Review: UMass Amherst Fine Arts Center, "Martha Graham Dance Company"

University of Massachusetts, Amherst, MA

fac.umass.edu

March 25, 2023

by Suzanne Wells

Even if one does not fully understand the abstract nuances of modern dance, the power and fluid grace of a Martha Graham Dance Company production is an experience to be appreciated. Presenting one and 1/8th of Martha Graham’s original choreographies, the Company returned to UMass for the first time in seven years to perform “Canticle for Innocent Comedians” along with highlights of the “Dark Meadow Suite,” and the debut of “Get Up, My Daughter.”

"The Canticle..." is a representation of nature. Eight vignettes representing the Sun, Earth, Wind, Water, Fire, Moon, Stars, and Death/Rebirth effortlessly flow one into the next. Originally choreographed by Martha Graham in 1952, inspired by a 1938 poem of the same name by Ben Belitt, the work has all been lost with the exception of Moon. The remaining vignettes, each choreographed individually by Sonya Tayeh, Alleyne Dance, Sir Robert Cohan, Juliano Nunes, Yue Yin, Micaela Taylor, and Jenn Freeman, incorporate the technically precise, natural movements for which Graham was known. The production is a remarkable display of the human body’s ability to move individually, as well as a melding of multiple bodies evoking images of the Hindu gods for creation and destruction, Brahma and Shiva. 

"The Dark Meadow Suite," also choreographed by Graham, was inspired by her study of Native American rituals. The dance is made up of tribal steps, with hints of kabuki and flamenco influences, as well as percussive sounds with the stamping of feet and the beating of thighs. Impressive for the strength and endurance required to produce and maintain the various poses, this dance is a sensual exploration to identify with oneself, one’s lover, and one’s community.

The debut of "Get Up, My Daughter," choreographed by Annie Rigney, was the unexpected highlight of the evening for both the audience and the performers, who literally finished the production hours before the curtain opened. This frenzied, passionate display of the universal struggle of woman to overcome hardship and prosper despite being shackled by themselves, and the men and women in their lives, is both historically disheartening and imminently optimistic. 

Review: UMass Amherst, "William Kanengiser: Diaspora"

UMass, Amherst, MA

www.fac.umass.edu

February 25, 2023

by Suzanne Wells

 

The frigid February night was perfect for an intimate evening in the Great Hall of the Old Chapel listening to classical acoustic guitar performed by world-renowned artist, William Kanengiser. Successfully combining storytelling and music in his Diaspora Project, William Kanengiser is preserving the wins and losses of immigrants around the world. 

 

Starting off with “Fantasia Sevillana” by Juaquin Turina, who, after studying impressionism in France, returned to Spain to incorporate it into Classical Spanish music. The disjointed first notes with hints of flamenco music soon morph into a melodic competition between a man and a bull. The increasing tempo of the music coincides with the drama of the story. When the final strings reverberate through the hall, one can almost hear a shout of “Olé!”

 

Moving to North Carolina, the Diaspora Project showcases Bryan Johanson’s “The Bootlegger’s Tale”. Divided into two parts, “Lament for a Broken Still” and “Ode to Whiskey,” the music conveys the stories handed down by generations of Irish immigrants known for their whiskey making during Prohibition. The “Lament…” is a series of scales played in increasing octaves, then repeated, representing the setting up and dismantling of stills. An “Ode to Whiskey” is a jig meant to extol the virtues of alcohol, but in this listener’s mind became a game of hide and seek between the bootleggers and the law in the forests of the Appalachian Mountains.

 

Heading east, the second commissioned work, “Lost Land” by Golfam Khayam, an Iranian composer, presents the story of returning home after a long period away only to find that nothing is as remembered. The melodic variations alternatively fill one with the excitement of reliving happy memories and the disappointment of finding those memories forever changed. A sixth string in a lower octave provides the foundation of time always moving forward.

 

After a brief stop in Cuba for some light-hearted fun with Léo Brouwer’s “Afro-Cuban Lullaby” and “Danza Carecteristica,” we land in Tibet, with Andrea Clearfield’s “Reflections on the Dranyen,” also commissioned for the Diaspora Project. In an attempt to preserve Nepal’s musical heritage, Clearfield composed an ode to a three-stringed instrument, the Dranyen.  The music starts off slowly, then picks up speed as if in celebration’ adding some percussion the melody takes on the frenzy of a rock concert before calming to more reflective tones, and ultimately ending with a fading heartbeat. 

 

Kanengiser closed the program with “3 African Sketches” by Duśan Bogdanović and the “Brookland Boogie” by Brian Head sending the audience off into a dark snowy night with toe-tapping hope.

Preview: Cirque du Soleil Presents CRYSTAL

Mullins Center, UMASS, Amherst, MA
www.cirquedusoleil.com/crystal
May 19-22, 2023

 

CRYSTAL is the very first experience on ice from Cirque du Soleil. World-class ice skaters and acrobats claim their new frozen playground with speed and fluidity as they challenge the laws of gravity with never-before-seen acrobatics.

