PREVIEW: That Brown Show

That Brown Show is an annual performance hosted by Michigan Sahānā featuring many UM Indian American performance groups, including Michigan Manzil, Maize Mirchi, Michigan Bhangra Team, Michigan Raas Team, Michigan Izzat, and Michigan Sahānā. Some groups are vocal or instrumental ensembles, and others are dance groups.

The show is Saturday, March 10 (today) at 7:30pm at the Michigan Theater. Doors open at 7pm. Student tickets are $12 at the door and non-student tickets are $15.

I have been to the show twice before, and the performances never fail to impress. I expect today’s show will be equally arresting.

PREVIEW: Company Wang Ramirez’s Borderline

Check out Company Wang Ramirez at The Power Center on Friday, March 9 at 8:00 PM and on Saturday, March 10 at 8:00 PM.  The performance is about 70 minutes long.  There will also be a Q&A after tomorrow night’s performance.

Sébastien Ramirez and Honji Wang are a part of the 6 person dance crew which will perform Borderline.  Other dancers include Louis Becker, Johanna Faye, Saïdo Lehlouh, and Alister Mazzotti.

Ramirez and Wang both have a passion for experimentation even though they come from very different training and personal backgrounds.  The dancers will be attached to an aerial rigging system.  According to their blurb on the UMS website, their goals will be to enact “visual metaphors of flight, struggle, freedom, constraint, and the forces that connect us and tear us apart.”  L’Indépendant has characterized Company Wang Ramirez as a crucial part of the “contemporary dance revolution.”

I am incredibly excited to see this show!  If you are able to attend and wish to download a program on your own device, check it out here.

REVIEW: Dancing Globally

Before Dancing Globally, I hadn’t been to a modern dance performance in years. It had been so long that I honestly couldn’t really even remember what to expect. When the lights dimmed, I looked over at my friend in the darkness and grinned, with the excited feeling of being on the first side of a mystery.

As soon as the curtains opened, both of us could tell we were in for something exciting. The first performance, probably my favorite of the four, featured a semicircle of dancers wearing suits. Each dancer had a chair that they used as kind of a prop, and throughout most of the performance, hardly anyone moved very far away from their chair. This is part of what made the choreography so creative: not only were they interacting with the chairs in unique ways, they also managed to make it feel as though they were interacting with each other—and with us, the audience.

My favorite part, though, was the suit aspect. Throughout the performance, they removed aspects of the suit one by one—the jacket, the hat, even the pants—all except for one standalone dancer at the very edge.

The costumes ended up being a standout part of the entire night; the third piece, for instance, was completely different, but still striking in part because of its visual aspect. The dancers were performing against a backdrop of projected flowers, and they all wore vibrant, colorful outfits. This gave me the semi-subconscious impression that maybe the dancers themselves were meant to represent flowers, or something like flowers. This interpretation was reinforced toward the end, when three of the dancers stood under a stream of water that looked like an actual spring from the natural world, transplanted onto the stage.

The final piece was definitely more somber than the rest, with shaded, semi-uniform costumes and dim, melancholic lighting. However, it was still entrancing to watch, in part due to the constantly shifting nature of the choreography and the “scene” unfolding on the stage. It was definitely a powerful closing piece for the night.

Dancing Globally was a welcome representation of the work being done in the School of Music, Theatre & Dance, in part because of its sheer variety and in part because of the balance it was able to strike between engaging and thought-provoking. Overall, the night was definitely a success, and I look forward to attending more dance performances in the future.

REVIEW: Dancing Globally

A beautifully put together four number show, Dancing Globally made me feel connected to the raw emotions that its dancers put out on the stage. I have never seen a modern dance performance before, but now know I will be attending many in the future. I loved the show, from its choreography to costumes to lighting to music.

The first number, ‘Excerpts from KYR (1990), Anaphase (1993), and Mabul (1992)’, was an impactful piece in which the dancers began wearing business attire, and they gradually tore off those garments – all but one dancer, who appeared to be stuck in some way. This dance was very intimate throughout, and especially towards the end as it had only two dancers left on stage. I thought this was an ideal introduction to the show because it was not hectic on stage, so I was able to take in the beginning of the show at calm pace.

