The Terpsichore dance concert last Saturday night concluded a three-day run of sold-out performances. The broad range of choreography touched upon a diversity of styles, from avant-garde modernism to crowd-pleasing fun. Packed tightly into the World Music Hall, the audience continually displayed their appreciation and enthusiasm for the eleven eclectic performance pieces, which managed to combine Michael Jackson, basketballs, and traditional British sword dancing. The result was an exhilarating evening for dancers and audience members alike.
The Terp core consists of eleven students committed to organizing the concert and choreographing their own pieces, as well as incorporating both dance majors and non-majors interested in choreographing their own work. This semester’s concert included about fifty dancers, some of whom lacked any prior experience with performing.
“It’s a really great chance for anyone who wants to perform, whether or not they’ve danced before or not,” said Tamar Matz ’08, one of the four dancers who performed the piece, “I Wouldn’t Want to Live in a World Without Grudges.” Along with intricate steps that resembled a type of debauched wedding dance, the piece, choreographed by Holly Jackson ’08, also included mime-like movements that imitated chugging martinis and flicking cigarettes.
Terp core performed three new works in total, opening and closing the concert with high-energy hip-hop numbers. The audience whooped and catcalled in excitement when the dancers first bounded upon the stage in colorful leotards and striped boy shorts. To the tune of Michael Jackson’s “Don’t Stop ‘Til You Get Enough,” the dancers performed graceful leaps all perfectly in sync. The music switched to Justin Timberlake’s “SexyBack” when a lone male figure, Johnny Ryan-Sosa ’07, strolled out from the curtains, clothed in imitative Michael Jackson attire, right down to the lone glove and lowered hat.
The show was not without technical problems, mainly malfunctioning lightning. Judging from the cheers and the clapping, no one in the audience seemed much affected.
“The lights weren’t working properly, which eliminated possible transitions and depth to the show,” said Yumin He ’10, Terp core member and choreographer. “Despite that, the show was still sold out. We didn’t even do that much publicity, in an attempt to allow friends and family the time to get seats.”
The Terp core’s other two pieces also drew inspiration from modern hip-hop moves and gymnastics. “Five Different Versions of Feeling Good” featured core members dressed in various sports jerseys, creating an intricate interplay of beats by bouncing and tossing basketballs upon the stage. When the Jurassic 5 track suddenly switched to the Pussycat Dolls, Terp dancers removed their top layer of clothes to reveal more glam and glittery outfits and began an elaborate, high energy dance-off.
A dance-off also concluded the night in Terp core’s closing performance, to the beat of Nelly and Christina Aguilera’s catchy “Hustle for Me.” Ayesha Hoda ’08 and He, in particular, performed gravity-defying cartwheels that delighted and amazed the audience.
“I’ve never actually choreographed with another person, so it was a bit rough at first, but I’m guessing you couldn’t tell who choreographed which part,” He said. “It’s also nice to work with such great dancers.”
Other styles of dancing were showcased in Emily Troll ’10 and Hannah Bary’s ’09 traditional English sword dance, presented with live fiddle music. The audience clapped along as the five dancers stomped about in circles with their swords raised high, the blades crossing over one another in an intricate pattern.
Other dances made more low-key, but no less entertaining, artistic statements. Alexander Gavin Fisman ’07 presented a two-person work titled “Over You.” Set to dissonant music, the dance evoked the emotional turmoil of a painful breakup. The piece climaxed when Fishman began frantically slapping and hitting himself while reciting a Roy Orbison text, even walking backwards and violently crashing against the back of the stage.
Ultimately, all of the Terpsichore dances presented their own unique spin of what dance consists of. “Tujh Sang Bandhi Dor” was a work that drew upon the Southeast Asian dance tradition, while the “Bradley Brothers Nine-Hand Reel” featured Irish step dancing.
While the penultimate dance, “Time to Start,” featured a can-can line, push ups, and one dancer raised into the air while performing exaggerated devil-horn hand movements, the piece which preceded it, “Dancing Soulo,” struck a mournful and elegiac note. In contrast to “Time to Start,” this piece featured dancers in loose flowing costumes who barely touched one another or even fully opened their eyes.
All of the dance pieces demonstrated Terpsichore’s inclusive nature when organizing shows. Dancers didn’t always look as though they knew what they were doing, but they certainly looked willing to jump into the experience with both feet.
Leave a Reply