 

The misfit heroine, Crystal, takes the audience on an exhilarating tale of self-discovery as she dives into a world of her own imagination. CRYSTAL invites you to suspend reality and glide into a world that springs to colorful life the signature sound and sights of Cirque du Soleil. CRYSTAL is suitable for all ages.

 

Scott Smith is one of the performers in this production and he took a few minutes to talk with ITS about this unique theatrical event.

 

ITS: How long have you been skating?

 

SS: Since I was 7 years old. My local skating clubs would put on shows, like “The Nutcracker”. I was a competitive skater for 20 years and won some international medals. Then I did shows, including a combination trapeze/skating act on a cruise ship. So, being a big Cirque fan, when I saw they were looking for performers I was thrilled because, in a way I had been training for this all my life.

 

ITS: Who does the show appeal to more; Cirque fans or ice show fans?

 

SS: It has everything a Cirque fan wants, like the acrobatics, the music, the theatricality. But the show is on the ice, and we have a wide variety of skating styles, like extreme skaters, free style skaters and figure skaters. But unlike a more traditional ice review, it brings that kind of edgy, abstract Cirque feel to it, and it has a LOT more acrobatics.

 

ITS: One doesn’t often associate the word “theatricality” with hockey arena.

The rink completely transforms into a stage, there’s phenomenal projections that are put on to the ice, so that you wouldn’t even know that you are looking at a hockey rink. You get pulled into the story through the lighting and sound.

 

ITS: How many people are on the tour?

SS: 100 people tour, but only about 40 are actually on stage, and the rest support those of us in front of the audience. There’s really another full show going on backstage!

 

ITS: Cirque has shows that are centered on different elements, like water, with different themes and stories. Is there a connecting thread that runs through them makes people such fans?

The production value of a Cirque de Soleil show is always very high, and people appreciate that. And the level of acrobatic performance as well, from the singing to the musicians, to the acrobats and in this case the skaters, there’s a high level of excellence and athleticism needed to be part of the show. The audience knows that they are seeing the crème de le crème.

 

ITS: Any part of “Crystal” that still surprises you?

SS: I’ve done the show over 700 times now and just hearing the music; I still love the music and that’s not always the case. The music in this show is absolutely amazing. And of course, I’m wowed by my colleagues and their skill all the time.

 

ITS: What’s the most interesting reaction you’ve had from people who see the show?

SS: Honestly, a lot of people don’t expect there to be as much skating as there is! There are full skating numbers, full acrobatic numbers, but it is a nice blend of both. There are aerialists, and we have extreme skaters with huge ramps and hockey skates and padding, and flips, and figure skaters like myself with backflips and triple jumps. It really has something for Cirque and skating fans alike. And of course it is very family friendly. 

REVIEW: UMass Amherst Fine Arts Center, Alvin Ailey American Dance Theater

UMass Amherst Fine Arts Center, Amherst, MA

www.fineartscenter.com

April 26, 2022

by Jarice Hanson

The Alvin Ailey American Dance Theater is an American treasure. On Tuesday night the extraordinarily talented cast of the North American Tour played to a packed house at the Frederick C. Tillis Performance Hall at the University of Massachusetts-Amherst. With an excitedly appreciative audience cheering the performers, the company included seven dances choreographed by the current Artistic Director, Robert Battle, concluding with three classic dance pieces choreographed by the company’s founder, the late Alvin Ailey.   

Enhanced by simple, but elegant costumes, music that ranged from percussion pieces to pop, jazz, and gospel, and simple but mood enhancing lighting, the dancers created an electrifying experience that communicated joy, hope, and the beauty of remembrance.  

One of the Alvin Ailey hallmarks is the use of contemporary music to celebrate the African-American experience. This performance featured songs by Nina Simone, Ella Fitzgerald, and Leontyne Price, with instrumental numbers by Wynton Marsalis, Sheila Chandra, and Stevie Wonder.

It is hard to single out specific performers from the ensemble pieces because the very ethos of the company honors the collectivity of Ailey’s vision of celebrating the African-American cultural experience. Every member of the company is versatile and trained in a variety of dance genres. The largest group numbers included the opening “Mass,” featuring the fluidity of the denoted body and the power of coming together (a great metaphor for emerging from the darkest days of a pandemic) and the concluding piece, titled “Revelations” which highlighted traditional American music such as “Pilgrim of Sorrow,” “Take Me to the Water,” and “Move, Members, Move.” Singular dancers were too many to mention by name, but each, a true artist who fluidly supported the ensemble and able to shine when it was their time in the spotlight.

The name of the company reflects not only the company’s visionary founder, but the very specific traditions of American Dance. With references to swing, classical ballet, cakewalks, jazz and more, this company celebrates traditions of persons of color who find the uniqueness in being an “American” in contemporary times. Their musical choices and their physical gifts lift us up and bring us the joy of unity.  

