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Show j productions where she met people who went to fiddlers conventions She started going to them this last summer, the biggest of which was in Weiser, Idaho. It was at these fiddler conventions, that she picked up on the spirit which is at the heart of her work, "Sandv River Bells." V "In my dance I tried to capture the feeling of celebration you feel when you go to one of these conventions. The music and the stories behind the tunes are all part of our culture-its an energy of the peoplechanging with the people. Everybody who plays at one of these conventions drinks and everybody there dances, they aren't content to just listen. It's a celebration. It make you think, not only of new things, but of all of the things we've become removed from, living like we do in cities." "My dance was hard to deal with, because it was not performance oriented," she said. "I felt like it was almost sacreligious to perform per-form it on stage, but the dance was abstracted enough, it wasn't pure, so it was all right to show it to a big audience, with a big stage and all of the theatrics-lights and make-up. To really get the feel of the kind of life the dance represents, you've got to go where it's happening, to the people." An untitled piece by Penny Werpen, a senior dance major, is performed for the most part on a dark stage. The dancers, wearing panels on their backs and lights on their heads, are deformed and dehumanized. They have webbing connecting their legs and the same material representing skin, connects their arms to their body, like wings. "I got my inspiration," Miss Werpen said, "on photographic expedition to Salt Air, before it burned down. We found an old bath house door and took pictures pic-tures around it with the sunlight streaming through the holes in it. The panels the dancers wear, represent this door." "People tell me my piece has a mysterious quality," she said. "I guess the mood is derived from the mystery of the nothingness of miles and miles of white sand. The dance belongs on the sand I can see it, being danced on the sand." In creating her dance, Miss Werpen first worked out all of the possibilities in form and movement. Then she combined seven or eight songs from an album of electronic music by Ruth White into four minutes of music which would enhance the movement. Long ago we had time to do things and now we don't is the theme of "Impact," by Kathy Herburt. The dance, a representation of peoples inability to relate to the world and its inhabitants, is based on Alvin Toffler's book Future Shock. "My dance is stronly rhythmical in orientation," said Miss Herburt. "I created the movement along with the music, the social comment came later." "To help my dancers in understanding under-standing the movement, I discussed dis-cussed the book with them. Then, we took it into abstract, so they were portraying an energy, rhythm form and not any particular par-ticular image." Tickets for the two concerts are $1and are available at the door or the Kingsbury box office the days of perfromance. |
