REVIEW: Defining Movement

Tuesday February 21st at 7 p.m. Washtenaw County Community College’s (WCC)  Dance4Unity resident dance company performed their choreographer’s showcase, Defining Movement. The show was held at WCC’s Towsley Auditorium, a really impressive small auditorium, perfect for intimate shows like this one.

The evening showcased the original choreography of the dancers in Dance4Unity. There was a range of dance styles showcased, with several hip-hop numbers, and a few modern/contemporary pieces as well. The show was aptly titled, as each student choreographer was given the chance to define movement in their own way, through their own original work. It was really wonderful to see students so inspired by movement, expressing themselves through dance. That students showcased their own personal expression through movement choreography on stage for an audience is really wonderful and inspiring to me personally, as a dancer and aspiring choreographer. I often feel too critical of myself as a dancer and a choreographer that I keep myself from choreographing or showcasing my choreography out of fear, but the bravery and openness of the students in this show really impressed me and inspired me to be braver in sharing my creativity through movement as well.

That being said, though the show was really strong in a variety of interesting concepts, many of the dancers’ technique was lacking. However, there were a few dancers that really stood out, like a male hip-hop dancer who performed a solo in “Second Chances”, a piece to Justin Timberlake’s “Losing My Way”. His movements were both sharp and on-point, and smooth and emotive. He could have used more of the stage, but overall he was a really impressive hip hop dancer. Another dancer who caught my eye was a female contemporary/hip-hop dancer who performed in “Chasing Memories”, a really innovative dance set to acoustic music, in which three people walked across the stage, as if they were walking down the street in every day life, then they froze, and she began dancing in a very mechanical way, posing and hitting certain points in the music, creating beautiful contemporary shapes with control and articulation. The dance conveyed a very interesting concept, and she danced beautifully. There were also some really great dancers in the hip-hop ensemble that performed several pieces in the show. However I sometimes felt that in these pieces the choreography was lacking innovative movements, and that the dancers could have used the stage more, creating different formations and using traveling movements. And with the heavily mixed music of today’s club hits, and the frequent booty-shaking, I couldn’t help but think, “This is the stage, not the club!” Most people can dance in a club, I knew these dancers were capable of higher performance-quality movements. I would love to see them raise the bar and work toward this in their next performance.

There were also a few pieces in which it seemed the student choreographers were not taking the show seriously. It was hard to believe they were allowed to have a place in the showcase. For instance, in “Tainted Love” two girls dressed in lingerie and garter belts, one in a bondage-type outfit, the other a french maid outfit, both leaving little to the imagination, danced a gothic bellydance number, to a heavy metal version of the song “Tainted Love”, with a man tied to a chair on the stage. I don’t recall seeing any actual bellydancing, but they did do a lot of crawling on the floor and prancing around the man in the chair on stage. It was very inappropriate and held no artistic value whatsoever. Another dance, a solo called “Everybody Boogie” was also questionable, and could have been emitted from the show. A woman danced around the stage as if she was dancing around her house with the radio on for several minutes. It was very drawn out, and did not appear to be choreographed in the least bit. It was great that the showcase gave everyone a chance to perform, however it sacrificed quite a bit of merit in allowing individuals to perform in the showcase who did not put time and serious effort into choreographing a dance.

All in all, Dance4Unity did a wonderful job in putting on their choreographer’s showcase, and I give them kudos for being creative and expressive through movement! It’s wonderful to see what nearby colleges are doing in the arts, and I will certainly be on the lookout for more performances at WCC.

REVIEW: Take Six: New Jazz Compositions

I learned about “Take Six” from a musician friend who plays piano for the ballet class following mine. After class last week, I asked  if he had any gigs coming up and he informed me of this innovative performance happening at the UMMA. On Saturday, February 17th, the museum held a musical progressive called “Take Six: New Jazz Compositions.” The museum was staged with six musical sets; six combinations of musicians played six original compositions inspired by six works of art in the University’s collection. The audience progressed from stage to stage at ten minute intervals, experiencing an hour’s worth of varied pieces. A kind of musical chairs, literally. Better yet, the set repeated itself four times throughout the afternoon. So if you missed any composition in the rotation, there was opportunity to catch it a second, third, or fourth time. Now that’s some repetitive Phillip Glass stuff right there.

