SHARIRDANCE COMPANY SCHOOL F 1\LL 1993 SYNERGY Sromo, 1501W.5m BEGINNING MODERN withAndrea Ariel WEDNESDAYS 6:00 -7:00pm Sept. 15 -Dec. 8 $91.00 INTERMEDIATE/ADVANCED MODERN withAndrea Ariel MONDAYS 7:00 -8:30 pm Sept. 13 -Dec. 6 $99.00 NON-TRADMONAL BALLET with Petur lllev MONDAYS 5:45 -7:00 pm Sept. 13 -Dec. 6 $97.00 COMPLETE WORKOUf withjanlne Ploetz TIJESDAYS 6:00-7:15 PM Sept. 14 -Dec. 7 $84.00 BATHAYOGA withire.,.Kelley (Meets at Austin Yoga Center) SATURDAYS ll:OOam -12:15 pm Sept. 18 -Dec. 11 $84.00 QIOREOGBAPHYIPER.FORMANCE WOBXSBOP~ wJthAndreaAriel (womshop pazticipants only) WEDNESDAYS 7:00 -8:30pm Sept. 15 -Dec. 8 For more Information, call 458.8158. INl'ENSIVE FAIJ. WOBKSllOP September 13 -December 11, 1993 The fall workshop will culminate in a srudio choreography showing on December 12. The weekly workshop schedule follows: Mondays: 5:45 -7:00 pm Non-traditional Ballet 7:00 -8:30 pm Intermediate/Advanced Modem Tuesdays: 6:00-7:15 pm Conditioning/Stretch Wednesdays: 7:00 -8:30 pm Choreography/Perfomwice Saturdays: 11:00 am -12:15 pm Hatha Yoga. Workshop fee: $250.00. Payment options and full-payptent discount available. 1beAmdnCbroaldc Septanbu 10, 1993 27 SepcanJ;MTlOt1993 'lbeAusdn~ Septem';MTtOt1993 G N I M 0 c c T I 0 N T T A A R s D A N C E DAVID DORFMAN & SHARIR DANCE COMPANY. SOC kicks off its eleventh anniversary season. Oct. 22-23. 8pm. B. Hyden Payne Theatre. 512/458­8158. Austin-American-Statesman Sundav,October17,1993 By Sondra Lomax Special 10 ""' Amet1can-S1a1esman Vinual reality, cyberspace and tht IJte.t in computer technolo1:Y Wo?l!lh h~av1ly on choreographer Y-1cov :)harir's mind these days. As his modern dance troupe, the Shanr Dance Company, opens its 11th season. artistic director Sharir keeps almost as busy at his computer console as he does in the dance studio, exploring new ways to meld dance and electronic technologies. But modern dance purists can relax. Sharir is not substituting computer technology for the phys­ical performance world and live dancers. He is simply adding new dimensions to his choreography. "What are the artistic, intellec­tual, visceral and emotional issues which can be addressed using new technologies? These are some of the questions Jose Luis Busta· mante (the company's auociate artistic director) and I will explore during the upcoming season," Sharirsaid. "We're not thinking of using technology in.$tead a/ physi­cal performance, but rather in ad­dition ta live performance." Sharir is entering his second year of exploring dance in comput­erized environments with the help of his University oCTexas collabo­raton Dian• Grom11la from the Art Depanment and Marcos Novak from the School of Architecture. The trio received f'unding from the Canadian government to research th•1r virtual reality project, Danc­u1g wich the Virtual Derv1Sh, at the Banff Center for tht: Ami in Alberti•. The work-in-progress has been prt:S•nted in workshops and lec­tures at international conitrences on ans and technol1Jgy during the past year. and the finished project ll!itlffijllfariFl1EMMufo\I, will be premiered in Austin during Sharie Dance Company's April 1994 concen. Sharir bills his 11th season as "a new era of technological explora­tion." Several aspects of electronic and computer wiurdry will be in­corporated into performances throughout the season, beginning with computer animation in this weo:kend's program. Sharir's Cecelia'$ Filamern pre· micrC• Friday 11ii:h1. a wurk that combines dancers, imernctive props and computer/video anima­tiun. Sharir dcscnbe• Cecelia'$ Fil· amefll as his "first video danced" nnd credits videu1:rapher Jay Ash-craft with providing a provocat.ive video background for the live performers. "Lynne Grossman and I will dnnce in front of a huge, projected video image," Sharil' said. ''I cre­Med computer onimoliun using Li­feforms softwure. then Juy incorporated the animation iuto his video 1ilu11g with other 11nui;es. " I've always l!njoyed exploring new uud Jifftrent ways of movo­ ntcnt und performance, but cu1u · puter lcchnulo1:y w1U never chr1nge Lhe basic way that I work or live ­the livo 1nteractiun between danc­er,; and audience will always be there," he said. 1 Carolyn Pavlik and Roxanne S. Gage are members ol Iha Sharir Cance Company, which opens Us 1Hh season with David Corfman Dance. Athough threads of new technol­ogy are woven thoughout this year's season, Friday night's pro­gram continues Sharir's JO-year commitment to promotin11 and presenting the best of new dance and artists from au disciplines. Duvid Dorfman Dance, one of New York's up-and-coming mod­ern diUlce troupes, will share the stnge with Sharir's company. Da­vid Dorfman Dance involves six dancers and guest composer/per­former/saxophonist Dan Froot. Acc1)rding to choreographer Durfm1m, his dllnces ure "raw, ur­i;o:nt and viso.:erul" and "explore the anl imui:y urni VU9lltes:i of Ju.nJlUU rnhH io11ships." Dorfman unce con­sitlere M11zllrt by guest choreugra· ph"r Ouug \luruncl. 11nJ Bust-1 mante's late»t, /-"or Hot!. "Fnr Five is actually for four If you go • •• Sharir Dance Company/ David Dorfman Dance W hen: 8 p.m Fnaay and Saturday Where: 8. loen Payne Theatre (23rd and San Jac1n10 s1reetsl Ticke le: $10 Information: 471-1444 dancers and one ladder." said Bus­ tamante, who is noted ior incoriio­ rating unu;ual props imo bis chortography. ''The ladder is liUa very stiff person, but plays an ac­ cive role, nonetheless." Bustamante is known for &is wry choreographic humor, i!.lld For Five promises to be no exception. The basis ofthe work is For Four, a popular men's quanet that he cre­ aced for Ballet Austin las1 spring. "At first I was airaid, and thought 'Should I mess wilh some­thing that already wor1's?.'" Bus­tnmanie said. "I remained pretty faithful to the piece I did for Ballet Austin. only the cast i> now four womtn in.teed oi four men. and I added the ladder." Bustamante says he has no W­der fetish. he just always wa.ntea·lO incorporate one inco a dance ''.to see huw it would work." Local audiences have learned to expect th... llnupected at Shanr cunceru. Sll)'S Bustamante, bµt this yeur's :>e11so11 opener belU'S an unusual slunt. "This is probJbly the lightejt C\lllt.!CCl ""er, 111 term$ .:Jf 1nooJ." bt Sttid. "Peoµle m11y be surprised at wh111 the)' see. The 1-.Jrks dfe short .111d iuu wuh 11oth111g h~..vy or O\'erly ser111u~. Just .i lot oipro1·Qc­.ui\'e uew J.111ce." l\imbineJ with c.>mputer 1ech· 1111lugy, unJ. 11( course . .:i l11dder.. ARI~ IN GENERAl Sharir leaps into eleventh season AUSTIN-The Shartr Dance Company, the professional troupe in residence at the University of Texas College of Fine Arts, kicks offits eleventh season Friday and Saturday at the B. Iden Payne Theatre. The company will perform Motet a new work by Doug Varone, reprise residentchoreographerJoseLuis Bustamante's dance, For Four. and feature company director Yacov Shartr 1n hJs new work, Cecelia's Filament The bill also features New York's David Dorfman Dance, a company of six dancers and guest composer/performer/ saxo­phonist Dan Froot. Dorfman is an athlete turned choreogra­pher who combines risky athletic movement with deli­cate gestures to achieve a sense ofwit and drama. A highlight ofthe Shartr season ts the premier next ' April ofDancing with the VirtualDervish. a Yacov Shartr 1..ollaboration with designer Diane Gromala and archi­tect Marcos Novak. The trio have been working under a fellow­ship from Canada's BanffCenterfor theArts over thepasttwoyears to create this work of computer-assisted virtual reality. (Pictured: Carolyn Pavlik. Photo by Matthew Sha.riot) DANCE DAVID DORFMAN & SHARIRDANCE COMPANY, SOC kicks off its eleventh anniversary season, Oct. 22-23. Bpm. B. lden Payne Theatre. 512/458-8158 Page 16 Thursday, October 21, 1993 THE DAILY TEXAN Sharir Dance Company markS premiere Jennifer Fitts Daily Texan Staff The Performing Arts Center begins its New Horizons Series Friday with the collaboration of the Sharir Dance Company and David Dorfman Dance. Yacov Sharir's company is entering its second decade of delighting Austin audiences with innovative pieces that keep it on the rutting edge of new dance. Dorfman's company adds a new djmension to the season opener. The performance marks a new era of explo­ration for Sharir Dance Company by mixing dance with new technologies. Cedla's Filaments, a duet set to electro-acoustic music by Jonathon Hallstrom, incorporates computer graphics, cre­ating images of virtual reality. Sharir says that he and associate Jose Bustamonte plan to explore such new technologies in the upcoming season. Bustamonte's For Five expands on his familiar trademark of intertwining dancers with their DAlllJ INBlfAN DAMCE A161 lllA/m DAll:Etal'ANY Performing at: B. Iden Payne Theatre Date: Through Saturday environment. He uses a ladder as an interactive prop and weaves his dancers into its space. Dorfman also heads into uncharted territory as he performs the duet Horn with Dan Froot. The pair play saxophones while they dance, empha­sizing Dorfman's athletic background. A serious athlete who once considered a professional bas­ketball career, Dorfman relies on the rhythms and muscularity of sport to drive his choreographic creations. The collaboration of these two companies should be a real treat for audiences.Instead of merging and working as a unit, they elected to share the same bill, but perfonn their works sepa­rately, alternating every other piece. The result should be an interesting juxtaposition of styles. ENTERTAINMENT Sharir Stepping Out ThehighlyregardedSharirDance Company steps into its 11th anniversary sea.son wilh a pair of programs Friday and SaLurday at 8 p.m. in B. Iden Payne Theater. Joininl! the Sharir dancer!