Dancers move with 'Experience'
by Jody Frank
For the next two weekends, studio Ain the dance building
willbe energized with the dances of five B.F.Adance students
as they present their annual concert, this year titled
"Quintexture: A Moving Experience."Each weekend's per-
formances will showcase a different set of dances.
KandeCulver'spiece "Behold," with musiccomposedby
Steve DeVries, is a dance "about the negative impressions
and perceptions we have about ourselves and about letting
them go," she said. "As dancers we have to stare at ourselves
in the mirror all day long so we think about it a lot."
Culver originally wanted the dance to be about eating
disorders, but she didn't want to deal with the everyday
occurrences with food, so she focused instead on the idea of
self-perception. "It mostly came from personal experiences
and issues that I've been dealing with that are almostuniver-
sal," she said.
Culver described the dance: "During the piece the danc-
ers pull down scrolls of paper and use charcoal to draw an
outline of how they see themselves. They go from being hung
up about the proportions of their bodies to being angry about
their self-hatred broughtaboutbymedia, minorsandpeople's
comments." Through the piece the dancers become more
accepting of themselves, and "eventually, they tear down the
pictures, and the dance ends with a unison dance where they
move more freely."
Originally inspired by music on an African xylophone,
'Tilt" is co-choreographed by Culver, Wendy Light, and
Jeremy Steward. "It's an exploration of the collaborative
process and an expression of how we were inspired by the
music," Culver said.
Unlike the other dances, this one will be performed both
weekends. Yet the first performance will have a different feel
to it then the second. The first will be set to an excerpt from
Ravel's string quartet inF, while the second willbeperformed
to the live xylophone playing of Mark Stone.
In her solo performance "Icestasy," Lisa Clinton uses
modem dance and ballet to enhance her skating in a "rock
concert on ice." Set to Greg Lake's "You Turn Me On,"
Clinton said of the dance, "It's aboutaman talking abouthow
he's turned on by awoman; the typical story."Thisdance will
be shown the first weekend, on videotape.
Those who saw the Impact dance performance will re-
member Clinton's "Black Magic Woman." An updated ver-
sion of this piece with only three of the original dancers will
beperf rmed the second weekend. It tells alove triangle story
invol g the "B lackMagic Woman," the man she puts a spell
on and another woman.
"I've incorporated different ice dancing paired moves,
giving more circular, spinning motions and more traveling to
give the look of ice-skating on the dance floor," Clinton said.
"It's a challenge to get people to move in that manner."
Collaborating with Donna Pisani, Noonie Anderson and
Wendy Light, Clinton is putting together a mixed-media
presentation, "taking all the departments to make one produc-
tion." Set to Pink Floyd's "The Wall," it started as a demo
video -"The Wall on Ice." This work is in memory of the
Musical Theater teacher Tim Millet. Clinton is hoping that
this piece will receive enough recognition to be performed
The dance is divided into three parts of "The Brick Wall.'
Thefirstpart"delvesintotheleadmalerole reminiscing ofhis
father's death. The ensemble represent slow death, while the
lead develops martial arts into mime and role playing,"
Clinton said. The second part uses eight children ages seven
to 12, four of them male gymnasts.
"The third section is more of a sexual thing. He (the male
lead) goes into a rage of craziness where he doesn't need his
groupies (represented by the women) or drugs (represented
by the men)," she said.
Cary McWilliam uses structured improvisation for her
solo piece "Lounge.""It's a chance dance," she said."Some
of the faculty are going to choose a different piece of music
each night. I'm not going to hear the music until I do the
show." Of her group piece "Discovering Company," per-
formed the second weekend, McWilliam said, 'This sam-
pling from society also came from improv. Out of that
movement came the idea of similarity between them all.'The
dancers all have different qualities which makes it helpful for
"Nightfall" is Wendy Light's mystical dance inspired by
the myth of Dionysus and his wild Bacchae. Five women
dressed in black act out the feverish drunken spell that
overtakes them at night. In her solo, Light takes a series of
short movement studies and combines them. 'The dance is
mostly visual effect, just movement for movements sake,"
Light said. "I also collaborated on the score. The music is all
voice sampling made to sound like music."
In a third piece, "Throb," Light makes a political state-
ment about, she said, "howI feel that if Americans knew that
we are truly the mass, as opposed to the government and that
if we all came together -I mean if everybody got together
for even a day - so much could get accomplished.
"I guessI lookatitasmyUtopia. Imean, even in situations
that we are together, we are still in our own worlds trying to
do our own things."
Finally, Jennifer Minore will also contribute her dancing
and choreography to this student collage. From mythology to
sociology to political science, the variety of dances should
make both weekends exciting and entertaining.
This show couldn't have come at a better time. With the entire city of Ann Arbor in a state of shock (as well as
depression) due to the results of the b-ball game Monday, we're all in desperate need of some relaxing roots, rock
and reggae. That will be provided in droves tonight as the Reggae Spring Splash sways happily atthe Michigan
Theater. Headlined by the legendary Black Uhuru (above), the Spring Splash is the ideal remedy for what ails ya.
For the uninitiated, Black Uhuru is the one band that almost turned reggae into something more than a code word
for "Bob Marley" to the masses. At their apex, they were led by enigmatic vocalist Michael Rose and Puma Jones
(a woman with a master's degree from Columbia University), and released the seminal reggae classic, "Red."
Unfortunately, this line-up was far too short-lived, with Rose leaving the group and Jones succumbing to cancer.
