Tag: Dance

REVIEW: Groove Robs the Louvre

Joann Leave a comment

I admire Groove’s creativity.

On the night that the Groove declared that they will rob the Louvre(!), the Michigan theater where the viewers would be the witness this exciting heist was filled up with the crowd. The performance was highly enjoyable because, fundamentally, the performances sounded so good! Groove is a student organization known to create amazing beats out of untraditional percussion instruments such as trash cans, plastic buckets, or anything they can beat! It was amazing how the Groove used different percussion that did not sound the same – each has a different pitch, so instead of the sounds crumbling altogether, they came together to create an exciting harmony.

Yeah, everyone knows that Groove sounds amazing, but I was wondering from my prior experience from watching their shows consisting of short performances focused solely on sounds about how they will link diverse percussion performances into a 2-hour show with theme and storyline. As always, Groove’s creativity was way ahead of me. The general storyline was that Groove had decided to rob the Louvre as a bonding activity, and each performance represented what happened during the planning of the heist, the incident they had on France, and how they finally went through all the challenges and stole Monariza. As for the story, short dialogues were inserted between shows while the stage settings were being changed. This was a smart, strategic choice not only because it prevented the audience from being bored during the pause but also because it overcame the percussion performance’s difficulty to convey the story due to the lack of lyrics in the music.

The show was well structured: as the story unfolded, the scope of their performance became wider as well. The performance started with purely percussion sounds – the ones we would expect from a typical groove performance(wait, groove performance is never typical!). Also, the performance offered interesting visual scenes while the percussion was being played – my personal favorite was where they were making music in a kitchen scene where the icebox was used as the main beat while other small kitchen utensils and cooking process, including the popping of the egg as the highlight, were added on top of it. Both visually humorous and sonically exciting, this scene was truly enjoyable. Then the wider range of performances joined on top of the beat, such as dancing or the display of talents of the members including receiving a jelly thrown across the stage by the mouth. Then, the range of instruments widened to include strings and horns, returning to percussion performance in the end. This not only showed how talented each individual of Groove is but also proved that Groove’s ability to coordinate music is not bounded to percussion.

Alas, I almost forgot to mention the incredible stage design! Stage made out of iron bars that had fake Monariza on it definitely highlighted the ‘Louvre’ part while going so well with the exciting, raw vibe of Groove’s music. In all, I really appreciated the pure creativity that Groove had enchanted us with during the two-hour show.

REVIEW: Mission Improbable: Yotonix Spytacular

Himaja 1 Comment

As the lights dimmed in the Lydia Mendelssohn Theater on Saturday night, a huge cheer went up from the crowd. As a senior, I knew why — we were back for an annual tradition that we hadn’t seen since our freshman year.

Yotonix is the annual show featuring a collaboration between two very talented student orgs on campus: Revolution and Photonix. Revolution is our Chinese Yo-Yo team. Photonix is known for their glowsticking and visual arts performances.

The 2020 Yotonix show was tragically scheduled for March 14, the day after things officially turned topsy turvy, and they had to cancel due to the pandemic. 2021 Yotonix was a brilliantly crafted virtual show . But nothing can replace a live, in-person arts performance. This year marked the return of the in-person version of the show, and everyone in attendance was ECSTATIC. It was a night full of amazing art and there wasn’t a dull moment.

The show was, as it promised, both “Spy-tacular” and spectacular. The performers made their craft look so easy, but that was just the mark of their talent and months of practice.

The Chinese Yo-Yo, or Diabolo, is not what most people picture when they think of a yoyo. It evolved completely independently of the Western yoyo in China and grew popular as a toy in Europe. It requires a lot of skill to do most Diabolo tricks because you need to constantly maintain a fast enough spin so it stays stable…while it’s being whipped around and jumped over and caught all over the place.

Glowsticking originates from poi, a performance art first practiced by the Maori people of New Zealand that involves swinging weighted tethers called poi in geometric patterns. Glowsticking evolved from this as a performance done in the dark while either swinging glowsticks attached to strings, twirling glowing batons, or “freehanding” it by tossing/spinning the glowsticks directly in each hand. Learning this also requires a great deal of skill because you need to swing the glowsticks at high speeds for them to trace continuous patterns in the dark and it’s easy for them to get tangled or smack you in the face in the process.

It makes sense why, in the weeks leading up to the show, I often saw both orgs practicing in Mason Hall late at night! They were not taking on easy routines. My photos really don’t do them justice.