> will be New York"s David Dortman Dance. a progressive professional troupe thaL bas been winning considerable acclaim of late. In the space of a mere decade, Sharir Dance Company bas brought Austin to the forefront of American modem dance. The professional company bas teamed some talented dancers with tbe imaginative choreography of Yacov Sharir, Jose Luis Bustamante andOlher.; lO become a leading proponem of contemporary movement, both in the U.S. and abroad. Devotees of modem dance will wanttomake sure tbey'reon band for one of these performances this weekend. DANCE WEST AUSTIN NEWS October 21. 1993 2 Austin American-Statesman Friday, October 22, 1993 IMain Events TODAY Modem dance a la Dorfman and Shartr David Dorfman Dance. a six-member modern dance troupe from New York. joins Austin's Sharir Dance Company for a perfor­mance that includes Kilter, a Dorfman piece described as "social dance gone awry," and a new work chore­ographed by the Sharir company's Jose Luis Bustamonte. When: 8 tonight and Saturday. Where: UT's B. Iden Payne Theatre. Admis­sion: $1 o. $7 UT. Infor­mation: 4n-6060. E 1-1 R I The Performing Arts Center 1993 l99'~ ·. Season •·• David Dorfman Dance & Sharir Dance Company New York Meets the River City Two major forces in modern dance take the nexc seep. Dorfman's raw, urgent choreography explores the intimacy and vastness of human relationships. Sharir Dance Company continues to take artistic risks and beat the odds with provocative, compelling works. See them both! Friday and Saturday, October 22-23, 1993, 8 p.m., B. Iden Payne Theatre SEPTEMBER/OCTOBER PERFORMANCES DANCE UMBRELLA New York's DAVID DORFMAN DANCE will perform with SHARIR DANCE COMPANY at the B. Iden Payne Theatre at 8PM. Sharir Dance Company will perform Motet by Doug Varone and Cecelia's Filament by Yacov Sharir, and will premiere a new work by Jose Luis Bustamante. David Dorfman Dancewill perform David Dorfman Dance selections from its repertory of Photo by Lois Greenfield highly athletic yet gestural works. Tickets are $10/ General, $7 /seniors and students and are available at all UTTM TicketCenters. For more information call the UT box office at 471­1444 or Sharir Dance Company at 458-8158. October 22 & 23 Friday and Saturday DANCE~ UMBRELLA September/October 1993 OcsobedZ. 1993 rrimm r~ANOS#WrmO.UC. COlll'ANY open the 11th Anniversary season for Sh81'ir and inaugurate the 1993-94 New Horizons series for the Performing Arts Center at the University of Texas. The athletic Dorfmt DanFrool in'"'hichthe two men wc:1r kilts and play :;.1xophoncs, exploring Dorfman·.-. trademark themes of loss,sorrow,andbetrayal Ofllom. the Seu >'Ork 71mes said, "It lS dear llut he 1,., after something hi~, the themes, perhaps, ofltfe anddeathandhumanintcr.1<.tionhehandles SO lOnC1scl ." mim ll'ssimilar10thelo<1ping:;hapcsofShanr's h.ur, orlus mouth, and L'VCI)' othersweep­ ing \\111dmg, t.'Oiltng, ellipt1cal, nonlinear p:uh you lan imagine .111 happening he.1uufullyat thesamelime -inone body , Commgnext W<.'Ck from cwYork bthe 1cld Ballets NY Art1sll<; director FJiol Fdd has been hcrJlded .t.o; ll g <.>at Amcncin choreographer for lus ability lO \\ca\e to­ gether the l\\O usuJlly wamng LC11om., of ballet and modem Astudent oflx>th forms and a d:incer on l3roadwa} before 10mmg the Arnencm l3;illct 111ca1rc, Feld s ab1hty to layer has b:illcl,'; w1Lh both classical and modem aspects ot vClle in the ballet of that name and was the ongmalOc.k'lte·Odilcm thefull-length Su rm J.11kc. In 1934, ju-.t twoycarsafterMarkova's appearance,the Royal B.11lct'laamt'k O\er m:111} of her role:-. Her Aurom in .we,pi11R Bem11J• ''~is gcncr· allr t·onsidt·rccl the ultimall' interpretation of her unw. 'lhe Royul Ballet's :ippearance includes 1racl1tion:1I ballet ol 1he hiS(hc:,t ordt·r in llll' PAC ~easo11 Tickt.'ls for Feld .111d IIuhb:Jrd Street are being sold :>t'par:1tdr. hut the PAC 1s .ilso induding lK·kcts for the two in a pac-k:1ge \\1th tickets for thc Hoyal B.11lct. :\ince Hubbard and Feld ha'llc11'1lx•en around as long n-. th~ Royal B.11let and neither have October 22, 1993 • I II I Al'.., I I :.; * ~ It z IU w IC mm· CJ Cll 9 > m 15 %: a. a_) perlonneAC bJJ hope" it c:an pull the two younger ~ companiesthrou~h ) finanl·ially on the I <:o.1ttail1o of the rfJ. prcstigtnus old the expe­rience for me If you can mentally place yourselfout in n:11ure, say, around a huge bonltre under the blanketofthe nighuune sky, and are able to overlook the prt'"icn­tat1onal a~pccts, you should be fine. Re­!.?Urdless, other than a concert hall, there will be no 01her opportunities to .sec Les 13alleL-; Afncains or the Ament·an Indian Dan<:c Th..:atn.! l~rly ncxl ~·c;Lr, the young dioreogra­pher Hill:iry F.a:;con \\ill he co-presented herebyWomen &'Mle1rWorkandthePAC. Priorto starting herown companr in 1987, EaslondJncedwit.h NewYork's Dill T Jonc.•.s/ Arnie Zane and Company. Her work has been descril1 here. Austin's live Uieater business grew the most dramatically during the past four years. · The trend was highlighted by several high-profile successes. In September. a pre-Broadway tryout of The Twilight of the Golds focused national attention on the Para­ mount Theatre, longtime base for the Greater Tuna series. Two Za­ chary Scott Theatre shows, Bee­ hive and Shear Madness, broke attendance records, the latter still running after more than a vear. "The real surge is coming at the larger theaters." said Ann Cicco­ lella, executive director of the 600­ member Austin Circle ofTheatres. "I think it's due, in part, to im­ proved marketing strategies. And this year, for the first time, the smaller independents have begun to focus on audience and market­ ing as well." Aus'l'ix, the city'.s half-price the­ ater ticket booth, offers further ev­ idence of box-office gains. Total AusTix revenues for Jan. 1 to Aug. 1, 1993, increased 219 percent over the same period in 1992. while sin­ gle-ticket sales have improved by 114 percent. AusTix sells day-of. performance discount tickets for theater, comedv and dance at two locations. · These advances have not gone unnoticed. Writers for regional newspapers and trade magazines, such as Back Stage and American Theatre, recognize Austin as a hot, ifstill small, theater market. While total audiences may be larger in Houston and Dallas, post-reces­sion attendance has remained flat in those cities, according to critici; at the Hou~ton Chronicle and DaU.a..\ Morning News. (The Dallas Sym­phony Association, Fort Worth Ballet and the Alley Theatre are raregainers amongstruggling Tex­a!l arts groups.) Other communities look with envy upon Ballet Austin, rated third best in the state by critics. and the Sharir Dance Company. considered the finest modem dance group in Texas. Eight-year­old Austin Lyric Opera is the fast­est growing medium-size opera company in the Southwest. "Austin is attractive to artists bec~use ofits low-cost. high-quali­ty standard of living," said 1'he Twiligl1t of the Gold.~ producer Charles Duggan, who moved his national office here from San Francisco. Currently, Duggan is fighting to keep Twilight on Broad­way, u~ing a device he tested in Austin -post-show discussions -to tweak audience interest after negative reviews, "I'm quite impressed," said Otis Kaltvedt, who came to Austin from Switzerland to study theater a~UT. "In 10 or 15 years, this city will be well known for its arts." "The work brought me here. A friend told me that there's a lot of dance in Austin .. so I just moved," said Chase Coulter, a dancer who relocated from Chicago two months ago and now works with Ballet Austin. Arts leaders credit the city's educated audiences. "The demo­graphics in Austin are peculiar," said Joe McClain, dh-ector of Aus­tin Lyric Opera, whose attendance was 29,000 last season. "We know from census figures t~at the education level is very high. The strongest single moti­vating factor for an opera audience is level of education. That doesn't make Austin audiences snooty; it n;iakes ~em interested in taking nsks. 1 _hey also demand quality; so. we aun at a national level. I see that kind of thinking in other Aus­tin arts groups, and, eventually the proof is in the box office,'; McClain said. Older arts organizations are lucky to have survived Austin's economic bust of the late 1980s. Live Oak Theatre and Capitol City Playhouse came close to shutting their doors; the Paramount The­ atre staff was cut to the bone five years ago. Some producing groups. su_ch as Capitol City Playhouse. still carry nagging debts. "Oddly enough, when we hit the skids several years ago, I reveled in it, having gone through it in Cali­fornia and Houston," said Ken