As the audience left the theatre after a rousing standing ovation punctuated by several curtain calls, the feeling was euphoric. The Alvin Ailey American Dance Theater lifts us by their joy, their enthusiasm, their unique cultural contribution, and most of all, with their beauty, talent, and the joy of life. 

REVIEW: UMass Fine Arts Center, Anat Cohen Quartetinho

Frederick C. Tillis Performance Hall, Amherst, MA

https://fac.umass.edu/Online/default.asp

April 9, 2022 

by Michael J. Moran 

The 24th annual UMass High School Jazz Festival brought student ensembles from around the region to the Amherst campus to perform and take part in clinics and masterclasses by UMass jazz faculty and guest jazz musician/educators, including clarinetist and bandleader Anat Cohen. The daylong event culminated in a public concert by Cohen and her latest musical group, the Quartetinho. 

Anat Cohen

Its four diverse members, all current Brooklyn, NY residents and multi-instrumentalists, are: Tel Aviv native Cohen (clarinet, bass clarinet); Brazilian Vitor Goncalves (piano, keyboards, accordion); Israeli Tal Mashiach (upright bass, seven-string guitar); and, from Maryland, James Shipp (vibes, percussion, electronics).

As their Portuguese name (meaning “little quartet”) suggests, their repertoire is heavily influenced by Brazil, which Cohen said in a post-show Q&A she first visited in 2000 and “never looked back.” The opening set included pieces by two of that country’s greatest composers, Egberto Gismonti and Antonio Carlos Jobim, in distinctive interpretations that showcased the group’s breathtaking individual and collective improvisational skills. 

Other highlights were several songs written by band members, including a tender tribute to his grandparents that featured Mashiach on guitar, and a lively waltz by Cohen built around a complex rhythmic scheme. Most moving was a powerful arrangement, spotlighting Cohen’s bass clarinet and Mashiach’s string bass, of “Goin’ Home,” the slow movement theme from Dvorak’s “New World” symphony, which they premiered at Newport Jazz Festival founder George Wein’s funeral last fall and here dedicated to “all the displaced people” around the world.

Praising the warm acoustics of Tillis Hall, Cohen was a charismatic performer, in almost constant motion around the ample stage as she played. Her tone on both instruments was unfailingly pure and mellow, even through occasional shrieks and wails for emphasis. All four players shifted with easy virtuosity among their various instruments, exuding a sense of joy and mutual admiration that was infectious. 

This rapport extended to the post-show Q&A moderated by Brazilian-born UMass jazz professor Felipe Salles. The musicians’ spirited exchanges with student audience members augured well for the next generation of jazz performers and educators.  

REVIEW: UMass Fine Arts Center, “Guitarra!” Berta Rojas

Eric Carle Museum of Picture Book Art, Amherst, MA 

https://fac.umass.edu/Online/default.asp

March 5, 2022 

by Michael J. Moran 

As the exclamation point after the title of this concert suggests, the quiet charisma and impressive virtuosity of Paraguayan guitarist Berta Rojas not only won a standing ovation from a nearly full house in the intimate Eric Carle Museum auditorium but inspired such post-show comments from satisfied concertgoers as “That was amazing!” and “How do you even do that?” 

Berta Rojas

Rojas built each half of her program around one of two preeminent women guitarist-composers of the past century. The first half honored French musician Ida Presti, who has been called “the greatest guitarist of the 20th century and possibly of all time.” In both the opening “Segovia,” Presti’s rhapsodic 1962 tribute to Spanish guitarist Andres Segovia, and “Danse Rythmique,” her joyful 1959 homage to her husband, guitarist Alexandre LaGoya, Rojas navigated the swift changes of tempo and mood with flawless dexterity and interpretive sensitivity. 

British composer-guitarist John Duarte’s 1982 “Idylle pour Ida,” commemorating Presti, and Spanish composer Federico Moreno Torroba’s 1924 “Sonatina,” whose first movement Presti played on her debut recording in 1938, drew equally deft performances from Rojas, especially in the Sonatina’s lush and haunting central movement, to complete the concert’s first half. 

The second half featured four compositions by Argentinian guitarist-composer Maria Luisa Anido. The gentle melancholy of her 1971 “Preludio Lejania,” the high spirits of her folklike “Aire de Vidalita,” and the mercurial colors of her “Triste No. 1” culminated in the emotional intensity of “El Misachico,” a funeral march in memory of Anido’s mother, in which Rojas added percussive effects by tapping the bridge and side of her guitar. 

Brazilian composer-guitarist Sergio Assad’s 2015 suite “Anido’s Portrait,” commissioned by Rojas, depicts in four short movements places that helped shape Anido’s life and career: Argentina, Spain, Russia, and Cuba. Rojas skillfully balanced the high energy of “Zapateado” and “Aire de Salsa” with the subtler rhythms of “Chacarera” and “Aire de Kalinka.” 