The second number, ‘Vox (2018)’, was the number I enjoyed the most. I think this was because while there there was a lot going on with many dancers on-stage, the staging and choreography was well done so that you watch the intricate parts performance without being too overwhelmed.

‘fall(s) (2018)’ was the third number, one in which the dancers wore outfits with large pieces of vibrant fabric that hung off of their bodies, complementing the black backdrop that had huge, colorful flowers spread across it. The many colors and overload of movement was something that made this dance very hard to follow. While it was still aesthetically very pleasing, it seemed a bit more unkempt next to the other numbers.

The fourth number, ‘Minûtus Luminous (2018)’, was an interesting piece inspired by Jóse León Sánchez, who was sentenced to 30 years in prison for a crime that he didn’t commit. The number is intended to be “a song to those families and communities who have had to live with misfortune.”* With complex staging and large structures that mimicked the inside of a dreary building, likely a jail, it was a finishing number with palpable heart and storytelling.

While I still remain undereducated on modern dance, seeing this performance sparked an interest in me that I didn’t know existed. The dancers’ hard work and pure emotions were pulsating off of the stage, and I found myself caught up in their brilliant performance. Another major kudos would be the lighting: each number had different lighting that highlighted and intensified the emotion. I’m sure anyone who saw Dancing Globally can attest that it was bursting with talent and passion.

*from the playbook of Dancing Globally, said by choreographer Sandra Torijano

Photos by Kirk Donaldson

PREVIEW: Dancing Globally

This Saturday I’ll go to a theater that that holds more than a thousand people and watch some of the talented students from the Dance Department, who I’ve never seen perform before. Having never been exposed to modern dance, I know seeing Dancing Globally is a promising first modern dance program to attend because of my friend who is in it, who has been practicing tirelessly.
Dancing Globally, already shown Thursday February 1st and Friday February 2nd, will be shown Saturday February 3rd at 8PM and Sunday February 4th at 2PM at the Power Center for the Performing Arts. Tickets can be purchased for a variety of prices here.

REVIEW: VSA’s Annual Đêm Việt Nam Culture Show

For people of different ethnicities born in America, it can be difficult to embrace a culture that seems so distant and detached. Through a mix of traditional and modern Vietnamese dances at VSA’s sold-out cultural show, DVN, we followed the journey of Anna as she was immersed into a culture she struggled to identify with.

Traditional dance props included umbrellas, Northern hats, ribbons, lanterns, and fans, twirled and spun and thrown in ways that highlighted the beauty of a proud past unforgotten. This culture embraces these meaningful traditions, and that respect is translated through dances centered around these objects that hold significant history. Whether elegantly simple like the NQT dance or with fast-paced flairs like the Fan dance, and or a mishmash of everything like the Traditional Medley, the traditional dances gave Anna a firm grasp and better understanding of her family’s culture.

The modern hip hop dances reflected the changing of culture, a culture with its roots in the past but includes the times of the present. These dances definitely got the loudest cheers from the audience with their impressive moves. Their use of American and Vietnamese songs point to the mixing of American culture with others, especially found in the new generations born here; nonetheless, the power of these dances proves the ability for different cultures to adapt to new influences while retaining their originality.

 

With the interspersed schedule of traditional and modern dances, the energy never died down throughout the show. Also included was a fashion show displaying various Vietnamese traditional garments and a guest performance by Izzat that further promoted culture. The colorful light work added an extra level of spice and excitement. The emcee dialogue was cringeworthy and the jokes were dry, but most shows are like that. Anna’s journey set up the next dances nicely, moved the storyline along, and united the dances under a common theme — just like culture does.

The hard work of all the dancers, choreographers, behind-the-scenes workers, and especially the DVN board paid off last night as Anna successfully found her light by the end. The DVN show showed that “the culture is with you wherever you go” through the art of dance.