Caswell, executive director of the Austin Symphony Orchestra. "Re­cessions help us sell more tickets because people stay closer to home, see local events. Now that the city is coming back, we are so­lidifying the gains we made during the bust." · _Phyllis Slattery, director of Dance Umbrella, reports a shakier dance scene. "The number ofactu­al events is down slightly, but at­tendance and budgets are up. The ~istic c?mmunity. in many ways, is matunng. Ten years ago. there were far fewer groups, and funding was concentrated in the biggest or­ganizations. Now, there's a sense of growing momentum among the younger artists." Young artists certainly do not move to Austin for the over-gener­ous public funding, Slattery said. Only one-seventh of local hotel taxes go to city cultural contracts, making $1.49 million available for all the arts in1992-93. That works out to about $3 per capita annual­ly, one-half of the per capita spending in Dallas. Unlike Dallas or Houston Aus­tin is not home to large cor?orate or foundation donors. Contrary to popular notions, only 7.5 percent ofall U.S. philanthropy goes to the arts, according to Giving USA, an annual sourcebook on charities. "But there are still a lot ofsmall companies that give here," said Mark Poulos, a St. Edward's Uni­ versity economist who specializes in the study of arts and the econo­my. "They make it possible for all of us to enjoy the arts." Austin's growing population and improving economy also have boosted the fortunes ofperforming arts groups. A positive financial climate encourages lending to art~ organizations. Poulos said there now is more understanding among businesses, advertisers and bankers about the economic impact of the arts. The combined budgets for tdl nonprofit arts organizations applying for cul­tural contracts with the City of Austin was about $20 million last season, Poulos said. "If you add commercial music, visual art and film, the total budgets would eaRily be in the hundred millions," Pou­los said. Using a conservative model cre­ ated in 1984 by an accounting firm, Poulos suggests that $3.35 in reve­ nues are generated from each dol­lar spent by an arts organization. Theater, dance and classical mu­sic, then, make a $70 million im­pact on the Austin economy. In addition to the l million local attendante figure, Austin arts groups that take their shows on tour profit from 75,000 to 100,000 ticket. buyers in other cities. Pro­ject lnterAct, Central Texas Chil­dren's Theatre, Zachary Scott 1'heatre. Sharir Dance and Ballet Austin are among the groups that attract large on-the-road audiences. Austin has nurtured a reputa­ tion as an arts center for years. Whal. sets recent events apart, ac­ cording to some observers, is the quality of new leaders. working in conjunction with established organizations. " Leadership is a key factor," Ciccolella ~aid. "What you have now are real captains steering the ships." The Jewish Federation of Austin UTL Volume 29 Number 5 11713 JollyviJle Road Austin, Texas 78759 January 1994 I Sharir Dance Company starts season .Jan. 28 Austin's Sharir Dance Company enters the new year with special guest artist Rina Schenfeld of Israel performing the season's opener Jim. 28 and 29. Known as one of Israel's foremost dance artists, Schenfeld incoq>0rates art objects -i,hreads, sticks, cubes and fabrics -into. her dances to create dramatic impac.i. · · She has been called "a sereneJY beautiful dancer of great inten~ sity" by the New Yak Times. For the spring season opener. the Sharir Dance Company also will unveil new workS by Ya'cdv SbaQr and Jose Luis Bustam~te. Sbarir will collaboolte witb visual ·artist Diane Gromala, while · Bustamante wilt team ~ID).~qmj>osers John Bichenseer and ~ Marsh to compl~thiS prQ(iQCUon. Sharir has d.ceamedJ0r,;m.~y years of bringing Scbenfeld·.to Austin, and a date was sei foi"her appearance in January 1991. I However, the GulfWarpreven~~~fromleavingIsrael atthattim~. · °'She-established11er:~putatiorott'the 'OOs'and 170S asa: foondirig memberand principal dancer of. d.l~Batsheva Dance ~mpany. "-n ~preS,,ive and ve~dan~;' Scbenfeld:is ~complishedin both cla$sical ballet and n:\Odetn Q8iice. · Performances wlllbebeld11t8 p.m. both days in theMcCilJlough Th~atreon the campus of TheUniversity ofTexas. Tickets are $10 gerieral admission and $7 fo' students and senior citizens. Special group rates are available. <;all458-8158 for more information. Friday, January 7, 1994 Tllelllllla lfondni ,.,_...,~ · • .......TIE MONEY: Utah choreographer John Mead performs Th6 Great Helmsmen's Utt#e · Jokeas pert of the A Dallas Dan~Gathering at the Arts Magnet High School. SCALING BACK red silk and all tt stands for -sensuality, Dallas Dance Gathering death, formlessness, power. It wasn't altogether successful -Mr. makes virtue of moderation Mead's touch isn't particularly light-but the emphasis on imagery was refreshing. By Margaret Putnam Sped4I ~to TheDallasMOl"lliq Hews The other surprises came from Bridget Moore, Andrea Beckham and Judy Schnei· T he times they must be •getting le. der, in the form or breathtaking perfor· ner. A Dallas Dance Gathering used mances. Ms. Beckham moves likes a Swissto scoop up dancers and choreogr• Army knife, stabbing at the air as if It's phers by the arm loads and unleash them her worst enemy, but cleanly, precisely, over long, crammed, jammed dance con­with murderous intent. How she flingscerts, making for a beady, if not always herself into space, hits the floor andcoherent, experience. bounds up Is exhilarating, and she's close­But not Thursday night at the Arts ly echoed in UIUUr Gltw by Lori Darley Magnet High School, where moderation, and Uly Cabatu Weiss in the evening'snot prodigality, prevailed. There were most riveting dance. · fewer choreographers, fewer dances and Ms. Moore, .appearing in her new work fewer dancers. No big numbers, no hard· Knots and Something Else, moves with driving, nonstop dancing machines, no buttery ease, spilling forth a luxuriousglitz, no glamoor. But no dogs, either. abundance of spins, turns, spirals and Restraint, however, does not mean pre­falls that cascade into each other withdictabllity. d.1%zying freedom. Like Twyla Tharp, Ms. The biggest surprise was John Mead. Moo::e has developed a movement lan­The Utah choreographer has always been guage that exploits her Idiosyncratic way good for a loud, hyperk!Detic, brutal, of moving and turns It into a very disarm·pound-you-into-submission marathon of ing art. movement. Since we'Ve last seen him, As for Ms. Schneider, appearing alone however, he's traveled east, and the new in Fern Tresvan's Blood Ruccus, she Mead is much more quiet -and imagl.stic. makes you think of rust-colored leaves ln The GrfUlt Helmsman'J Uttle Jolu, Mr. skidding about in the wtnd. Mead undergoes 911veral IW1ft and satiric Margaret Putnam is a Dallas free.lance transfonaationa to a aacclw1ne orcha­ writer. tral aeon by Du MiDC-XiL ln quick vi· ......... be'I nr. • ponlJ Mao Tie-Tung • PERFOMIANCE INFORMATION ~,..olbriWat red ll1k, next A Deltas Dence Gathering Wiii offer slightly d~­ •am AJUrtc:a tou111 wiw-entbml· fefent programs Friday and Saturday at 8 p.m. -for th1lap au... bal bim ltreWtnc at the Leach Theatre at the Arts Magnet Highthe .... wttb llOMJ.,,._ be'I. ~School. 2501 Flora. Tickets are S8 adults, $5 IOldler, aahdtDc W.... be c:111otro11us tbe llUdants. Call 720-7313. 52 The AustinChronicle Jaouary 7. 1994. ~ DANCE COMPANY SCHOOL SHARIR SYNERGY S11.JD10, lSOl w. Sm SPRING 199-l COMPUl'llll ANIMA110N A • COMPOSMON with Yacov Sharir SATURDAYS (time tba) Feb. 26 -May 7 $98.00 BEGINNING MODERN with Andrea Ariel MONDAYS 6:00 -7:00.pm Jan. 17 -May 2 $110.00 BEGINNING WINTERMEDIATE MODERN with Andrea Ariel WEDNESDAYS 5:45 -7:00 pm Jan. 19 -May 4 $120.00 l.NTE.RMEDIATE/ADVANCED MODERN with Andrea Ariel MONDAYS 7:00-8:30 pm Jan. 17 -May 2 $124.00 NON-TllADl110NALBAU.ET wilh Ubby Lovejoy TUESDAYS 6:00-7:15 pm Jan. 18 -May 3 $120.00 HATIIA YOGA with Peggy Kelley (Austin Yoga Center, 908-A W. 12th) SATURDAYS ll:OOam -12:15 pm Jan. 22 -May 7 $104.00 CHOREOGRAPHY!PEKFORMANCE with Andrea Ariel WEDNESDAYS 7:00-8:30 pm Jan. 19 -May 4 $124.00 Single class and bulk rates also available. For more ioformadon, call 4S8.81S8. INTENSIVESPRING WOILKSHOP January 17 -May 4, 1994 The spring workshop will culminate in a srudio choreography showing on May 8. The weekly workshop schedule includes: Mondays: 7.00 -8:30 pm Intermediate/ Advanced Modem Tuesdays: 6:00-7:15 pm Non-traditional Ballet Wednesdays: 5:45 -7:00 pm Beginning Il/lnlermediate Modem 7:00 -8:30 pm Oioreography/Perfonnance Workshop fee: $25().00. Payment options and full-payment di.scount available. 