Her moving encore was a spellbinding account of her countryman Augustin Barrios’s final composition, “El Ultimo Tremolo.” The clear acoustic of the Carle auditorium, which Rojas called “a beautiful space to play guitar,” and her warmly personal spoken introductions to the music further enhanced this memorable event.

PREVIEW: Cameron Carpenter’s Organ Music at UMass

Friday, April 27, 2018

fineartscenter.com/carpenter

For the final show of its 2017-18 season, the UMass Fine Arts Center presents organist Cameron Carpenter featuring the International Touring Organ on Friday, April 27 at 8 pm in the Concert Hall. After the performance, audience members are invited to attend the Fine Art Center’s “Faces of the Fabulous” post-show event as part of ArtWeekMA (April 27-May 6).

A virtuoso composer-performer unique among keyboardists, Carpenter’s approach to the organ is smashing the stereotypes of organists and organ music, all the while generating international acclaim and controversy unprecedented in his field. His repertoire – from the complete works of Bach to film scores, his original compositions and hundreds of arrangements – is perhaps the largest and most diverse of any organist.

A former child prodigy, Carpenter has earned attended Juilliard School. He holds the 2012 Leonard Bernstein Award, is the first organist ever nominated for a Grammy Award, and has appeared with many of the great orchestras around the world

For ticket and other information contact the box office at 423-545-2511 or check the website at fineartscenter.com/carpenter

PREVIEW: UMass, Valley Jazz Network, "A Conversation & Concert"

Old Chapel Great Hall, UMass, Ahmerst, MA

Tuesday, April 3, 2018 7pm

valleyjazznetwork.org

The Valley Jazz & Social Change Network presents "A Conversation & Concert featuring Toshi Reagon, Christian Scott and Helen Sung" will take place on Tuesday, April 3rd from 7pm-10pm at Old Chapel Great Hall, UMass.

Helen Sung

Through their work, musicians often focus or dedicate their talent on giving voice to civil rights and social change, strengthening the breadth and depth of social activism. On April 3rd, the Valley Jazz Network hosts JAZZ MUSIC AND SOCIAL CHANGE which creates a public platform for sharing and understanding how some artists use their talent to forward social issues and contribute a positive impact on society. At the table will be three world-class musicians: renown activist, lyricist and singer Toshi Reagon; trumpeter Christian Scott; and Asian American pianist Helen Sung. 

Admission is free, but tickets are required. For information check fineartscenter.com or valleyjazznetwork.org.

Sweet Honey In The Rock

UMass Fine Arts Center, Amherst, MA

www.umass.edu.fac/

November 8, 2013

by Eric Sutter

The female African American acapella group Sweet Honey In The Rock sang a spectacular set with a live jazz trio that they dubbed the Honey Men. The men, Parker McAllister on bass, Jovol Bell on drums/percussion and Stacey Wade on piano/keyboard served as a tasty jazzy side dish to the soulful main course female harmonies.

This was a celebration tribute to four out-spoken musical icons: Nina Simone, Odetta, Miriam Makeba and Abbey Lincoln. The evening featured unique African music as in Makeba's South African chant, "Shuka, Shuka (Choo Choo Song)" which sounded like a steam engine. Female harmony and hand claps supplemented Odetta's, "I Can't Afford To Lose My Man." A beautifully sung solo vocal by N. B. Casel on Simone's "If I Should Lose You" was matched by Stacey Wade's earnest piano solo. Aisha Kahlil interpreted Simone's "Feelin' Good" with sign interpreter Shirley Childress doing an outstanding job. Louise Robinson highlighted "Trouble In Mind" with the sweet added Honey Men refrain, "She's Got Trouble In Mind." "Pata Pata" solicited lively audience dance participation that revved up the fun factor.

The next theme focused on the Civil Rights movement. Kudos to sound director Art Steele for his creative talents as the girls sang "Oh Freedom," "Ain't Gonna Let Nobody Turn Me 'Round," "I'm On My Way To Freedom Land", and "Glory, Glory Hallelujah." The Abbey Lincoln tribute included "Down Here Below," "The Music Is The Magic" and a spirited "I'm In Love." Robinson rocked Odetta's mind-blowing "God's Gonna Cut You Down" with a powerful message.

The performance seemed to flow with music that touched all aspects of life. A jazzy rendition of "Let There Be Peace On Earth" was silky smooth. Sweet Honey closed with a sultry West African Makeba song, "My Love Has Come" which showcased an infectious keyboard solo. The encore, "N' diarabi/Africa Is Where My Heart Lies" was a hand percussion soother with colorful imagery of African skies, valleys, and mountains.

