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October 20, 2010 - Image 6

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The Michigan Daily, 2010-10-20

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6A - Wednesday, October 20. 2010

The Michigan Daily - michigandailycom

Sankai Juku dances its
way from Japan to'U'

By ERIN STEELE artistic director Ushio Amagatsu.
Daily Arts Writer Butoh dance emerged in the
1960s as an avant-garde response
This weekend, a world to the lingering effects of the
renowned dance company will atomic explosions in Hiroshima
create art out and Nagasaki. It is often marked
of chaos as Butob and its by perverseness, absurdity and
the Univer- outlandish elements, both in the
sity Musical slow and highly controlled move-
Society pres- ContemporarieS ment of the dancers as well as the
ents Sanka y visual elements of their shaved
Juku's "Hibi- Today at 7p.m. heads and head-to-toe white body
ki: Reso- Helmut Stern makeup.,
nance From Erik Santos, associate professor
Far Away." Sankal Juku of music in the School of Music,
Since its Theatre & Dance, first discovered
beginning Saturdayat8p.m., his love of butoh in 2000 when
in Japan in Sunday at 2 p.m. he saw a performance by another
1975, the Power Center dance company.
butoh dance Tickets from $18 "it just knocked me out," he
company said. "it completely blew me away.
Sankai Juku has performed in 43 It's often on the shocking side and
countries and captivated audienc- contains really strong, realistic
es with its skillful interpretation personal statements."
of an unconventional dance style As he became more familiar
under the direction of founder and with the world of butoh Santos

began to recognize what it was
that appealed to him.
"I love the fact that it almost
speaks for itself," Santos said.
"When I would see something
like ballet, for example, there's a
whole bunch of language in there
Inspired by the
atomic bomb.
that I just didn't quite understand.
There's a lot in there that one
needs to know before appreciating
what's great about it. Butoh didn't
seem to have that; it seemed to hit
me directly whether I knew any-
thing about the tradition or estab-
lishment of it."
The crawling pace and repeti-
tive nature of the choreography
See SANKAI JUKU, Page 8A

COURTESY OFBRAVO
The 78-percent real housewives of Beverly Hills.
The estranged trophy
wives Beverly ills

Bravo's latest girls'
club surprises by
being likeable
By BRIANNE JOHNSON
Daily Arts Writer
From the bitch-slapping shores
of New Jersey to the catty streets
of New York, it
appears no city
is safe from the
wrath of the T Real
housewives.
Weezer bet- Housewjiesof
ter watch out, BedrLy HiLs
because these
tanned, big- Thursdays
lipped beauties at10 p.m.
have invaded Bravo
Beverly Hills,
California. But
in a city known for its drama, "The
Real Housewives of Beverly Hills"
features women surprisingly tame
and - could it truly be? - likeable.
The show follows the dramatic
lives of six wealthy wives as they
attempt to claw to the top of a town
that "runs on status." There's Lisa
Vanderpump-Todd, a posh Lon-
don native who exudes pure class,
despite the suspicious living con-
ditions of her slick and muscular
(and supposedly gay) permanent
houseguest, Cedric. Married to a
plastic surgeon, Adrienne Maloof-

Nassif is the dolled-up owner of a
casino resort, a basketball team and
a record company. Camille Gram-
mer, wife of "Frasier" star Kelsey, is
an ex-"Club MTV" dancer and self-
proclaimed trophy wife. Around
the corner is anti-domestic violence
advocate Taylor Armstrong, an all-
business blonde with a love for plas-
tic surgery.
Last are Kim and Kyle Richards,
former child stars, sisters to Kathy
Hilton and aunts to infamous starlet
Paris. Frequently referencing their
roles in "Little House on the Prairie"
and the original "Escape to Witch
Mountain," Kim is a socially isolat-
ed single mom (odd, considering the
program focuses on wives) whose
one role seems to be complaining
at intervals more frequent than the
commercials framing the program.
Kyle is her abrasive but realistic
counterpart with a pretty face and a
take-no-prisoners attitude.
Unlike past seasons, the stars of
"Beverly Hills" are not housewives
at all. All demand respect as inde-
pendent women with successful
businesses, even if their stretched
lips and frozen eyebrows say oth-
erwise. Vanderpump-Todd and
Grammer are merry and cute as
they play with puppies and tour
their 17-acre homes as if they'd
scored a deal with MTV's "Cribs."
Maloof-Nassif preaches modesty
and wisdom as she details her close
eye for genuine friends.

However, there's a strange
and saddening similarity among
the women: they're all seem-
ingly estranged from - or at least
disgusted by - their husbands.
Vanderpump-Todd spends the
majority of her time with Cedric,
while Armstrong admits her mar-
riage is "80-percent business and
20-percent romance." Even the
cozily adorable Grammers are in
the midst of divorce.
Even as their marriages fall
apart, the cast proves to be about
as down-to-earth as one can be in
the "land of make-believe." But this
same reality and likeability trans-
lates to boring television. Aside
from Armstrong's wart-like temple
injections, Kim's aversion to social
interaction and VanderPump-
Todd's adorably fascinating accent,
Kyle is the only wife with a TV-
worthy personality. She's dramatic
and clever, but with the smarts and
experience to back up her luxuri-
ous lifestyle and sassy attitude. If
the program fails to heat up as the
season continues, Bravo may have
to consider planning a one-woman
show.
Beneath the glitz and the glam-
our, "The Real Housewives of
Beverly Hills" features women
with brains and heart, supported
by a killer pair of heels. The wives
may not be made for television, but
they're certainly worthy company
for a girls' night out.