1be Amda artist. By the early 1980s, she was acclaimed in Europe tl1rough appearances at the Theatre de la Ville in Paris and the Helsinkj Festival and on tours in the Netherlands. Her New York debut at lhe 1983 Next Wave Festival at the Brooklyn Academy of Music won approval with the New York crit­ics. The New Yorl1 Times hailed her as "aserenely beautiful dancer ofgreat intensity." Sharir says he has known Schenfeld since 1966, and they performed together in Israel for several years while he also was a member of tbe Batsheva company. " Rina is an intriguing per­former and an engaging choreog­rapher," Sharir said. ''She will be performing two of ber earlier pieces on our program, ones that are minimalistic in approach." ln Tin Dance and Hair, Scheu- If you go ... Sharlr Dance Company/ Aina Schenfeld When: 8 pm. Fridayand Saturday Where: UT's McCullough Thealte Tickets: $7-$10 Information: 477-6060 feld manipulates her own long hair and plays with highly pol­ished squares of tin, sometimes sitting observantly before her reOection in 01em. She carries the shiny metal on her back and stom­ach as a shield or wears itas a type ofheaddress. Schenfeld has quoted philoso­pher Ludwig Wittgenstein in early program notes to explain her rationale for using props: "Object.'! enclose within themselves the pos- Monday, January 24, 1994 In addition to bringing his friend Rina Schenfeld In perlormance, Yaoov Shruir of the Sharlr Dance Company Will pre­view sketches from his collaborative vi.rtual reality project in Dancing with the Virtual Dervish this weekend. 'Objects enclose within themselves the pos­sibilities of every situation.' -Israeli choreographer Rina Shenfeld, quoting philosopher Ludwig Wittgenstein sibilities of every situation." Schenfeld's dance vocabuJary varies from classical arabesques to frog jl1rnps, while her movements in general often are influenced by the ro:t ofmime. Sharir says Schenfeld will per­form Tm Dani;e and Hair along with Light, a more recent solo work. She will share the evening's program with the Sharir Dance Company, which will feature an excerpt from Sharir's work-in-progress Datte· ing with the Virtual Dervish and JoRe Luis Bustamante's latest dance, Wil11ess. Da11cittg wilh the Virtual Dervish will give Austin audiences a preview ofthe virtual reality per­formance project that Sharir, visu· al artist Diane Gromala and archi· tect Marcus Novak have been ere· ating for more than a year. (The completed project will premiere in Austin in April.) Sharir's collaborative explo­ralions with Gromala and Novak combine dance and virtual envi· rorunents, thanks, in part, to a research fellowship from the Canadian government and the BanfTCentre for the Arts. On this weekend's program, several movement sketches from the pro­ject will be shown, framed by rear-projection videos. Bustarnante's \Vit11ess is a revamped version of a 1992 work that he recenUy entered in the Bagnolet. France, choreographic competition. Bustamante describes the abstract work as a requiem honoring the late Patrick Wadley, a local artist. "The movement hos a sense of repetition in mood, like moving from one prayer to another. The choreography ascends and descends, moving from the floor into the air, one level to the next., like going from earth to heaven," Bustamante said Witness combines the moves of six dancers into a series of duets and trios, which Bustamante describes as "layers of images." "The work presents slices of images, the way thoughts run U1rough your mind when you are remembering the past," he said. 0 N T A s G E ....-........ ,,......._..r...-/ . ~........ _.....,.......___ i .; ~ ~ I :t f sharir dance company + rina schenfeldof israel $7 students & seniors ·UTTM ticketcenters, 471 . 1444 charge-a-ticket, 477 .6060 for more information: 458.8158 SharirllanceCMY u th8 at.'!'he U\I vora l ty 0 r c:ciapony-in·resli:Mnc.t l!ld""""°rl "4 Art.a ...~College of Fi n. Arts. A by eho DorlC8 ein 'now: f'rDllT"'" a1'de -1J>le !rd<>._,,t for t he Art4 ~-of the N«r.;ona1 90 ComnlMion >n th• Art· " funda:l ~ the TeXA8 "'1:hr th> a~of t~,::,Inthe City of Aw!Hn Arts Co111111 i salon. Choreographer Rina Schenfeld, a protege of Martha Graham, incorporates art objects such as threads, sticks, cubes and fabrics into her dances. One of Israel's foremost artists, Schenfeld joins Austin's Sharir Dance Company for tonight's performance. When: 8tonight. Where: UT's McCullough Theatre. Admission: $10, $7 students and seniors. Information: 458-8158 or, for reser­vations, 4n-6060. 0 G N T A s E Resident UT dance troupe warms up for reality By Rob Davenport Special to the TRIANGLlt AUSTIN -A thin smoke wafted through the auditorium as the audi­ence took their seats In McCullough Theater last Saturday night on the campusofthe UniversityofTexas. The drop curtain was up, making the stage visible -a blackspace pierced byfour tubes of green laser light. After a few minutes, therewasa sudden mechani­cal-sounding buzz whereupon four white lights stabbed down onto the stage and moved back. formlng a di­aphanous curtain from which dancers cameandwentdurtngtheperlormance. Then. accompanied by a recording of strangeother-worldlypurrs. growlsand twitters, the dancersbegantheirmove­ment, a series of ritualistic motions influenced by Eastern mystical dance. Thiswas the prologue to a fascinat­ing, Visually startlingevening of dance presented by the Sharlr Dance Com­pany with guest artist RinaSchenfeld. Dancing with the Virtual Deroish.. the first piece. set the tone for the evening -graphically Innovative, full of the energy of a synthesis of art forms. with light and sound becoming key parts of the performance along with choreography. Butthisis only the tip of the iceberg. ·nervtsh,· choreo­graphed by Yacov Sharir, is In sketch­form now. It makes its full-scale pre­miere in May. complete With a Virtual reality component that promises lav­ishimageryand theopportunityfor the audience to interact with what they see. Last Saturday's performance worked as a small window on the fu­tureproduction, usinga sinuous dance motifthatechoesthe ceremonies ofthe Dervishes ofIndia. A religious sect, theDervishesdance to create states ofecstasy in the body, to allow the soul to "escape" or tran­scend the flesh. Although it's not yet possible to see where Shartr will go With the work, his piece provtdes the sense of an "out-of-body" experience. Thatis, as the dancersmoveinand out of the oily slick of dig1tal light, to the deep buz.z of the music. their curvy motion seems almost to counterpoint the 'technological' feel of the produc­tion. It's as ifthe technologysimulated a Dervish stateof ecstasy in which the dancers move, disembodied and yet aware. Transformationand transcendence appeartobethemeslnRenaSchenfeld's work, too. Schenfeld. a soloist, presented two visually stunning and evocatively dancedpieces-"Tin DancesandHair" and "Waves." Both dances Incorporate other elements -a sheet of tin and a white mylar or silk banner -to work on a variety of levels. In the impres­sionistic "Waves,~the bannerreflects a shimmer oflight and becomes a literal wave of water. But as Schenfeld ma­nipulates the flag, it turns into a cos­tume as well, the wings of an angel or a butterfly, ballooning in the air under a gold glow of light. "Tin Dances and Hair" has a weightier theme. Init, Schenfeld uses a tin square in a series ofImages that evoke feelings ofentrapment, insecu­rity. eventerror as she rolls out thun­der by repeatedly drumming the square. Sometimes wearing the square as a carapace, sometimes as wings. using lt as a mirror. pointing the brassy reflection Into the a11di· ence, Schenfeld transforms t:ne metal into a metaphor for a variety of emo­tlonal reactions. A metamorphosis happens when she literally ·molts" her brown body stocking, revealing a light. skin-colored stocking under­neath. From then on, her body. be­comes the 'instrument': especiallyher h air, With which she gets a great laugh at one point. when she thrusts her fingers through the curtain...Uke mass to ·create" a mouth. Spacedoesn't allow for a full appre­ciation for the lastand longest work of the evening, Jose Bustamante's "Wit­ness." Bustamante, an associate artis­ticdirectorwiththeSharlrDanceCom­pany, has crafted a complicated and interesting piece that uses projected imagery and, like Schenfeld, a meta­phorical prop -a ladder. The piece ls dedicated in memorium tovisual artist Patrick Wadley. The ladder reminds me, as itcomes down from the rafters, of a spiritual climbing or ascendance. Uke the entire evening of dance. the work was compelling to watch and packed a subtle emotional punch. NEWS AND ENTERTAINMENT FOR METRO KANSAS CRY. FEBRUARY 3 • FEBRUARY 9, 1994. ISSUE 299. FREE. DANCE FROM SHARIR Rockhurst College's Season of the Arts presents the award­ wir,ningSharir Dance Companyat8p.m.inMabee Theater. Led by Israeli dancerI choreographer Yarov Sharir, the company performs work choreographed by emerging artists and established leaders. Theoompany's work ranges from humorous to poignant. An open discussion with the company will follow the performance. Tickets are $15 or$12for students and seniors. 