I stayed for one full round of playing. Because of that, however, I think I missed the full affect of the progressive. The pieces remain the same, yet each iteration is unique in its rendition. The spaces the sets occupied included the Apse near the main entrance, the Forum near the gift shop, the Commons across from Angell Hall, and two floors of the Vertical Gallery near the DialogueTable. It would have been ideal to stage the performances beside the pieces that inspired them, but that would have been spatially challenging, especially since the last is no longer on display.

A progressive is a curious and interactive manner of experiencing artwork in its various forms. The performance format inspired dynamic conversation both between the audience and the musicians, as well as the musicians and the artists each chose as his muse. Instrumental reflections of brushstrokes and color pallets included drums, piano, bass, saxophone, clarinet, flute, trombone, and more. The combinations were written and performed by students and faculty from the School of Music’s Jazz Department.

The entire project was clearly a demonstration of strong talent and commitment. It seemed to be hard work to prepare, but a breeze to partake in. All the audience had to do was heed the shepherd’s call and meander with the flock. Easy following, easy listening. Personally, I truly enjoyed the event. Wandering about the art museum with the soundtrack to my visual experiences playing aloud for all to hear, what better way to spend a Saturday afternoon?

Below are images of the six auricular-visual pairings, to give you an idea of what you can’t see or hear from where you’re sitting.

Boyhood of Lincoln by Eastman Johnson

on view in the gallery of European & American Art

Inspired The Boy Lincoln by Keaton Royer

Shrine Figure (edjo) by Akpojivi of Orhokpko, Nigeria

on view in the gallery of African Art

Inspired The Spirit of the People by Alekos Syropoulos


Twilight by Dwight William Tryon

on view in the gallery of European & American Art

Inspired Something Hidden by Kevin McKinney

The Dead Soldier by Jospeh Wright of Derby

on view in the gallery of European Art (1650-1830)

Inspired The Mourning Widow by Demetrius Nabors

Smoke Rings June 14, 2001 by Donald Sultan

on view in the Vertical Gallery

Inspired Smoke Rings by Sam Crittenden

Sparrow on a Bamboo Branch by Kanô Gyokuraku

Japanese Art, currently not on view

Inspired Sparrows by Ryan Wolfe

REVIEW: Chiddy Bang’s “Breakfast”

Chiddy Bang doesn’t need to “Mind [Their] Manners;” for a debut album, Breakfast is quite the start. Having already leaked “Mind Your Manners,” “Baby Roulette,” and “Ray Charles,” the rest of the songs on the album frame these pre-released tracks as the stars of the album, yet aren’t entirely outshined. The duo released their album online at midnight on Monday, and quickly reached the top 10 on iTunes.

Image courtesy of 5starhiphop.com
Image courtesy of 5starhiphop.com

Those who are acquainted with Chiddy Bang already understand their formula for catchy party songs – a sample of an artist with a cult-following and Chiddy’s insane flow. However, this album not only showcases the group’s talent, but also their musical intellectualism; listening to Breakfast is like changing radio stations quickly: we get a sense of American music through their variance in sampling different genres. Sampling Ray Charles is a risky feat to take on, but in the spirit of “Otis” by Kanye and Jay-Z, Chiddy Bang manages to take a retro song and make it their own.

“Mind Your Manners” is undoubtedly one of my favorite tracks from the album and also one that I’m familiar with since it was released in June of 2011. Yet listening to it merged with the rest of the songs in the album gives it a different meaning, and I appreciate the child-like, high-pitched sample of Icona Pop’s “Manners.” “Out 2 Space” gives a shout-out to Birmingham, Michigan’s elite private school, Cranbrook, so as a Michigander and a metro-Detroiter, I felt obligated to give this track a few more listens than usual.

Overall, Xaphoon and Chiddy have established their spot in American hip-hop with Breakfast, proving that they’re professionals when it comes to sampling any type of genre.

Chiddy Bang’s Breakfast is available on iTunes for $7.99!

REVIEW: Random Dance

Saturday February 18th at 8 p.m. 10 incredibly talented dancers filled the stage at the Power Center, together comprising Wayne McGregor’s contemporary company, Random Dance.