I really liked the choreo both groups demonstrated this year. Most Yoyo shows I’ve seen tend to stick to the same high-energy EDM music that gets a little overused after a while. Revolution’s creativity really shined through in the routines they put together to all sorts of musical genres, both fast and slow. Photonix also came through, experimenting with innovative glow suits with lights sewn into them and adding hula hoops and music-synced lights into their performance. *applause*

I also want to write a little ode to an oft-underrecognized part of any performance: the audience. I love the energy of the crowds during these student shows. We’re not there to see a professional, polished thing – we’re there to cheer on our pals. When someone drops their Yo-Yo or tangles up their glowstick and has to dart offstage, we only cheer and clap even louder in support. Because everyone in that theater was there to celebrate the passion and creativity and camaraderie that these students poured into this show – for once, not for any resume or class assignment or final project – but simply to HAVE FUN and express themselves.

I give Yotonix 2021 five out of five stars 🙂

REVIEW: The Short and Suite Nutcracker

IseeUsee Leave a comment

While watching this show I kept thinking of what words to use to describe how awesome this is.
The Short and Suite Nutcracker by the Randazzo Dance company was a dance show featuring different dance styles. It had ballet, jazz, tap dancing, and more. For the tap-dancing, and some jazz performances there was live music which added a cherry on top. The kaleidoscope of genres kept the show refreshing and fun. I am not exaggerating when I say there were no dull moments.

All the dancers performed extremely well. There were dancers as young as, I might say, 5 years old to the oldest being seniors in high school. It was such a joy and privilege to watch all these young performers. It was wonderful to see them flaunt their skills and months of hard work. Despite the sheer number of performers, dance genres, set changes, etc. the show went smoothly. Thereby showing how well organized it was and how much practice the performers had done.

No part of this show was left unpolished. The costumes were simply gorgeous. They had been designed to really shine on stage and make every child look like a professional. The choice of music was tasteful and never boring. The lighting was well done as well as all the fun props and backgrounds.

In the second half of the show, the dances became more festive. There was a plot following the dances and it was a lot of fun. The dancers performed acrobatics, played with giant soft toys, did costume changes, and much more. It was a lively time. Their holiday energy was infectious and the pacing of the dances made the ending really extravagant and over the top in the best way possible.

I am glad I got to see all these extremely talented performers. No praises are enough for them. I know I will be on the lookout for any showcases from the Randazzo dance company!

REVIEW: Crush Depth

Himaja Leave a comment

In the new Dance building’s Performance Studio Theatre last Friday night, three Senior Dance students in the BFA program at UM: Zach Morris, Daniel Niewoit, and Jenna Segal, presented pieces of choreography they had created.

Finding the Dance building in the darkness of 7:30 PM on North Campus was interesting, but on the plus side I crossed paths with a stag on the way there! Truly a sign of the magic that was to come.

The audience shuffled into a few sets of low-rise stands on one side of the room, facing a floor space enclosed by giant black curtains. I loved this setup – the space was simple, open, and intimate.

The fluidity of the dancers’ movements was amazing. Each movement looked so easy and natural that it looked unintentional, but in the back of my mind I knew that every single thing was so very intentional.

My favorite piece was called vitmossa, choreographed by Jenna Segal. I’ve created the nigh-impossible task for myself of trying to describe a dance piece in words, but I’ll do my best. It featured 5 dancers (Ruby Clay, Katherine Kiessling, Nana Otaka, Madison Rogers, and Mia Rubenstein) who interacted with swaths of fabric and with each other. At times the dancers would fall to the ground, searching for something in the seams of the fabric. There was so much contrast from one scene to the next. There was a moment where they marched together from one corner of the stage to another – and when one fell behind they stiffly marched back and dragged her the rest of the way. In another moment, when one dancer dropped to the floor, another tenderly lifted her up.

The pulse of the music ebbed and flowed as the tension in the piece built. The lighting design was INCREDIBLE.  lights stacked inside scaffolds on either side of the stage cast vibrant reds and blues on the dancers to make the emotions of the piece even more palpable. The ending of the piece, when the music fades to a hum and you can hear all of the dancers breathing heavily in synchronized time, was so powerful and made me feel something that I still can’t name.