926-4828 SharirDarr:e Conf>l/IY petfotms Sat, Ftb. 5al lbckhurst College. ---··----­ Dance······················ Austin, Dallas dancers debut at Wortham By ANN HOLMES Houston Chtonicie Cn1ic-at·latge T wo Texas dance companies. well-known through na­tional and international tours, will make their debuts in the downtown Theater District Friday with Societyfor lhe Performing Arts as host. In a program titled Dance Times Two: Dallas Black Dance Theatre ond Shnrir Dance Company, Ute Dallas and Austin companies each will offer lhree works. The adventurous nature of their new works and their broad accep· tance elsewhere prompted Toby 'Our approach to dance is more adventurous than, say, the modern or postmodern dance. We find our inspiration from anywhere. We don't feel restricted.' Yacov Sharlr Mattox, SPA's executive director, to present them. "I wanted to add their works to the New Now Series. and I feel that Houstonians need lo see the incredible talent that we have in our slate," Mattox said. "It was lime to move them onto the slage of the Wortham (Theater Center> down· town." The Shalir company, (ounded in Austin by Israel-born Yacov Shalir in 1982, has appeared frequently on the stage of Miller Outdoor Theater. And last year, the Dallas Black Dance Theatre was a hit during Ka· plan Dan~-e Month at the Jewish Community Center. Sharir's company has nine profes· sional dancers, chosen almost en· tirely from among graduate stu­ dents !rained in classic ballet and contemporary dance al lhe Univer· sity of Texas al Austin. '!'he non profit company. with offices and a school off-campus, is Lhe profes· sional dance company in residence at UT. II has an annual budget of $400,000, and dancers are under contract for nine monlhs -more if they tollr abroad. The Shalir program will include Two Texas troupes step up Dance Times Two: Dallas Black Dance Theatre and Sharir Dance Company When: 8 pm Fnday Where: Cullen Theater. Wonham Theater Cente1 Tlckets: $14-$22 at Hous1on T1cke1 Center. Jones HaNand Wortham Theale< Center. and al Ticketmasle< locahons By phone. 227·ARTS Witness. a 1992 work by resident choreographer Jose Bustamente. for six dancers; Mqre About Love. a duet choreographed by Shalir in 1991; and Mote~ described as a highly athletic piece for four dancers by guest choreographer Doug Varone. set Lo Mozart's E:rsuf· late, Jubilate Witness investigates the ways in which memories overlap in the mind; More About Love is set to a Hebrew love song. Both works are new lo Houston. "Our approach to dance is more adventurous than. say, the modem or postmodern dance," Sharir said. •we find our inspiration rrom any· where. We don·t reel restricted." Sharir's avant-garde approach has resulted in his new video dance piece, Dancing With the Virtual Deroish, which he created with two colleagues from UT"s art and archi­tecture departments. Tbe com· pleted project will cap the troupe's current Austin season in April The company also presents other dance companies in Austin, includ· ing lhose of Merce Cunningham. Trisha Brown and Bella Lewilzky The Dallas Black Dance Thea1re is one of the top regional black dance companies. The 12-member company will offer works thal reOect what fouo· der-director Ann Williams calls its "lyrical modern dance" approach lo contemporary themes. Programmed are: Into the Loby· rinth by Darryl Sneed, which pre­miered in Was~gton, D.C., in 1993; Alvin Ailey's Rejlections in D. a male solo that he gave to the com· pany; and Homage to the Source. Africa, a new work being presented for the lirsl time in Houston. Ii was choreographed by Chuck Davis. ar· tislic director of Lhe African Ameri· can Dance Ensemble and will fea· lure nonstop drummers onstage, v.ilh dancers entering from among the audience. Now in its 18th year, Lhe Rl~ck Dan« n1eatn' is the oldest dam.-.. c-omJ13ny in Datta •. 11 ua• o ~' mil· lion annual budget and has toured in England. Spain and Italy. Williams and Shalir will be on hand in the Wortham's Grand Foyer al 7:30 p.m. Friday, before the per­formances, to discuss their compa· nies and answer questions as part or SPA's Exxon Curtain Talks lecture series. Patrons are invited to attend free or charge. Above: The Dallas Black Dance Theatre, a htt during last year's Ka­plan Dance Month at the Jewish Community Center, is one of the top regional black dance companies. Left: Sharlr Dance Company Is the profes­sional dance company in residence at the Uni­versity of Texas al Aus­tin. The ttoupe has per· formed frequently at Miller Outrloor Ti..,ater. Pagel2 HGuslon Chronicle Sunday, Feb. 6, 1994 FEBRUARY 6-12. 1994. HOUSTON DEFENDER. llA I . j -l:NTEBTAINMENTI ·i•i iH Dance Times Two Dallas Black Dance Theatre members David Wilson, Darryl Sneed and Curtis Glover will be among those onstage al a performance sponsored by tlie Sociely for the Perfonning Arts. The evem, which also features the Sharir Dance Company, is Friday, Feb. 11, at 8 p.m. in the Cullen Theater of the Wortham Theater Center. The Dallas Black Dance Theatre is the onJy predominantly Black professional dance company in the five-state region of Texas, Louisiana, OkJahoma, New Mexico and Arkansas. The groups' artis­.tic.directors --Ann Williams and Yacov Sharir --will be on hand at 7:30 P·Jll· in the Grand Foyer to talk about their companies and answer questions, Ttckets are $14, $18 and $22, and are available at all Ticketmaster locations odby calling 227-ARTS. :il. I· • ress Sharlr Dance Company celebrates Texas Dance Don Sanders wlll be among the Anderson fair alumni at Saturday's reunion. in Danc11 Times Two. Friday at the Wortham. Just duclty Valentine's gifts: Huey. Dewey and Louie from Fine Toon Callery. More than Just Slaves Th« '1°<·11nd workshop in a four·pan ~erie$ Prt" sented by Imam Haywood S Talib of the Sister Clara Mu hammad~ ~School. Talib will dr~-ribe African· American achievt>m<·nts in our history Th~S<' workshops are a :30 to 7 p.m. at the Ma1wuso brant·h. fi7fi7 B~llfort. 644-\878. On this day th<' library also offers African drummrr Mur<·mi Norlikoane. at 4 p.m. at tht> Alief regional branch. 7979 S. Kirkwood. 568-333(). Anita Bunkky will dis· c-uss her bonk /::m1/y. tlrt Yr/low R11st and a forthcoming work. Rlark C11/d. abuul African·Am1•rkan rnntributions in the oil pat1·h. 7 p.m. Rubinson-Wcst1·hase. 3223 Wikrest. 784·09&7 Storytim1• at the Hillendahl brand1 features work~ by black authors at 7 p.m.. 2436 Gcssn,·r. 467·9090. These delightful. .-durational c'\'t'nts an· fm· -your tax dollars at work -and quitr a bargain. For more infomiation about th<·:<" and other activities. call lh<· Huu,;ion Pu blil' Library at 231> 1313 Black and Slntle l.11rry Oavi:< will di<· cu"" hi< book. 8111rk and S111gi•· Muting a11d Clim1s111g n P(lrl11rr IV11n'.< Right far Y,,u, ill this book·si)!ning and ~ ~ ~udal. Thi· id1·a of 1hi:< nH'<'lini: i<. an:ording to tht· ;mlhot'. h i .. fi 11tl 001 abonl yot1r romantk· markl·L dtoo..;in~ a part1wr. liking. loving. and )11,tinJr? ttnd .:.o mu,:h mnrt lh1vb:', , h;.1ph·r 1i11,., r1hul1' .1n· in1ril!UIHJ! --s,·~ wtwn. why .111<1 " 'ilh whom,'" ··uat111)! \\'hitt·" and. 11u1 11v..•o p1 1 lh'f ..•mal favorih+ .. f\,•twt·t·n ll:1h·..:.; down linw ain't nt•t''''';111lv .l b.1d tinh· ··Davi' 11wn1iun... rli"' t,'llllr'.1$.!lllt! f.u. ,.........1... Oii .'\h" .lll Alllt'fh, :111 d 1Vhl"(.°I' . ..;1a1,. lUl tlH' ('t."UllUIUK ..:.l•tto~ u( Af1i1.:;t0-AmrrK' h.1!'> \'l'l'Y •.:arc.: P••• 18 Houaton P-;:••• fully wril!l·n a book whi<'h. alnrw among th1· dutl('r Of .;df·hl'lp h·xt>.. ttvi~·~ opinion. thal makt.1~ bl.1('k <111)!11· Iii" difft>r1·nt is that bla«k singl1· lif<' aff<•«ts blark lift· Singk·parent familil'S. Davis null'<. stan with bad rdation$hips. He• wants a -1160. Danu Times Two Thi• Socic·ty for the P<>rfurming Art:< 1>n·s1•nt:< two major Texas rnmpani1·s on th1· sam~ bill. Yarov Sharir and Ann Williams. anislk directors ofSh;irir Uanff Company and the Dallas Black Danw Th~atre. will give a pno.cunain t;ilk and will an>wrr questions ~fore the performanC<'. Sharir will Pt>rfllrm Houston premil'res ol two works -Witnrss ancl MoTP about IJ>ut. llflllT is a mod(•rn dllnrc· l'nmpany with a n·1><·r1ory ul modt'm. jaY.Z. t'thnic and $piri· tual worb. rwo of th1· thn·r works [)fll)T "ill dann· in Hnu:<•rfonnam·1· ti p.m. at th<' C111l1·n ·nw~t1·1 in tlw Wnrthnm C1•11 t>r. 500T"xa>Awntll'. 2~7·AR'I~. $14-$22. saturday Class Hou:<'h1111l-. Onl)' th1~ mW µ..rfur. m;uh,'(' i~ S\·lwh Cumnumity Ct·flh:J. 5001South BrdcSwood. 438-1062. $12. Through the Darll Nifhtly Tho>'<' who n·mem· bl'r tht' mid·'70s r<:lt'a: dat" is a bit odd 'lnink again. 1ni$ special performance ._.ei,, brat~s Andcrwn Fair's long life as a show· l'al'<' for wngwriter,; a>1d reunites the r1·...ord· ing ani~ts (OCtl that lhl'y havl'n'l seen each other from ti mt• 10 tinll'. tht' fnlk/ blu <" grass/mallbilli<' musk world being tight·knit and all) . 1.ynn Langh:tm i:< dnwn from Nashvilk: Stt·phen Jarrard. Bill Cad1· and I>on Sand<'rs join her nn:<.tagc· Sand1•rs has be<'n around a whill'. and fans may r<'call his songs about demon nJm and hard livin' and all -or they may recall "Heavy Word Lover: a tune about what grt•at lovers English majors arc. Eri... Taylor will be on hand 100, and whil<· wedon't know that he11sing it, Taylor did write ·Fat Babit·s Have No Pride: a sing·along writt<>n with Lyle Lovett lo discourage the odious practire of sing·alongs. The th;,ory is that lines like "Fat baby drooling· and other Mscriptions of diS!,'USling infant behavior wouldn't work for a jolly chorale. In practice. the refrnin ­·1likt· you 'cause you like me and you dun't like much" -is the kind of pun• and holy truth that mahs rountry·and·western·tyl)<.' music the 1>i noacle or human expression. Andl'rson Fair. 2007 Grant Str(•et (behind Texa~ Art SuJ>J>ly). fi64·7331. $10. ~l5j~+"+fril1~ Black Gold Following her appearanc1· at th<' Robinson·Wt·"t(·ha'c library. Anita Bunkley will discus~ hl'r upc·oming bunk. whkh l'hrnnid1·~ a ~ ~rnrdy dol'umented sid1· or the uil· boom day' of th•· '20s. African·Amerkans wrn• lhen" >1nd they were involved. Thi:< (;,s• ·1mn·cl hook aboul tht• fir~( bttom ~hoW!' thL· livt·' urAfric:t11·Anwri<:an~ -rou>th· 1wck". li·a..;t• l>rokc•r.... six.