Ladysmith Black Mambazo

Ladysmith Black Mambazo

UMASS Fine Arts Center, Amherst, MA

www.umass.edu/fac

January 30, 2013

by Eric Sutter

For 50 years, Ladysmith Black Mambazo has taken its message of peace, love, and harmony around the world through their unique musical fusion of traditional South African and Christian gospel music. The group crosses cultural boundaries with musical messages in an Isicathamiya (a cappella) choral style. Intricate rhythms and nature effects combined with their glorious voices to create sounds that mystified the audience.

The nine-man troupe began with the chant, "I Love My Brothers and Sisters”. This beautiful music is so joyful it crossed the entire emotional spectrum, evoking enthusiasm and excitement regardless of spiritual direction. Love songs and folk songs weaved vivid imagery that transported one to another place. "Uthekwane" (The Prettiest Bird), from their latest CD "Songs from a Zulu Farm" brought forth singing in Zulu and English. Funky dancing and clowning ensued -- high Zulu leg kicks, hand claps and foot stomps enhanced the musical vision. Lead singer Joseph Shabalala led the group with his high tenor as alto and bass voices harmonized on the first song he wrote, "Nomathemba”. Passing the tradition on, his youngest son sang lead falsetto on the love song "Hello By Baby," which raised spirits high with some smooth hip-shakin' dance moves. Some pieces described their beautiful jungle homeland with bush calls, whistles, and bird sounds.

The second half celebrated Mambazo's worldwide recognition from Paul Simon's landmark 1986 recording, "Graceland" with a wonderful rendition of "Diamonds on the Soles of Her Shoes." Their body language expressed lots of joy, with literal body movement light on their feet on the tips of toes. "Rain, Rain, Beautiful Rain" from 2006's "Long Walk to Freedom" was a soulful nature ballad. The Paul Simon penned "Homeless" was well received. The group is superior at expression of universal joy and sadness through music. The South African folk song, "Shosholoza" or "Down In The Mines" was sung as audience participated, clapping to the beat. Mambazo encored with the hopeful message of "Amazing Grace”.

Dr. John/Blind Boys of Alabama

UMass Fine Arts Center, Amherst

www.umass.edu.fac/

November 8, 2012

by Eric Sutter

Two icons of American music collaborated on the first ever "Spirituals To Funk" concert that is touring America this autumn. Dr. John is an ambassador of all things New Orleans as his music testifies flawlessly. The swampy gris gris of "Iko, Iko" revved up the Lower 911 band he tours with. He showcased music from his latest CD "Locked Down" due out this April. "Revolution" and "Big Shot" had a slight departure from style with a hip R&B sound geared up with a younger set of musicians. Trombone solos by Sarah Morrow were hot. Dressed in a purple suit and fancy hat, Dr. John pounded the funky strutter "Right Place, Wrong Time" with its throbbed rhythms of funk ecstasy which plunged the audience over the edge. "Such A Night" delivered a smooth blues streaked soul sound with solid piano intro and outros by Dr. John.

The tone was set as the gold suited Blind Boys of Alabama stepped into their sacred ground to sing the spiritual "People Get Ready" accompanied by a sweet slide guitar solo by John Fohl. Their pure hearted harmonies humbled and moved the audience to sing and sway. "Spirit In The Sky" had everybody rockin' true. Dr. John backed them on keyboards for the fantastic dazzle of "There Will Be A Light." The gospel rave-up "Free At Last" percolated to a vibrant zenith with group member Jimmy Carter's high mark vocals -- pure musical pairings don't come more inspired. This integrated show explored the connections between jazz, blues and gospel. As the opening chords to "House Of The Rising Sun" began, the Blind Boys sang America's favorite hymn "Amazing Grace" with Dr. John's triumphant keyboard solo adding dimension.

The folk standard "If I Had A Hammer" turned into a glorious gospel jazz handed stomper. Dr. John soloed rock n' roll guitar with a solid punch on "Let The Good Times Roll." Bass player David Barard jazzed a funky bass solo. He sang lead on a bluesy spirited "When The Saints Go Marching In" to the Blind Boy harmony. The concert encored with the gospel standard "Since I Laid My Burdens Down" for the send off.

As You Like It

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Hampshire Shakespeare Company

www.hampshireshakespeare.org

UMass, Amherst

Center for Renaissance Studies

August 1 - 12, 2012

In preparation and rehearsal for one of Shakespeare's funniest comedies, "As You Like It, " Hampshire Shakespeare Company is making great use of the of the natural forest and meadows of its new home at the Center for Renaissance Studies, in Amherst. Instead of mounting the play on a traditional stage, both the players and the audience will share the beautiful grounds, cavorting in the Forest of Arden under the sunset and the starry night. 

According to Steve Henderson, the play's director who conceived this creative production, "You might find yourself mistaken for a tree that a love poem has been left upon, or taken to be a sheep in one of the play's pastoral moments, as the actors move around and through the seated audience." And speaking of seating, audiences can avail themselves of the usual chairs, or bring their own blankets and picnic baskets to enjoy as they watch the play.

