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 11 ,