·t·ulttlor... and wild~ '"'"''" Anikm al th1· Shrin" ol thl' Lllack Madonna Buokslorc and Cuhur·al Cl'nl~r. 5309 M.LK. Blvd.. 645-1071 ur t\4!). I lliO. ~imj~+i%jip~ Jimmy Plnupplt Sints Sonts of Love There are certain almo~t·,ignifi cant others out thPre who f<;1•l that for Vakntinr's Oay lh<·y ought to ~~du "'methini: ~pl•dal. but are UIK•'rtain ~boUl just how "P\"l'lal thi~ l'Olfl· tion:ill) lnadt'd t•vent pt'r·dub 1rnditi11n of th1· 11lan10rou< big·band ""'· <1od nothing (at lt•ast nothing publid ruuld be more romantir. But Pim·apple is still a comir (though he has l'volvrd from outlaw to lounge act). so one can always claim. in th<' rold dc·ar light uf dawn. "What big dau·? We : to thl' nines. thrill to tlw Tod Vullo Ja7.7. Trio and sip martinis whill' Pineapple. auin·d and ~tyling like the Chairman of th" Roard. croon' standard,. Ht•has heard a r('w tun<':< dont' wdl. having workl'd w11 h Ray Charlt•s. th<· Nrvillr Rrn1h1·r:<. l.t>un Rt"dbun,· and l)r. John. On th" nip 'idr. Pin ..appk b a furmer Texa:< Outl;1w Comic (Bill Hil'ks wa' one. and 1hcy let Sam Kinison us1· tilt' naml' l;1li'rl. Whu 1'11uld pnssiblv haw ;1binrlinl! 1•1manlit 1nomt•111 ar tlrnt Andy Hu)!gins. who h:« g111w from out law to Rilly Cry~tal writf'r. ha~con· tribuli;d miJlt·r iill Tht· t•mo1iu1rnllv i1nma· tun· -and thus,· uf u~ whc• JUSI d;m'l hap· p1:n 10 know anyo1w Wt' (c•t:I likt· m;:1kio~ ;1nv ...nrt of ,·rnnmitmt·n1 tu -L"ftn fol'U$ on th ;·... ~· 1't·1>rub;1l\'' tll1cl mi-..rrl'41lll'. a11d known t'HtH' J;un''" Pi1wa1>1>I•·. f...;q. 111i~ i.:. .1 uniqm• t'\ll'Hin~ The C.1$ctOnva ttf Ct111h·dv 11fft:r-.. h1 -.. c.:ava li1 ·r 1ribul•·. A~\Op m Th, Ltff "lup I'':-;;! \\ ,.,l Cra)'. ~.~ 1.:n:u Fine Toon figurines ·11\1, }(f:ilk·ry ....,~., 1.th1.1.·, in ubJt'lS rlc> Warn1·r Rrothrr'. lll'if{inal onim•· t1on n·ll~ and orhc ·r v,·ry "'Hy y t·l v;tluablt· }r.!tll!-(01 •llli1nalmn (an:--and \.'ftlt·nC11\\'' who 1tn· ht·vond t'X\ hjtnJ.tlllJ! f.FIJ! i.:1ft, hut .1n·11·1 fl'dUY Y<'I for th" implt'"ticm, of l'andy anrl flowl·r:-.. Pri1..·1.·::-. v;i.ry from 1"1.·a::-onablt.· 111 !'-1.·riuu~ money. Mon.-Fri.. JI fl m.-6 p.m .. February 10-16. 199 4 DANCE Two major Texas dance com­panies, Sharir Dance Company and Dallas Black Dance The­atre (DBDT), will grace the stage during Dance Times Two at 8 tonight in Wortham Cen­ter's Cullen Theater. Several works by DBDT will pay tribute to Black History Month. Tick­ets: $14, $18 and $22, at Houston Ticket Center (227-ARTS) and Ticketmaster (629-3700). H ouston Preaa Page 23 Participatory Contradance 111<.' I I oust on Area Tradiuonal OanC'<' -.ci.:il·ty will hold two contradance-; oix·n to th<' pubbt m F~·bn1ary. ooth with livl' music. Saturday.;. Fl'b. 12 & 26. ~IIp m ~k1ghts Presb)1enan Churrh. 18th at Rutland "ll"C"t't Call HATD repl'("Sl'ntauvr... at 861-­1297 or 465-6844 for mfo or to regi,..u·r SS Perl'ormance DuuTimes Two: Dallas Black Dance Theater and Sharlr Dance Company See Picks. Fri.. Feb. 11. 8 p.m. Cu llen Theater. Wortham Center. 500 Texas Avenue, 227­ARTS. $14-$22. February 1 0 -16, 1994 Cougar me plioto Dallas Black Theatre will perform Friday night. Black dance troupe creates art in motion by Manuel Esparza Dally Cougar Statt This may be black history month. but all can partake in the celebration. and what better way to join in than to.watch two top Texas dance troupes revel in that heritage. The Society For The Performing Arts has invited the Sharir Dance Company and the Dallas Black Dance Theatre to perform Friday. Opening the evening will be the Sharir Dance company. The three­piece set opens with a dreamy work. Witness.More About Love, an audience favorite, is set to a Hebrew love song. Closing with a piece that choreographer Doug Varone wrote for himself, Motet will probably be the most difficult piece to dance to this evening. The Dallas Black Dance Theatre is on a six-state tour. Known for a diverse repertory and electric performances, the troupe will premiere two new pieces, Into the Labyrinth and Homage to the source: Africa, as well as the solid Reflections in D. Going all out, the troupe will Dance Review open with Into the Labyrinth. Resident choreographer Darryl Sneed collaborated with musician John Bryant to create this work. This should be an exciting piece with the dance performed in several movements and at an energetic pace. Homage to the Source: Africa underscores what makes this company unique and important in the dance world. Filled with drumming, singing and poetry. the piece is an adventurous step for modem dance. The performance will be held Friday at the Wortham Center. Get there by 7:30 p.m. to hear the artistic directors of both companies speak and answer questions. Also. there is no late seating. Tickets are a cheap $14, $18 and $22. The frugal may ask about student prices. \ • Ill z -t ;a "' ;:: - z "' z ~ -t "'O D> Cl> (X) () 0 c: Q) . ..... ..... (() (() ~ F e b r u a r Y I 0 ~ I 6 . I 9 9 4 Danes Times Two The Socic1y for thL· Performing Arts prL':-t•nts two major Tt'xas companies on the sanw bill. Yacov Sharir and Ann Williams, ar1istic directors of Sharir Dani:e Company and the Dallas Black Dann~ Th<>atre, will give a pr~urtain talk and will answer qut·stions bl'fore the Jll•rfonnanc(•. Sharir wilJ perionn Houston premit'res of two works -Wit11es.s and Mnre about Love. DBDT is a modern dant•c rommmy with a repertory of modem, jazz, ethnic and spiri· tuaJ works. Two of lhl• three works DBDT will dance in Houston arl' brand-nt•w -/11/0 tile labyrfoth and Homage to the S1J11rre: Africa. Homage -a 45-minute Afric.u1 suite with dn1mming. pot-try and singinl{-is the "Pt'ctarnlar finale. Pre-n1rtain 1<1lk 7:30, perfonnann• 8 p.m.al tht• Cull<·n Thl'at('r in llw Wortham Center. 500 Ti•xas Av1•nue. 227-ARTS. $14-$22. Sharlr Dance Company celebrabtt Texas Dance In Duce 11ma Two, Friday at the Wortham. Volume 6. Number 'IJ The Houston Post/Friday, February 11, 1~4/ E-3 Vocal/Instrumental Chamber Musk: -5 Sun, Duncan Hall, Rice University. Csaba Erd6ly1, viola; Thomas Jaber, pi­ano/harpsichord; Wilham Murray, ban­lone, Andrea Jaber. mezzo-soprano. Vaughan Williams: Selections from the Suite for Viola and Piano; Four Hymns for baritone, viola and piano; Brahms: Two Songs, Op. 91, for alto. viola and piano; Bach: Sonatas 1n G major, D major and G minor for viola da gamba and harpsi­chord. Free. Shepherd Chamber Orchestra -8 Sun, Stude Hall, Rice University, En­trance 8, University Blvd. Larry Rachlell, conductor. Prokofiev: Classical Sympho­ny; Webern: Rve Pieces for Orchestra; Beethoven: Eighth Sympho111y. Free. Soprano Lois Alba -8 Sun, Ova­tions, 2536-B nmes Blvd. Love Songs tn Four Temperaments. aSS1sted by pianist Jack Buckhannan. Dance Dance Times Two -8 today, Cullen Theater. Wortham Center. Sharir Dance Company of Austin/Dallas Black Dance Theatre. Witness {Bustamente/Eichen­seer, Marsh). More About Love {ShamI Ravitz), Motet (Varone/Mozart) danced by the Sharir company; Into the Laby­rinth (Sneed/ Abdullan, others) , Reflec­tions in D (Ailey/Ellington). Homage to the Source: Africa (Davis/traditional rhythms) danced by the Dallas company. Presented by the Society for the Perform­ ing Arts. Tickets. H, T Rice Dance Theatre 8 today-Sat, Haqo Studio. Rice GymnaS1um, Entrance 8, University Blvd. Polymorphic Treading contemporary choreography by Christine Lidvall, Nita Lindley. Linda Phenix, V1c­ tone Loftin, Angel Ch1nundet, Kristin Field, Jennifer Olsen. Tickets: 527-4808. Pop music Austin lounge Lizards -Newgrass, Sat 9 at Rockefeller's, 3620 Washington Ave., 861-9365. John Conlee, Kevin Eagan and Be­yond Reason -Country, Sat 9 at Tm Hall, 14800 Hullme1ster at Telge. 373­4555 Dr. John -New Orleans boogie, Sun 8 at Bayou City Theatre, 6400 Richmond, 977-5495. Najee -Pop jazz. Sat 8 and 10:30 at Bayou City Theatre, 6400 Richmond. 977-5495. Bluegrass Hickory Hollow -Lonestar Blue­grass Band, 7 tonight; Liberty Bluegrass, 6:30 Sat; 101 Heights. 869-6300. Special Consensus -Sun 7 at Steak and Ale. 1-10 at W1lcrest. 467-5050. Houston Chronicle Friday.Feb. 11. 