Performance dates and times are August 1 - 5 and 8 - 12 at 7pm. In case of rain, the play will be performed indoors, and a rain check for another performance will be honored. Advance tickets are available at Amherst Books (Amherst), Broadside Books (Northampton) and Odyssey Bookshop (South Hadley). General admission is $16, seniors and students $14, children under 12 for $6. For information email slcomedy@comcast.net.

You are sure to like "As You Like It."

Swayambhu

Shantala Shivalingapppa
UMass Fine Arts, Amherst, MA
www.fineartscenter.com
October 28, 2011
by Barbara Stroup

Shantala Shivalingapppa brought a reverent and appreciative audience back in time to an Indian temple in her Bowker Auditorium presentation of Kuchipudi classical dance. Alone with four musicians on the stage, she both interpreted a narrative and made a religious statement with her choreography. Body movement was agile and athletic, hand and facial movement explicated a story, and she captured complete attention throughout.

As Ranjana Devi explained in her pre-concert talk on Indian classical dance, dance is theatre, and music is integral to it: "Without music there is no dance." Four musicians provided vocal expression of story line, flute embellishments, and percussion in absolute synchronization with Shantala's feet. They became a team of five and showed a total dedication to each other and to this art form. Its religious meaning was apparent to the largely western audience, even if the narrative was difficult to follow.

Kuchipudi dance is one of nine government-defined classical dance forms performed by women only, and is characterized by leaps and jumps. Shantala was costumed first in purple and then in white. Henna adorned her fingers and toes, making her long limbs appear even longer. The seven-part program began with an invocation to Ganesha, elephant-headed god of new beginnings and ended with Pasayadan, a prayer of peace and joy for all beings. The stage was mimimally decorated with diaphonous curtains and a small Shiva statue on one of several transparent shelves that floated above the floor.

Swayambhu was offered as part of the Asian Arts and Culture Program at UMass. Now almost 20 years old, the program includes diverse offerings to schools, audiences, and the general community. It illuminates the vast cultural heritage of many Asian and Middle Eastern countries by showcasing events and capturing touring artists for one-time performances here. Kudos to the Fine Arts Center for continuing to support this program.

Gallim Dance

UMass Fine Arts Center, Amherst, MA
www.fineartscenter.com
by Emily List

Through the piece “Blush,” Artistic Director and Choreographer Andrea Miller created a body of work similar to Sharon Eyal’s choreography presented by Carte Blanche, the modern Norwegian dance company, at the 2011 Jacob’s Pillow gala.

Gallim Dance:  Blush

“Blush” also could be compared to the theatre game "Evolution" in which performers morph from the floor to more realized forms of expression. The only difference is that the Gallim choreography never evolved beyond primordial soup, though the six dancers executed their movements with precision and power. 

The ensemble’s center of gravity was very low, just above the pelvis, and much of the movement emanated from lunges and yoga-like child poses. Bodies were never really extended, but introverted and flexed. Attitudes took the place of arabesques and even grande jetes were performed with bent knees and flexed feet. The company rarely rose to the level of the wire of light tautly cutting horizontally across the stage. Did this represent humanity’s struggle to raise itself to a certain level of... morality?   Interpretations vary.

Visibility was one of the real struggles of the evening, but there were others. Lighting Designer Vincent Vigilante was too bold with his backlit footlights and flickering spotlights, which rendered the dancers as outlines and shadows rather than fully formed beings. And the music was an assault on the ears, providing a series of beats rather than melodies that would have given the ensemble a story line to follow through. 

The question on the minds of many audience members was: where was the partial nudity advertised in the program? Perhaps nude dancing was considered too blushworthy, at least for the culturally sensitive viewers of the Pioneer Valley.

Creole Choir of Cuba

UMass Fine Arts Center, Amherst, MA
www.fineartscenter.com
by Emily List

The Creole Choir of Cuba was a collaborative effort on the part of 10 singers and dancers to share their Haitian descent through the arts.The performers’ ancestors were brought to Cuba as slaves, and the choir sings their stories of survival, homesickness, hope and freedom in the Creole language. The troop returned to Haiti after the 2010 earthquake, with the intention of healing through song and dance and with the belief that “music is like food. It feeds the spirit and is a major inspiration for every day life.” 

Though the performers’ themes touched on dark periods of their history, the choir members celebrated the present with rich harmonies, Caribbean rhythms and vibrant colored costumes. Bongo drums, cowbells and whistles were used as rhythmic backdrop, though the men provided most of that with their deep base voices, while the women layered on high pitched vibratos and harmonies.

The concert exuded a Latin vibe, and choir members reached out to the audience through call and response and salsa like movement. The music undulated through the bodies of both performers and spectators, some of whom made their way shimmying and hip grinding on to the stage. They joined the choir as they swept their arms through the air, waving beautifully died scarves.