I’ve been thinking quite a bit on the meaning of the title of the exhibition: Crush Depth. My guess is that it’s referring to the depth ratings of submarines. The calculated depth at which a submarine’s hull will be crushed by water pressure is called its “crush depth.” Make of that what you will 🙂 I think the beauty of every piece in the exhibition was in how anyone could take away their own meaning from it.

So much work went into each of these pieces, from music composition and sound design to visual design to lighting design to choreography and blocking. I am so impressed by what the students in the Dance program are capable of and look forward to going to more of their exhibitions!

PREVIEW: Range of Reaction

Jenna Segal 1 Comment

On Friday, January 29th, Arts in Color will premiere a digital student choreography showcase entitled Range of Reaction.The virtual dance showcase is produced, choreographed, and performed entirely by University of Michigan dance students. Five dynamic choreographers have created short dance films that seek to answer the question “how does the world that we live in right now affect the choices that we make daily?” Range of Reaction showcases thought-provoking art, tackling a variety of topics including colonialism, groupthink, racism, and queer identity.

 

Range of Reaction began as a cathartic discussion of the creative silence COVID-19 has brought to art communities, and transformed into an imagining of what art may look like as our communities heal. Each work was filmed throughout the fall in Ann Arbor, with every party involved strictly following University of Michigan and statewide COVID-19 safety guidelines. This week’s showcase highlights the perseverance of artistic communities, as it offers the premiere of five original works despite the numerous hardships and challenges the pandemic has presented.

 

Range of Reaction will be posted to the Arts in Color Vimeo on Friday, January 29th at 8pm EST and will be available to view free of charge. Supported in part through the School of Music, Theatre & Dance Meta Weiser EXCEL Fund, as well as Arts at Michigan, Range of Reaction is a must-see showcase for those looking for a refreshingly original and thought-provoking performing arts event from the safety of their home.

 

To watch the Range of Reaction Promotional Trailer, visit https://vimeo.com/504178628 . Range of Reaction will be posted to the same channel.

REVIEW: Loch na hEala (Swan Lake)

Joseph Patrick Raney Leave a comment

Michael Keegan-Dolan’s Loch na hEala opens with the spectacle of a nearly-nude man roped to a cinder block at the stage’s center. The man bleats like goat as he circles his anchorage. From this moment, the audience finds itself gripped with a foreboding curiosity as we are introduced to a small ensemble who guides us through a layered and winding three-pronged retelling of Swan Lake.

Included in the bulletin is a piece written by Keegan-Dolan himself as he reflects on the nature of change, “No matter how unwelcome, [change] is an inevitable part of life: nature’s forces are constantly moving, seeking balance so that life can continue to endlessly unfold.” The spirit of this excerpt was something I observed to be an underlying current in this narrative of moving parts; ultimately, a commentary on the sickness of depression that brings imbalance to life.

The formlessness of this performance keeps one on the edge of their seat, for the troupe distracts and enchants through technical proficiency and the dissonance of chaos that rings consistently. We are told that the darkness in any story is there to teach us something, and that lesson from Swan Lake is that the inability to will change and a failure to know one’s deeper hungers can ultimately lead to the corruption of your spirit. The dark tone of this show left a poor taste in my mouth, but I still felt uplifted by the music and choreography that could be found amidst a show that ultimately seems to appeal to more depraved inclinations.

The choreographed numbers weaved throughout this piece proved to be crafted and technically stunning. I found myself drawn in by these sweeping movements up against a backdrop of potential demise held at bay. Another great highlight was the musical score provided by Slow Moving Clouds, a Dublin-based folk band that combines Nordic and Irish traditional music with minimalist and experimental influences. Often their music was a prominent influence of a scene yet remained well-hidden, otherwise providing tension or joviality to a dynamic.

The evening ended in a standing ovation, and as I rose to join them mid-clap, I paused and asked myself, exactly what are we celebrating here tonight? While Teaċ Daṁsa pours itself out to express the reality of depression and a life’s potential for tragedy, is praising a work that frames dread as the true reality something that deserves to be called beautiful? While it is true that stories that focus simply on the light often do not fully express what it means to be human, it is not enough to celebrate the darkness without conceding that light does outshine it. A praise-worthy work of art should be something that not only acknowledges darkness and pain, but shows us its true value, to point us to the light.

It was a privilege to attend Teaċ Daṁsa’s crafted work, for few performances have truly invited me to enter into such deep reflection of art and form such as Loch na hEala, an experience that I will not soon forget.