1994 'Dance Times Two' The Dallas Black Dance Theater, left, and the Sharir Dance Com­pany will have their Theater District debuts In the program Dence Times Two, being presented at 8 p.m. today as a program of the Society for the Performing Arts. The program will be at the WOr1ham Theater Center's Cullen Theater. The artistic directors will discuss their companies at 7:30 p.m. In the center's Grand Foyer. Tickets, $14-$22, are available through the Houston Ticket Center in Jones Hall and at the Wortham Theater Center. To charge by phone, call 227-ARTS. DANCE Two major Texas dance com­panies, Sbarir Dance Company and Dallas Black Dance The­atre (DBDT), will grace the stage during Dance Times Two at 8 tonight in Wortham Cen­ter's Cullen Theater. Several works by DBDT will pay tribute to Black History Month. Tick­ets: $14, $18 and $22, at Houston Ticket Center (227-ARTS) and Ticketmaster (629-3700). Dance D•nc• Times Two -8 today, Cullen Theater, Wonham Center. Sharir Dance Company of Austin/Danas Black Dance Theatre. Witness (Bustamente/Eichen­seer. Marsh) , More About Love (SharirI Ravitz), Motet (Varone/Mozart) danced by tho Sharir company: Into the Laby­rinth (Sneed/Abdutlan, others), Reflec­tions In D (AlleyI Ellington), Homags to the Source: Aft1cs (DavisltradJional rhythms) danced by the Dallas company • 8-2 fT"he Houston Post/ Monday, February 14, 1994 Dancers soar through steps in SPAstaging BY CARL CUNNINGHAM POST PERFORMING ARTS CRITIC T WO TEXAS dance compa­ nies showed that they definitely dance to a dif-. ferent beat Friday evening, as ~ they shared Wortham Center's Cullen Theater stage in a Society : for the Performing program ti-­tied Dance Times Two. Austin's Sharir Dance Compa­ny and the Dallas Black Dance Theatre have both performed at various sites in Dance Houston over a number of review years, but this was their first known engage­ment in a major downtown the­ater. Darryl Sneed's Dallas-based troupe was better qualified for such exposure, by virtue of the discipline, energy and thrust of its dancing. There was also a sharper focus and much more va­riety in its choreography. Notwithstanding its name, the Dallas Black Dance Theatre is a bi-racial company, including a few Caucasians among the Afri­can-Americans in the lineup of 11 dancers and three drummers ac­companying them. Sneed's Into the Labyrinth, which opened DBDT's half of the program, showed a noteworthy inclination toward a balletic style of dancing. Although the dancers were barefoot, the weight of their bodies was often off their heels and up on the balls of their feet. The twitching piece was danced to a pulsing rhythm, but there were touches of classical support and partnering in the ra­zor-sharp movement. Abstract geometric patterns also indicat­ed a classical orientation. Alvin Ailey's Reflections in D, based on a Duke Ellington piece, made for a dramatic shift to a languid, easy-flowing jazz style, danced by Sneed in a superbly graceful solo. He slowly extended bis arms and moved them in the lazy wing motion of a bird gliding through the air. His body moved in spiral­ing motions, nicely realizing the curve of the choreography while flexing his shoulders to punctuatemusical accents. It was a performance worthy of Ailey's gemlike choreography, and one only wished he had done three or four of these little solos for Sneed to dance. Chuck Davis's Homage to the ~our_ce: Africa ended the evening ma Joyous explosion of tradition­al African dancing and drum­ming. This big, colorfully cos­tumed ensemble piece was a furiously fast-paced, wiggling, jiggling exhibition of athletic dancing, done with real verve and excitement. By contrast, the Sharir Dance Company stayed within the gen­er~l confines of modern dance, usmg a great deal of rolling floor movement amid relatively infor­mal dance patterns. Jos~ Bustamente's Witness, memorializing an AIDS victim, required a metal ladder for a prop, suggesting a labyrinth as well as a rack for the victim to struggle against. It was a som­ ber, serious program opener, but at 20 minutes it ran on too long. Unfortunately, Tina Marsh's singing of an accompanying text by Argentinian poet Jorge Luis Borges was virtually unintelligi­ble, thanks partly to the echo fac­tor in the electronically manipu­lated miking of her voice. Sharir's More About Love, a dance duet involving angular arm gestures, and Doug Varone's cavorting Motet, set to Mozart's "Exsultate, jubilate," were in­nocuous but not very memor­ableworks rounding out the Sharir portion of the program. Houston Chronicle Monday, Feb. 14,1994 Dance troupes show a hint of their stuff By ANN HOLMES Houston Chronicle Critic-at-Large Society for the Performing Arts airlifted two small dance troupes of proven individuality to the Wortham Friday for a twofer. The Dallas Black Dance Theater and Austin's Sharir Dance Com­pany had previously played Houston at Miller Outdoor Theater and dur­ing the Jewish Community Center's Kaplan Dance Month. But SPA ex­ecutive di.rector Toby Mattox had the notion that it was time to bring both to the high-intensity spoUight of the Theater District downtown to share a single evening. For both groups' followers, the Theater District was something dif­ferent. It was more formal, and parking was more difficult. But al­most 800 came to the 1,100-seat house for an evening that ended in wild howls of re~nse for Harnage to the Source: Africa by the Dallas Black Dance Theater. The program, called Dance Times Two, was a fairly well-bal­anced seesaw, with the 12-year-old Sharir group and its nine profes­sional dancers occupying the first half and the 18-year-old Dallas en­tourage with its 12 dancers closing the show. Performing on the well­equipped but small Cullen Theater stage, the two companies fit the space nicely. Disparate as they were, each program offered inter­esting glimpses of the performing company's styles and dreams. The event was valuable in many ways but raised a question or two in others. Each troupe presented three works reflecting its own style and Dance review philosophy but containing concepts that fit the cutting-edge guidelines of SPA's New Now Series, on which this was a feature presentation. The Sharir company, founded by Israeli-American Yacov Sharir, set the pace with a highly imaginative, many-layered work, Witness (1992), by company resident choreogra­pher (and expressive dancer) Jose Bustamante. Using a metal ladder as a prop, and surely as a metaphor, five dancers drifted in and out of group­ings and relationships to the spo­ken, partially sung (and half-heard) words of Tina Marsh and John Eichenseer's electronic score. Their milieu was an abstract uni­verse under Amarante Lucero's lighting. The work dealt with echoes, the auditory equivalent of witnessed and Jost moments -inti­mations of love and death, once vi­tal, then lost and found again. Bustamante's idea is a powerful one, and it was well-executed Sharir's More About Love (1991) brought Stephen Brown and Caro­lyn Pavlik to a rapturous engage­ment for two that had them rolling on the floor in embrace. But it also spoke of honesty and faithfulness in the trusting leap into waiting arms, the slow but sound movements that affirm excellence and shun hubris. In Motet (1992), guest choreogra­pher Doug Varone's quartet danced vigorously and responsively in loose-legged costumes. It was best in its ensemble variations, but all its gyrating, hopping, spinning and pat­tern-making failed to withstand the formidable competition of its ac­companying recorded music: Mozart's Exsultate, Jubilate, sung on record by Kathleen BatUe. The Black Dance Theater's direc­tor, Ann Wtlliam.s, called up a well­balanced menu: the pounding group number Into the Labyrinth, new this year by Darryl Sneed, the com­pany's resident choreographer; a brief male solo choreo~hed by Alvin Ailey, Reflections in D (1988), danced only by Dallas and the Ailey company; and the spectacle Hom­age to the Source: 4fr1ca. Like Bustamante in Austin, Dal­las' Sneedis right hand to the direc­tor, the choreographer and the top dancer. His highly charged Laby­rinth, featuring urgent interplay for seven women and three men, some­times looked mismatched but never lacked in commitmenl There were high kicks, stretches and splits. Sneed's own delivery of Reflec­tions in D was neat, right to the Duke Ellington beat and quite ele­gant. Appropriate to Black History Month, the finale, designed by New York-based choreographer Chuck Davis, built from a congenial stroll of the dancers down the aisles as they greeted the audi.ence to a vivid explosion of pride, singing Africa, My Africa. In hip-and shouJder­shaking dance, in fancy red regalia emblazoned with gold, the company drew the crowd to its feet, shouting. The two companies seemed ide­ally paired If there were shortcom­ings to this downtown visit of two groups known for their touring abroad, it would have to be that an appetizer doesn't stand in for the full meal Each needed more time, more exposure, to reveal who it really is. It is proper that SPA invited them to the center of the city's arts, but if their real profiles are available out­side the Loop or in the park, per­haps that's the truer test. Unless, of course, each has its own show. llissection IS recyclable Saturday, March 12, 1994 Austin Americar, both performances If you go••• Austin Festival of Dance When: 8 p.m Fnday and March 19 Where: Paramount Theatre Tickets: s1().S50 Information:472-5411 sold out. Public officials, religious leaders, edu­cators, corporate executives, arts patrons, students and "everyday dance fans" are just a sampling of past festival audience members. "We work to create an event that will appeal to a broad segment of the commu· nity," he said. "And we hope that by bringing various peoples together, the program helps to alleviate the stigma asaooatied with AIDS. There is too much focus still on the