Friday the 12th of October, the Univeristy of Michigan will be treated to to a unique take on Japanese Noh Theater, with a performance of Blue Moon over Memphis by the English speaking noh-drama troupe THEATER NOHGAKU. It will be at the Power Center located right off central campus and completely free to the public. This unique east-meets-west theater experience explores one of the most revered and influential figures in American pop-culture history, through the unexpected lens of a several century-old form of Japanese theater.
This event is a part of the Toyota Visiting Professor 30th Anniversary Special Lecture Series and made possible by the Japanese Studies Department. The play itself will explore one woman’s haunting loneliness as she makes a pilgrimage to Graceland on the anniversary of Elvis’s death, where she has an otherworldly encounter with the spirit world .
If you plan on attending, please head over to Eventbrite and RSVP for Blue Moon Over Memphis here. The event is entirely free, but space is limited so don’t forget to RSVP and check for an email confirmation.
Additionally, if your interest has been thoroughly piqued as mine has, definitely check out the play’s brief promotional video bellow to get an idea what’s in store!
This 2008 Broadway classic has found its way to University of Michigan’s campus! Lin-Manuel Miranda’s musical In The Heights follows the lives of a Hispanic-American neighborhood of Washington Heights in New York City over the course of three days. MUSKET is bringing UM student talent to this masterpiece this weekend!
Catch this production at the Power Center on March 16 and 17 at 8pm and March 19 at 2pm. Tickets ($7 for students and $13 for adults) can be purchased at https://www.ummusket.org/ or at MUTO.
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
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.
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.
The poster for Cadence Dance Company’s winter show, FLUX, lists three definitions of its title.
First, “the action or process of flowing or flowing out.”
Second, “continuous change.”
And third, “a contemporary dance performance.”
The third definition is obviously not the dictionary one, but nevertheless it fits with the other two. Contemporary dance is a study in flow, in change and experimentation.
The title not only fits perfectly, it makes me excited to see what Cadence has in store.
The first time I saw Cadence Dance Company was at Michigan’s Best Dance Crew, where they placed third. At a competition mostly dominated by hip-hop crews, Cadence’s performance was an intriguing change of pace.
Now, Cadence will put on a full-length performance showcasing their own choreography and style. A contemporary, lyrical and modern company, Cadence “presents a balance between the rigors of studies and freedom of movement,” according to their website.
FLUX by Cadence Dance Company will also feature guest performances by other student groups, including hip-hop crews FunKtion and EnCore, tap dance troupe RhythM Tap Ensemble and a cappella ensemble The Friars. The show is on Saturday, January 20 at 7 PM at the Power Center. Tickets are $7 for students and $10 for adults at the door, or free with a Passport to the Arts.
This event is a part of the Toyota Visiting Professor 30th Anniversary Special Lecture Series and made possible by the Japanese Studies Department. The play itself will explore one woman’s haunting loneliness as she makes a pilgrimage to Graceland on the anniversary of Elvis’s death, where she has an otherworldly encounter with the spirit world .