But don't count Black Uhuru out yet. Still featuring founding member Duckie Simpson, they now boast ex-Wailing
Soul Garth Dennis and Don Carlos. This Jamaican love tribe can still rock with the best of them. So put away that
copy of "Legend" for a night and get schooled on a whole different wave of positive vibrations. Show up early and
catch openers Andrew Tosh (son of reggae great Peter Tosh) and new jack Louie Rankin. The party kicks off at
7:30 p.m., and tickets are $17.50 (in advance). Call 763-TKTS for more details.
"QUINTEXTURE: A MOVING EXPERIENCE" will be
performed Thursday through Saturday at 8p.m., this
weekend and next weekend, at Studio A of the Dance
Building. Tickets are $5 at the door. Call 763-5460.
Corey Loves Dino Jr.
...So he (and any other J. Mascis
maniacs) might want to high tail it
down to Repeat The Beat record store
in Royal Oak (520 S. Washington)
Wednesday at 5:00. Mascis and the
rest of his Dino Jr. buddies are doing a
rare 'meet and greet' autograph gig
there. Call 543-4310 for more info.
There's sure tobe zillions ofpeople, so
get there on the early side. Be fore-
warned, however, Mascis isn'tknown
for being particularly, um, outgoing,
so don't take it personal. He probably
just woke up.
Two-Hour Wait in Line
If your idea of fun and excitement
is waiting in line for a few hours to see
a free movie, then be sure and check
out Cinema Guild's sneak preview of
"Benny and Joon" tonight. Starring
Mary Stuart Masterson (of "Fried
Green Tomatoes," as well as other,
better, movies like "AtClose Range"),
Winona's flame Johnny Depp and the
always intense Aidan Quinn, "Benny
and Joon" promises to be the gripping
saga of a free-spirited young woman
(Masterson) who meets a free-spirited
young man (Depp) with whom to be
free-spirited. It's probably very roman-
tic and cutesy-eccentric, so get there
early and bring amusements to make
the line wait more bearable. It prom-
ises to be an evening of enjoyment,
unhampered by those nasty time-outs
that make other forms of entertainment
so frustrating. The proceedings get
underway at 8:00 at Nat Sci. Call 994-
The Early Years, Vol. 2
Ten years have passed since Tom
Waits revived his career with
"Swordfishtrombones." Since then
Waits has been pursuing the demented
jazz/blues/rock that he unveiled on that
record. His latest album, "Bone Ma-
chine," has earned considerable critical
acclaim and respectable sales and is
arguably his best yet. So, the release of
"The Early Years, Vol. 2" comes at a
perfect time. As the album illustrates,
when Waits began performing he was
writing songs that heavily recalled Tin
Pan Alley standards. The songs on "The
Early Years, Vol. 2" are not as focused
or original as Waits' recent works, but
are interesting, nevertheless. "Mockin'
Bird," "Grapefruit Moon," "Diamonds
On My Windshield" and "Shiver Me
Timbers" show the roots of the style
Waits would later develop throughout
the seventies, although he is still tied to
his influences. Those expecting "Rain
Dogs" or "Bone Machine" will be dis-
appointed, but those familiar with "Blue
Valentine" and "Nighthawks At The
Diner" will enjoy "The Early Years,
A band called the Iguanas can't be
anything but abunch ofguys with pom-
padours and bowling shirts who like to
play 50s style party rock. Fortunately,
they're that and much more. Because
they're based in New Orleans, and half
of the band is Hispanic, their music is a
very tasteful mix of diverse cultures.
Even better, you have a great time lis-
tening to it. Basically, this record is a
must for anyone who likes real rock
music. You know, before hairspray,
eyeliner, spandex, and cheese.
The opening track, "Early In the
Morning," has a very strong New Or-
leans feel, with its "Big Chief"-esque
beat. It was co-written by John Magine
from the Subdudes, and describes the
party 'till morning lifestyle which typi-
fies New Orleans. The chorus goes,
"Late at night/I held the world in my
hand like a shiny jewel/Early in the.
morning/Ilookinthe mirror and seethe
same old fool."
"Para Donde Vas" and "Por Mi
Camino," as evident by the titles, show
the Latin side of the band. What is great
about these tunes is that they are genu-
ine Salsa-rock, and sound as if theat is
what the band was put on earth to play.
In fact, the N.O. rock and classic r&b
material they play is also as honest and
Like NRBQ or the Radiators, the
Iguanas will be one of the great Ameri-
cancultparty bands. They'reon Jimmey
-Andrew J. Cahn
Prokofiev: Orchestral Works
Prokofiev orchestral compilations
that contain his "Classical" Symphony
are dime-a-dozen these days, but this
one from Harmonia Mundi stands out
from the pack. The disc also includes
the first Piano Concerto, the Scythian
Suite and the cantata "Seven, They Are
Seven"- all works from Prokofiev's
early, most aggressive years.
These live recordings date from the
mid-'60s, and the sound quality is quite
a liability in such a crowded field. The
concerto, forexample, though featuring
an exciting performance from Ivan
Moravec,justcan'tmatch up to the full
digital splendorof Berman and Jarvi on
The bestreason to buy this disc is the
cantata. Requiring such enormous or-
chestral forces that it is hardly ever
performed, the 8-minute work was the
onlypoliticalworkProkofiev ever wrote
- it's a tribute to the 1917 revolution.
the cantata's declamatory style is closer
to his opera'The Fiery Angel" than the
warhorse cantata "Alexander Nevsky."
Devotees of Ancerl and of Prokofiev
will not be disappointed.
Michael John Wilson
Product Marketing Specialists
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" Strong knowledge of the personal computer industry;
Best of Ann Arbor Ballot '93
Please return byApril9 to the Daily at 420 Maynard, 48109. Results will be printed in the April 15 Best of Ann Arbor issue of Weekend etc. Thanks for your time.
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