politicsand morality of AIDS. These are our sons and daughters who are dying, They deserve our compu­&ion and support." The reality and tragedy ofAIDS holds special significance for W8 year's festival because ofRoy Lozano's death last week ofAIDS-related pneumonia. Lor.ano'a Austin-based onmpany, Roy Lozano'a Ballet Folldonco de Tejaa. will perform as scheduled in the fesuval. Before be died, Lozano continued to oversee the company from his hospital room. According to Santos, Lozano was under no obligation to fulfill his commit· ment U> the festival, yet itwas the artistic director's enormous spirit and detenni· nation that kept hlm committed to the p.roject. "I am glad for Roy that his comP81\)' will still perform," Santos said. "He was 80 positive, and he foUllht for so long. He really embodied the spirit of tlus festi· val." Sanros noted the festival has always included some major artists who are liv· ing with AIDS, performen who reaffirm why the pro,JeCt is 80 importanl Supponers from across thecommuru· ty also reaffirm the importance of AIDS as a community issue. Governor Ann Richards has endorsed the pro.Jed., and Lt. Governor Bob Bullock and his wife, Jan, are the 1994 festival c:o-cheirs "Wrth such laudable leadership this year, we foresee another tremendous sue· cess. both artistically and as a benefit." SantossaiC With two years of successful f esti\'aU behind him, Santos continues to forge ahead. Plans continue for expanding the festival to other Tex.as cities, and there is discussion ofco~oningnew works for the fesuval's fifth anniversary gala in 1996. "People tend to underestimate the quality of dance in this state,'' he 8 OFFICE Al -71·1~-~ oa SM ..IO DANCE COMP .., AT A58· 8l58. lo CUMGi 11curs. CALL -71 6060 . VIRfUAL BODIES: TRAVEL WITHIN. the Shartr DanceCompany·s EleventhAnniversaryProduction, April 29 & 30 at Spm, at the B. Tden Payne Theatre. 23rd and San Jacinto, 512/471-1444. ) ( Dante week divergent BFIUekBroWB 'l'lllA1'GUtatatr AUSJ1N -Dance aflcionados can look forward to top performances In three dlstlnct styles this week as two exeltJ.nglocalcompanies performand a respected international troupe comes to town. Tonight April27, at BassConcert Hall, Britain's Royal Bal­ to call 512/ 477-6060. Finally on Satur­dition em­jC day, April ploys more 30, Roy than 300 Loza.no's Bal­costumes let Folklortco and de Tejas will w 1g8. present Its an­prompt­nual spring ing the gala, Fiesta Wash­1994, at the ington ParamountThe­ ater. In addition to part of the Virtual Dttvtsh, a pro­jected apparition dancing within a computer-generated body. while members ofthe Sharlrcompany per­form on stage. tntimately, the work will evolve into the hour-long Dandng with the VutuaL DervCsh. tn which Sharlr ls collaborating with archJtect Ma~us Novak and visual artist Diane sive.• EvenPresidentClintonsaid the production has "the most extra.ordi­nary sets I've ever seen." Then on Thursday. Aprtl 28, the Royalwill perform a program ofthree story works, "Tombeaux: "The Dream." and "A Month in the Coun­try.· The evening includes a featured role for the Austin Boys Choir. For information, call 512/471-1444. For tickets, call 512/477-6060. On Fridayand 5aturday, April 29 and 30, the Shartr Dance Company. will presentan eagerlyawaited work­tn-progress UTs B. Iden Payne The­atrethatInvolves aspects ofmultime­dia and virtual reality. In an modem dance eventng en­titled Virtual Bodies: Travels Wtthtn. leader Yakov Sharir will dance the the authentic move­ments and costumes of regions al­ready In the folk ballet's repertotre. thecompanywill premierenewdances and costumes from the Bq/a Califor· nia region of Mexico. Theperfonnancecomesnearlytwo months after Lozano's death from AIDS-related pneumonia. Dancers and administrators from the com­panyhave vowed to carryonLozano's ground-breakingworkinhlsabsence. For gala information and tickets. call 512/478-2405. Photos (fr.om lfdlJ: The Royal Ballet of LondonandAusttn'sShattrDanceCom­ pany (Sharir photobyJ. Leatherwood) , Wednesday, April 27, 1994 Television• 812 ENTERTAINMENT iiii!iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii•I l•iiiiiiii~~~~~~~~ Performance niarks transition for UT professor By Sondr• Lomax American Baptist church." SpeaeJtoIlle Amencan-Stareaman Guest choreographer Lily If you go ... Cabatu Weiss from Dallas is pre­ Choreographer and performer senting Tht Womtn 's ProJ•cl, Dance Repertory Theatre: Heywood "Woody" McGrifl'knows while UT guest faculty member alltoo well life'• slruggles. Cari Kerkhoff offers PGCmg No. 2 UfeShadows At age 36, McGriff is relrrtng (On Ptaet and Anger). Wilson "ill When: 8 p.m. Sooday from his job aa associaw professor reprise her work Ti/Mic, which Where: 8. Iden PayneTheatre of dance in the University of Dance Repertory Theatre .-nt.ly Ticlt918: $5-$7 Texas' Department ofTheatre and performed at the Austin Festival lnlonnallon: 471-1­ Dance. Complications from an of Dance. AIDS-related Illness have forced Joining the faculty present&· him to take a medical leave this lions are worka by senior student semester and to refrain from since the Department of Theatre choreorrapbers, including Elaine class:oom waching. and Dance'• performance schedule Dove't Shurttred, Raahana Perks' On Sunday, he presents his last. was full. But McGritr s dance fao. 58 Y•ars Belwttn, Bryan Keith oonoert as artistic director ofUT's ulcy oolleagues were determined tO Jenlans' Wing• and M~Lyle'sDance Repertory Theatre, the make ithappen for bun. Thanks to Sants. (Lyle'• work is an award· ~ent's student troupe. The their efforts, and those or other winning piece that will be per· concert holds special sigruficance departmental faculty and Per· formed at the National Collegefor McGriff and his students, forming ArU Center staff, the pro­Dance Festival at the Kennedysince itwill be theirfinal chance to duction was saved, albeit in a Cent.er in Washington, D.C., on worit together. reduced form: a one-nighl run Friday nighL) "The students have dealt well insteadoffour. Including student choreography with the difficult pnxess ofaccept­Uory Wilton and Andrea Beck· In Dance RepertoT)' Theatre con· tng DlY illness and sorting out ham, guest faculty rn the UT certs 18 important to McGrilT, who their emotions," McGriff eaid. dance prol!'ram, are helping says the increased quality of Stu· "The semflllter has been rough for McGrill' direct the concert. Both dent worka is due to the dance all ofus. This concert serves ..,..,,.. women havf' volunteered their program'• s trong composition al purposes, including a ceJebra· time and expertise, as have several requirements. Presenting student tioo of unity and our collective UT faculty. s taff and students. works is also a way to reward love for dance." From lighting design to costume deservingtalents. "Life Shadows" was originally construct.ion, McGritrs colleagues McGriJT said that as a teacher, scheduled t.o run in the Theatre 8J'e helping lum realize bis fmaJ hi• atudenta come first. And the Room Marcil 23-26, but the pro­Dance Repertory Theatre produc­students appreciate his commit· duction had to be po&tponed when tion. ment to them They honored him McCriff wu suddenly hospital· "Life Shadows" presents eight recently with a dance concert. on i~ed The decision to cancel the works by guest., faculty and stu· UT"s West Mall. "I was ao moved March performances was a diffi· dent choYeOgrapbers. According to by the performance," McCriff cult one and a disappomtmcnt for McGriff, the show's theme said. "ll was hard to hold back position at UT. Over the years, he in Dance and Dance Endowment fessional e.ndeavon. McGrilfand bis students. revolves around life's struggles the tears " Fund Mc:Gritrs friends and col· "l applaud lIT for rts constant has established a reputation a.s a "Al\4r tbu hoepltal stay, I reaJ. and survival ofthe hum.an spirit. "Woody 18 a very inspiring and le•11Ues have cont.ributed more suppon.. I always felt welcomed as caring, in.1pirational educator. He ited that this would be my last "'For this concert, each of the motivating teacher," Lyle said. received the LlT College of Fine than $100.000 for the scholaralup an African American professor concert as artIstre director. I spoke choreographers explores the d8J'k ••He is a very cclmpaa.sionale and and never felt sUi;hled or i601ated Arts Teaching Excellence Award fund, whjcb is designated for with our department chair and side of personal strUggles, from patient person who aJwa)'?; invests in 1992, e\'idence of his students' minority students. The dep8J't· because of my ethnicity or IIIY ill· t.old her how important ii was w dealing "~th aging and death, to lot• of time with the students. l mpect. mont 18 ruurung • modern dance n•ss," heoaid. · me to be able to oomplew this pro· sexism and equal riirMs for always felt secure knowing that But his 5tudont• are not the studio in bis honor. "Retinng hu its own emotional ,..:t." he said "I wanted to end the women," hesaid Woody was around; I could ,.,,1y on only ones who hold him in high Mc.-Gnll' bolieves m the adage ramifications. All tlungs evolve ­ semester on an •up' note. to keep McGrill' will perform Spntuals, ~strength and 1Nppon, rf need·