Antony and the Johnsons get
optimistic on 'Swanligts

By JASMINE ZHU like "Snake, snake, shed your skin /
Daily Arts Writer Shed your skin and go away, away"
on the track "Ghost," which offers
Antony Hegarty, is everything a powerful message of redemption
all right? You seem a little down. and affirmation in spite of seeming-
But to be per- ly insurmountable odds. The medi-
fectly honest, **** tative nature of the track reflects
Swanlights is Hegarty's own growth, not only as a
about as chip- A"tony musician, but as an individual over-
per as Hegarty is coming his past "ghosts."
ever really going The album opener "Every-
to get. Hegarty's Johnsons thing is New" is a breathy, subtle
fourth album little number that serves as an apt
with his band Swanlig ts introduction to Hegarty's thera-
Antony and the Rough Trade peutic rebirth. At the same time, it
Johnsons marks reassures listeners this is still the
a turn for the optimistic compared same Antony and the Johnsons
to his previous work, which took that brought the world the haunt-
on heavy themes such as isolation ingly beautiful lAm a Bird Now, the
and Hegarty's personal struggle winner of the 2005 Mercury Prize
with gender identity. Not to say and the album that helped launch
those themes aren't revisited in Hegarty from relative obscurity
Swaslights - they are - but this into mainstream conscience. Quiet-
time around, the tone of the album ly contemplative piano provides the
is based on healing rather than backdrop to Hegarty's ruminations.
hurting. Equally emotive is the track
The English-born singer-song- "Thank You for Your Love," a full-
writer, who identifies as both gay bodied, uplifting tribute: "When
and transsexual, is known for his my mind was broken into a thou-
biographical outsider music. On his sand pieces / Oh thank you for
latest album, Hegarty croons lyrics your love." The song reflects upon

Hegarty's past trials and tribula-
tions, suggesting that with the help
of his loved ones, he has moved
past those dark times.
Guest spots by luminaries like
Bjork also make their way onto
the album - she lends her eerily
sparse vocals to the joyful "Fletta,"
amid a setting of weeping violins,
Bjork and
Hegarty make a
perfect pair.
reverberating cello and trickling
flutes. Accompanied by Hegarty's
trademark tremulous voice, it's the
perfect pairing.
Swanlights as a whole, though
consistent with Antony and the
Johnsons's mournful aesthetic,
is much more hopeful than any
album Hegarty has produced thus
far. It seems as though the poster
boy of tragedy pop has finally
found his way to the light.

*

RELEASE DATE- Wednesday, October 20, 2010
Los Angeles Times Daily Crossword Puzzle
Edited by Rich Norris and Joyce Nichols Lewis
ACROSS 3 Outlet 30 Filmmaker 47 Small to mid-size
1 Use chicaneryon connection Wertmiller salmon
5 Pole worker? 4 Online IRS 33 Mythical 49 Macaroni shape
8 Lots document Himalayan 50 Plaint frorna pirate
12 Author submission 35 Brooklet 51 It tums alot in
Stanley~Gardner system, literally? 36 Ointment rush hour
13 Islamic mystic 5 Educ. guess ingredient 52 Stereotypical
15 Work on, as a 6 Island cookout 37 Animal mouths poodle name
bone 7 '60s sitcom set at 40 Actor 55 _-drive
16 Fit offever Fort Courage, Auberonois 57 Fluctuate wildly
17 Roosevelts' literally? 44 Like aonce-in-a- 58 Combustible pile
successors as 8 Skimpy bikini blue-moon event 59 New Mexicoresort
firstfamily part, literally? 46 Hook shape 62 Gun, in slang
19 Festive event 9 Studio warning
20 Desert with a light ANSWER TO PREVIOUS PUZZLE:
view of 10 Woodfor model
Beersheba fliers BOARD DAPS U H 0114
22 One studying 11 Deals with, as a APNEA E L L A T O N Y
saucers fly GETAD VOUS ATAD
24 Awfully longrtime 14 _, Sing M A N O F T H E H O U R
H6 Poat ay A mLrca R U S S I A T O I L IPTop m
27 He's not always a (Langston
beast Hughes poem) A P P S T K M A A L OX
31 Cat chaser 18Arrived at a base, C O U N T E R P 0 I N T
32Takethe stand in away ENDO ORB O U T S
again 21 Promises P E C E O F E I G H T
34 Mass unit 23 War on Poverty C A V ERN E R A L E A
38 Gn. Robt. org.
a9 Batker 25"tmusthave A V I A I D E A R M I N G
41 Arizona river been someone T O K E N G E S T U R E
42 ft has a floor on else" T W I T M U S E I D E A L
WalliSt. 27 St. Paul's L E N T A C E S N I L L A
43 Good feeling that architect E D G E S E NT GAM ES
lingers 28 Hard to hold
45 Common Mkt. 29 AAA suggestions ore~dite,@aocoe 10110
48 Achievesvia 1 2 4 s 0 e 8 10 11
trickery
49 Lets up 12 10 14 15
53 Metric energy
5 Wodig n ous21 22 23
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61 Volunteer n2 a 29 o 31
61 "La maia
desnuda" painter 32 n 34 303637
64 Stare at
impolitely 03 00 9 0 41
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66 Pita sandwich n4 noan n4
67 Playground shout
68 Co. whose logo 49 so s1 on s
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persuade ~ trurn~ta5n,~o,.10/20/10

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