Arbor Theater.
(1) The Abbey - 909 Church
(2) Albert Terrace -
1700 Geddes
(3) The Algonquin -
1330 N. University
(4) The Carriage House -
1224 Washtenaw Ct.
(5) The Dean - 1021 Vaughn
(6) The Forum - 726 S. State
(7) The Lion - 525 Walnut
(8) The Lodge - 1333 Wilmot
(9) 344 S. Division
(10) 515 E. Lawrence
(11) 326 E. Madison
(12) 1000 Oakland
(13) 520 Packard
(14)
(15).
(16)
(17)
(18)
(19)
(20)
(21)
Arbor Forest - 721 S. Forest
Oak Terrace - 908 Oakland
517 Catherine
1014-1016 Church
415 Hoover
511 Hoover
114 E. Kingsley
727 S. Forest
UNIVERSIY OF MICHIGAN
SUMMER CAMPS OF CHAMPIONS
For leasing information contact
Prime Student Housing
610 Church St.
Ann Arbor, MI 48104
(313) 761-8000
; f,4ib
FIVE GOO; REASONS TO BE A
SUMMER CAMP COUNSEJLOR:
1. Work with young talented attiletes
from across the country
2. Have your days free to work
secondary jobs or attend classes.
3. Receive a doubl- room to youcLself.
hlree meals daily,,and a living
allowance.
4. Partake in the metamorphosis of A2
(It becomes very mellow!)
5. Become anozher reason why U-M
has one of the largest, most~
successful sports camps in the
country.
I
4
ALL.
Fu.4O R
te.,: lNDD
t Ij I ir,:.a.o' 4- te«ew: :i.A TES
Deadline is 4PM March 4, 1988
Pick up an application at the
main desk of any residence hall, at 112 West Quad-Housing Conference Office,
or call 764-5325 weekdays from 9:00AM-4:OOPM.
'An equal opportunity employer (women and minorities are encouraged to apply)"
40
.'
00O
Get involved with MSA
and your
Student Government
PARIS
PARIS
SPRING BREAK
SUNGLASSES
FLORIDA
SUNGLASSES
ACAPULCO
SUNGLASSES
ALL SUNGLASSES
S nn
Candidates needed for:
President and Vice-President of MSA
* LSA * Natural Resources
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