The dancers were amazing! I sat in awe the entire performance of their incredible technical ability. They had the strength and control of seasoned ballet dancers, with an added fluidity and emotive quality that I’ve never seen before. The movements were very detailed, and choreographed down to the slightest finger movement or eye gaze, however the dancers moved as if they were creating the movement as they went along, oozing passion and self-expression. The choreography was so genius. I love that Wayne McGregor has such a strong ballet background, that shone proudly through his choreography, but with brilliant alterations to the classical ballet steps, the slightest tilt or turned-in position, or flexed foot making classical steps new and surprising. The dance flowed so beautifully, from one section to the next, with the dancers’ incredibly supple, flexible, expressive bodies moving fluidly but with such control over the slightest movements made.

The piece performed, FAR, inspired by Roy Porter’s “Flesh and the Age of Reason” was very inventive and original, using mixed media to complement the movement. A huge screen of LED lights was used throughout to create a very sci-fi, technological feel, also allowing for sort of a creepy, shadowy mood throughout the piece. Various lighting effects were used throughout the piece, with a warm amber glow covering the stage at one point, and two illuminated circles on the black floor in which the dancers moved the only light in the auditorium at another point in the piece. The music also varied quite a bit, with some moments of loud, mechanical sounding noise, building in intensity, and others of tender ballads with lyrics. The piece flowed so smoothly, however, that this wide variety did not feel choppy or out of place whatsoever, but instead made the piece that much more enchanting and engaging.

The piece was so expressive and meaningful, though I can only speculate as to what Wayne McGregor and his dancers were thinking as they created the movements showcased in FAR. The piece seemed to have a very animalistic quality in parts, and a very tender, intimate quality in others, making me think the piece said a lot about the tension between instinctive animalistic desires, leading to lust and conflict, and tender, loving  human relationships, and the intimate moments we share together. At one point in the piece, the LED screen appeared to be a timer counting down, as the dancers moved each in their own set of choreography, a jumble of dance on the stage. This made me feel as if they were saying something about time and movement, and even about dance itself, being confined to time, and the often mechanical quality of the movement of the human body, even in dance. There were so many great ideas and emotions conveyed in this piece–I could see it many more times to extract more and more meaning. I have gained such a profound respect and admiration for Wayne McGregor, and I will definitely be watching his creative career! I’ve found a new favorite in Random Dance.

To learn  more, check out their website: http://www.randomdance.org/

REVIEW: Random Awesomeness!

Part of the Renegade series of UMS was Random Dance by Wayne McGregor and it was absolutely fabulous. There were many different styles and elements that made the piece shocking, interesting, and beautiful. The event was held on February 18 at 8pm and lasted a little over an hour (with no intermission). Sitting in the second row at the Power Center made me feel like I was in the action since I was so close to the stage. Throughout the piece, a board with multiple lights was used to capture moments of emotion.

The dance began with a few dancers holding torches and a duet between two dancers in nude, unrestrictive clothing, which made the dance seem natural, raw, and highly exposed. The first dance reminded me of birth in  a way because it seemed pure and innocent. This piece flowed smoothly into a more electronic and dark dance. The light board went crazy and flashed all over the place and the lights went down. The music quickly changed from opera-esque singing to club music that had strong bass. It was almost as if you could feel the music rather than hear it and it was clear that that was how the dancers felt as well.

The dancers had amazing interaction between each other; they could have been making up the whole dance as they went along. They had a visceral connection that was clear in the way that one dancer would move and prompt another. At one point in the performance, all of the dancers were on stage having what looked like a giant fight scene, which seemed choreographed but also improvised.

The lighting board played a big role in the mood of the show. It was such a versatile part of the performance in that it could be used to changed the feeling using shadows, bright lighting, and flashing. There was a part of the show where shadows of the lighting cast a sort of clock onto the board. The board was structural, electronic, and mobile, which was the perfect combination for it to be used as a backdrop for this very diverse performance.

Random Dance was entertaining but also made me think about what went into the production of this epic piece. The dancers and director must have found a great balance between control and improvisation and whoever was working the giant lighted structural piece contributed largely to the quality of the show!

More about the event can be found here: http://www.ums.org/s_current_season/artist.asp?pageid=680

PREVIEW:Random Dance

Tonight, Saturday February 18th, at 8 p.m. Royal Ballet choreographer Wayne McGregor’s company, Random Dance, will be performing a 60-minute showcase of McGregor’s original choreography. The performance will be taking place at the Power Center, and tickets range in price from $20-50. I am so looking forward to seeing the company’s contemporary style, fused with McGregor’s strong classical ballet background. Come check out some quality dancing tonight!