The concert’s atmosphere was bright and informal. Members of the ensemble chatted nonchalantly between numbers, as if attending a weekend farmers’ market. Their playful dynamic spread through the concert hall, as women and men harmonized, flirted and moved together as one. Though they don’t speak English, the choir members offered the audience a special gift—their English rendition of “Unforgettable.”  

The performers told the audience that their music comes from the heart, but there was no need to say so: the audience could feel it.  

Mariachi los Camperos de Nati Cano

UMass Fine Arts Center, Amherst, MA
www.umass.edu/fac/
April 6, 2011
by Stacie Beland

When an average, uninitiated person thinks of Mariachi music, a number of clichés are immediately conjured. It's not a genre that has received much mainstream attention, perhaps at least partially due to those clichés. The performance given by Mariachi los Camperos de Nati Cano at the UMass Fine Arts Center, however, was a fine example of harmony, musicality, and beautiful voices. In an age where harmony can be produced by laptops and vocal harmonies are typically mixed in a studio, to be able to bear witness to truly remarkable live music is a rare feat.

The group, which is typical of most Mariachi bands in that it incorporates violins, trumpets, classical guitars, a vihuela, a guitarron, and a harp, was not only a joy to listen to, they were a joy to watch.  Many of the musicians played at least two instruments and additionally lent their vocal stylings to the mix. The band members were also highly engaging, playing all of their songs from memory and tossing more than a few winks and smiles to the audience as they did so. The audience, clearly thrilled by the performance, was often moved to sing along and in some cases, got out of their seats to dance. Mariachi is music of passion, and it was performed by Nati Cano's group with ardor.

Nati Como, the founder of the group, occasionally interrupted the performance to speak directly to the audience (occasionally in English, but predominantly in Spanish), engaging even those audience members who may not have fully understood what he was saying. Como additionally took requests from the viewers, and the band fulfilled most of them (including the famously popular "Cielito Lindo" and "La Bamba"). The song stylings ranged from upbeat, fun dance pieces to stunning ballads of longing and love, sung in voices that seemed to be polished with velvet.  During those ballads, the crowd swooned to the crooners' power. To be sure, Mariachi los Camperos de Nati Cano  offered musical precision that's nearly impossible not to love.

Divahn: Interpretation of Sephardic Jewish Music & Poetry

Bowker Auditorium, UMass, Amherst, MA
www.umass.edu/fac
March 24, 2011
by Justin Cohen

The Old Testament is generally not the first piece of literature to come to mind when discussing feminism. Singer Galeet Dardashti joked that the song Cuando El Rey Nimrod is "a feminist folk song, because it mentions that Abraham has a mother." The piece is sung in Ladino, a language derived from Hebrew and Old Spanish, spoken by the Sephardic Jewish people of ancient Spain. The five women of the group Divahn interpreted this ancient music with a modern feminist slant and an amalgam of musical traditions.  

For their rendition of Hamavdal Ben Kodesh, a song which is typically sung around the dinner table at the end of the Jewish Sabbath ceremony each Saturday night, Divahn added instrumentation to what is traditionally a cappella. Elizabeth Pupo-Walker provided Afro-Cuban percussion on congas and a cajon drum, while Sejal Kukadia played the Indian tabla drums. Violin and cello carried the melody, performed by Rebecca Cherry and Eleanor Norton. With Dardashti in the lead, all five women belted out the Hebrew lyrics, beckoning for the crowd to join in.

Since the Purim holiday was fresh in their minds, the group performed a song inspired by The Book of Esther, a portion of the Old Testament read during this holiday. For Dardashti's album, "The Naming" she wrote the song Vashti. In The Book of Esther, Queen Vashti is asked by her king to dance for his guests wearing only her crown, to which she refuses. This song paints Vashti as a feminist heroine of the Old Testament. Dardashti said "Vashti's legacy now continues throughout the Middle East. Women and men throughout the Middle East are standing up to oppression".

Dardashti comes by her talents from a line of notable Iranian singers. She's been performing since childhood throughout the U.S. and Israel. As a Fulbright scholar, Dardashti also lectures and publishes work on Middle Eastern cultural politics.

An Interview with Galeet Dardashti

Divahn: Jewish Songs of the Middle East
UMass Bowker Auditorium, Amherst, MA
www.umass.edu/fac
Thursday, March 24, 2011 at 7:30pm

Tell us about your background as a musician. Did you/do you have any mentors?

I grew up performing music professionally with my family--my parents and two sisters.  Sort of like the Jewish Von-Trapp's. We performed a lot of international Jewish music. I've had so many incredible influences and mentors along the way, but my parents really gave me my entree into music and performance. In addition, my grandfather on my dad's side was one of the most famous singers of Persian classical music in Iran in his day. He sang regularly on National Radio and for the Shah. I didn't get to know him that well as a child, but as I grew up I began listening to his recordings quite a bit and consider him an important musical mentor for me.

