Category: Dance

REVIEW: Dancing Globally

Laura Dzubay Leave a comment

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

Mary O'Byrne Leave a comment

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

Mary O'Byrne Leave a comment

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

Angela Lin Leave a comment

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.

REVIEW: Flux by Cadence Dance Company

Aria Gerson Leave a comment
Cadence Dance Company performs “Green Light”

“Continuous change or movement.”

That’s the definition of the word flux. But it’s also a summary of Flux, Cadence Dance Company’s winter show.

With a collection of contemporary pieces set to a soundtrack of indie music, Cadence, a self-choreographed dance company, showcased more than just movement. They told stories with every piece, stories that changed and evolved as the dances developed.

Especially in their large-group numbers — which I preferred to the small-group ones — Cadence showed a willingness to take risks with their choreography. The opening number, “8 (Circle)” utilized unique formations and lifts to great effect.

The small-group numbers didn’t have enough dancers to use those formations, so several of them had more standard contemporary moves. That didn’t mean it wasn’t innovative, though. My favorite of the small groups was “All Night,” which featured stools as props.

Cadence was strong technically, especially when it came to their turns.  There you could see the amount of rehearsal they put in; their turns were well synchronized even in complicated turn sequences. But at the same time, they didn’t overdo it on the turns.

However, my favorite technical aspect of Cadence’s dances were the lifts. Many numbers — especially the large-group ones — incorporated impressive lifts that at once showed grace and strength.

I was especially impressed with the finale, “Landfill.” The choreography was unique and affecting. The lifts and turns looked good. And though it was a full-company number, the end featured partner work. The partner choreography added to the meaning of the dance’s narrative about a toxic relationship. The two partners’ chemistry was such that it made you feel something. The number packed a punch and was the perfect ending to the show.

Cadence’s penultimate piece was called “Vor Í Vaglaskógi.” It was a senior number, a concept I haven’t seen from any other student groups. I liked the concept of giving the seniors one last number together, and that added more meaning to the movement.

That said, some of Cadence’s other numbers were somewhat forgettable. They weren’t bad by any means, but there was somewhat of a gap between the best numbers of the show and the others. I may have made the show a little shorter — putting more emphasis on the strongest numbers without really taking anything away.

The guest numbers — from hip-hop crews FunKtion and Encore, a cappella ensemble The Friars and tap dance group RhythM Tap — complemented Cadence nicely without overshadowing the main show.

All in all, Flux was an impressive concert that brought to the table things I haven’t seen from any other student dance group.  Their passion for what they did shined through and created something unique and bigger than themselves.

PREVIEW: VSA’s Annual Đêm Việt Nam Culture Show

Angela Lin Leave a comment

The Vietnamese Student Association is back for their annual culture show, Đêm Việt Nam (A Night in Vietnam), filled with traditional and modern dances to showcase Vietnamese culture.

The show follows the journey of a young girl trying to find her truth with this year’s theme — Find Your Light: Đi Tìm Ánh Sáng. This entirely student run show has over 120 student performers with 10 different dances and guest performers.

Ticket prices are $5 presale, $8 at the door for UM students, and $10 for general admission. Tickets can be reserved here and will be on sale at the Posting Wall in Mason Hall from January 22nd to January 26th from 10am – 4pm. All proceeds will go to Pacific Links Foundation to support the sustainable development of Vietnamese communities such as combating human trafficking, enhancing children’s education, and empowering women to become leaders. Visit the Facebook event page for more information on how to get tickets.

The night of enlightening culture will take place on Saturday, January 27 from 7-9pm in the Lydia Mendelssohn Theater. Come on out to support an important cause and watch this story unfold onstage through the powerful language of dance.