Dance Program offerings are mixed in style and quality
DANCE WORKS IN PROGRESS
MIT Dance Program.
Directed by Beth Soll.
Sala de Puerto Rico, May 4 and 5.
By ELIZABETH WILLIAMS
EVERY SEMESTER the MIT Dance Program sponsors student works in progress under the direction of Beth Soll. Last weekend's offerings were mixed both in terms of style and quality. Although some of the pieces on the program were inventive and compelling, others were unoriginal in style and imperfect in technique. A common flaw was the use of moves which were either overused and typical, or overdramatized.
Of the better pieces, "Outside In," choreographed by Douglas A. Galbi G, was distinctive for its varied modes of expression. It begins with four bodies writhing on the floor in silence. This bizarre motion becomes recognizable as the movements of dream sleep when a buzzing alarm sounds and the dancers arise to perform morning calisthenics. They then go on to perform the activities of society in a similar exercise-like manner, giving the audience the sense that humanity mechanically fills up its time with activities it considers useful.
The musical selection -- "Satisfaction" by the Rolling Stones -- sums up the frustrating human search for the correct way to occupy time as a lone jogger circles the writhing dancers on center stage.
"Factors of Two," choreographed by resident artist Jeffrey Pike, seemed an interplay of the relations between both people of the same sex and people of different sexes. Although poignant and questioning on the issue of communication, it seemed at times too random and longer than necessary.
David Oury performed well technically in the "The Rumble Fisherman," choreographed by him with Juliana Angel. He appeared in control and comfortable with his body as he went through a series of interesting moves.
"Brahma Visnu Siva" was well performed by Debabrata Ghosh '91. The piece was an illustration in dance of an Indian poem recited by Animesh Goswami. Ghosh's extremely expressive style was well-used as he portrayed the story of Indian gods. The ornate Indian costuming and stylized movements made the piece a cultural experience for the audience.
The final piece, "Wide Road," choreographed by resident artist Catherine Musinsky, showed the contrast between the poor and the well-off. Costumes in conjunction with the vivid facial expressions of the dancers gave the piece force and power. The music, by King Sunny Ad'e, was also well chosen.
Other pieces were not as creative and unfortunately detracted from the overall program for the evening.