Why is it important for people of all nationalities to hear your music? What responses have you received from audiences?

We are very lucky to have performed for very diverse audiences over the years, and this is exciting. Audience responses have ranged from dancing the hora (at the Michigan Womyn's Music Festival) to tears. Oftentimes, audience members tell me that they never even knew that there was such a close musical relationship between Jews and non-Jews in the Middle East. That doesn't come across in news headlines. I'm happy to share this realm of shared culture from the Middle East. But my primary hope is that people will love the music we perform.

Does the music come through generations of time and/or your own compositions?

I will perform one of my new compositions in the show from my new CD "The Naming." Other that that, the songs we perform are creative renditions of traditional music, many of them from the sacred Jewish realm. Some of them I learned from my father, who learned them from his father. I'm the first woman in my family to continue this musical tradition.

What is in your future and the future of this genre of music?

I plan to continue performing, composing, and innovating new music. Here is my new project: http://jewishculture.org/music-touring-network/

Philadanco Dance Company

UMass Fine Arts Center, Amherst, MA
www.umass.edu/fac
March 10, 2011
by Stacie Beland

The UMass Fine Arts Center continued its successful run of high-caliber dance performances with Philadanco's energetic and passionate stylings. Philadanco, the Philadelphia Dance Company, performed four works, each showcasing the troupe's powerful ability to captivate and enthrall an audience.

"Bolero Too," a marvelous full-company piece choreographed by Christopher Huggins and set to the moving music of Ravel, set a series of relationships to an almost militaristic beat. The result was startlingly beautiful. As the dancers moved together and apart, emotions ranged from joy to jealousy to anger flashed across the stage. Philandanco excels at allowing individual dancers to tailor the choreography slightly to their own personal styling during moments of solo, duo and trio movements - allowing for a feast of visuals for the audience. During the larger company movements, the dancers displayed perfect precision.

The company returned to the stage with an amazingly different, though no less thrilling, piece titled "By Way of the Funk." Choreographed by Jawole Willa Jo Zollar and set to music by the always-upbeat Parliament Funkadelics, the work was broken into four different movements. Mixing seemingly-improvised movement with stunning synchronization, it was a great deal of fun and highly engaging. Meant as a "joyous celebration of the 40 years of Philadanco's experience," the dancers personified elation onstage, and dancer Lamar Baylor's perfectly-placed comedic routine was a wonderful pause in between movements.

"Elegy," the company's broad and mournful piece, was a classic example of the seamless melding of ballet and modern. At times frightening, at times heartbreaking, the movement reached out from beyond the stage and grabbed the audience to never let go. It is a magical work from its first moments to the close of the curtain, when the company amasses to a single, dying creature.

The audience was treated to the work choreographed by Christopher Huggins. With exceptional lighting design, the dancers moved with endless energy. Clothed somewhat androgynously, the piece was ostensibly about fear of the unknown and the potential for enemies existing in everyday life.  Truly, though, it stood on its own as a work of power and dramatic dancing.

Lar Lubovitch Dance Company

Fine Arts Center, Amherst, MA
www.umass.edu/fac
November 2, 2010
By Stacie Beland

Oftentimes, the most powerful communication occurs when no words are used. So, what is there to be written about a dance company that wordlessly speaks volumes? It is a difficult thing to review the Lar Lubovitch Dance Company without lapsing into cliché. Words seem to fall short in describing the visual feast that presented.

Lar Lubovitch is known for the musicality of his choreography. Often, his works are without discernable plots. Instead, Lubovitch's dancers become visual representations of music. In North Star, a 1978 piece set to a piece of music of the same name by Philip Glass, movements ranged from a water-like flow to jerky, staccato movements. The result was fugue-like, as if witnessing a dream. Lubovitch is also a master at choreographing negative space (the space that isn't occupied by a dancer's body) and the resulting images are fascinating, which holds particularly true in North Star. The result is breathtaking.

The same musicality could be found in Duet from Meadow and Marimba (A Trance Dance). Both pieces showcased the Company's exceptional precision, their movement almost tide-like-precisely timed, but still beautifully surprising. The Company ebbed and flowed together; their movements powerful, graceful and captivating.

The real highlight of the evening was Coltrane's Favorite Things, a work debuted earlier this year. Performed on a bare stage (the curtain legs and back traveler were removed, leaving the exposed backstage and wings for the audience to see), the piece was set to the John Coltrane Quartet's infamous 1963 live performance of My Favorite Things. The music itself is wildly improvisational and spontaneous. The dancers, outfitted in casual clothing, down to sneaker-like footwear, took flight. The result was magical, a piece as free and as improvisational (yet steeped in mathematical discipline) as jazz itself. The message was clear: that dance, beauty, and music can come from anywhere, go anywhere, and surprise you at every moment in the journey.  It's a concept that holds true for all of Lubovitch's pieces, and it's what makes him one of the world's most dynamic choreographers.