The Reluctant Writer: Something Else to do When I Should Be Writing

October 27, 2009

Dance in Columbia a la’ Stir Magazine

If you haven’t had a chance to read my Art Scene column in the latest issue of  Stir Magazine, you can pick up a copy of the swanky-looking publication at some of the finest spots in town, (I got mine from Mr. Friendly’s), or you can take a look at the whole cyber spread by clicking this –>www.stircolumbia.com and turning to pages 8 – 9, or you can read my piece only below.

I tried to at least give a nod to everything going on dance-wise in the city, but I may have missed something, and I hope you’ll let me know if I did.  I’d also like to hear what you think about my argument for multiple dance companies in Cola town.  Do you think that a multiplicity of dance companies in one city raises the barre (pun intended), or does it dilute the audience and funds? Chime in — it’s a debate worth having.

Now for Something a Little Different

Everyone who loves the arts has something they love the most; a medium that most satisfies their inner cravings for meaning and soul-baring expression.  For one woman it may be the theatre, and the houselights don’t go down at TRUSTUS without her feet beneath the seat of one of the cozy chairs Kay and Jim Thigpen keep warm down on Lady Street.  The next guy may be all about music:  he thinks Charles Wadsworth is Jesus and can hum the cello suites in his sleep.  For someone else it may be the visual arts with the sun rising in Mana Hewitt’s metalworks and setting in David Yaghjian’s oils.  I’m like most art geeks in that I love it all – my favorite time is opening night and I’d seriously consider voting Morihiko in as mayor if he’d run.  But the thing that does it for me most is dance.

And that means I live in the right place.

As a city, Columbia has more than her share of dance entertainment opportunities, and unlike some folks who argue that one dance company to a town is enough, I heartily disagree.  Just as no two dancers are the same, neither are any two companies.  Each brings something different to the stage.  From the sultry undulations of Unbound to the rhythmic punctuations of Terrence Henderson’s Leo Award winning Vibrations; from Martha Brim’s mature and modern Power Company, to the scarily cute kids from Dale Lam’s Columbia City Jazz; from Dancewordz Ballet that combines movement with poetry, to Wideman/Davis that is poetry in and of itself; from CMFA’s Carolina Ballet, which has been around forever, to USC’s Dance Company which has come into its own; and from William to Radenko – there I said it – they all have something unique to offer.  And the benefactor of this wealth of diversity, this embarrassment of riches, is the Columbia, South Carolina dance audience.  We never have a reason for being bored.

One of the freshest and most exciting dance ventures in town this fall is Miriam Barbosa’s new iteration of the South Carolina Contemporary Dance Company, housed by her Gyrotonics studio down on Lady Street.  Inklings of this company began back in 2007 when Miriam was still on faculty at USC, with those inklings developing into a two-person performance of Story Lines earlier this year, original Barbosa choreography staged around Beth Melton’s textile installation at the Columbia Center for Contemporary Art on Whaley.  Since then, the company has grown in number – there are eighteen professional dancers now; in support – Marvin Chernoff and Chuck LaMark have both signed on as associate executive directors; and, in target audience – performances are already booked in Columbia, Charleston and Charlotte and the calendar seems to grow every day.

The premiere performance for this newly re-formed company is coming up on September 17th, at 7 p.m., at the Koger Center for the Arts, and there are two pieces on the dancebill.  Miriam’s previous life as a dancer in the Martha Graham Company allows her the licensure to stage Maple Leaf Rag, the last piece choreographed by Graham before her death in 1991.  Set to the turn-of-the-century music of Scott Joplin, Maple Leaf Rag was inspired by Graham’s visit to Charleston when her company performed at the 1989 Spoleto Festival.  I had the opportunity to watch a rehearsal of the South Carolina Contemporary Dance Company perform this piece on a muggy afternoon in August, and though my toes told me I was in Columbia, Charleston all but came alive in that sweaty brick studio in the Vista.  Staged around a massive black lacquered joggling board that could have easily just bounced off a portico somewhere South of Broad, the dancers perched and pranced and balanced in time to the seventh chords and syncopations with, dare-I-say, glee.  Unlike so much of Graham’s heavier choreography, this piece is seventeen upbeat minutes of fun.

The stage gets more serious during the second act of the night when the dancers perform a piece of Barbosa’s original choreography called, Catharsis. Set to the music of Argentine tango composer Astor Piazzolla, Catharsis was choreographed in conjunction with the visual art of Marcelo Novo who has found the theme of catharsis rise often in his work of late.  The ballet is performed in three acts and takes on issues of love, passion, chaos, war, and purification, hence catharsis, and incorporates Marcelo’s original images into the backdrop and set.

Miriam explains that Marcelo’s completed work, “found voice and movement within my own experiences and so the collaboration was a fluid exchange of ideas that fit together perfectly, also reflecting a lot of our shared South American background.”

The choreography is full of typical Barbosa faire – fullness, strangeness, lyricism, and athleticism.  It’s almost as if the limited dimensions of the dance floor aren’t enough, so she takes her dancers into the air and actually suspends a few of them above the stage, using harnesses to simulate flight.  Previously performed in 2005, there are changes to the choreography including the addition of a tango performed upside down.  She’s also changing up her costumes a bit and has Barry Sparks, Columbia’s great thaumaturge of all things light and sound, doing her lighting, giving us even more to look forward to from this performance.

With Columbia’s dance season upon us, there is no shortage of excitement in store. Full length dance follows fantasy storylines that range from the frightening – hunchbacks and vampires – to the frivolous – mermaids and genies in bottles.  Wideman/Davis takes on homelessness, while USC gives a nod to the classics and a wink to contemporary choreography a la’ Alan Hineline. There is dancing to poetry and there’s the poetry of dance.  And God knows there’s a plethora of Nutcrackers, with Columbia City Jazz offering not one, but two Claras this season.  There is plenty to love on the dance floors of our good city.  Not too much and, thankfully, not too little.  When it comes to a good thing, we’ve got it good.

For more information on the South Carolina Contemporary Dance Company visit their website at www.scdanceco.com.

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2 Comments »

  1. ok

    Comment by jeffrey day — October 27, 2009 @ 14:03

  2. Thank you so much for mentioning Columbia City Jazz “The Two Claras”. We feel we’ve got a very special performance this year. Not only will “The Two Claras” feature actress Andie MacDowell at all 4 performances, but we also have Kidz Bop star Dana Vaughns.

    If you’re getting a little tired of the traditional “Nutcracker”, this is a good family-friendly alternative. “The Two Claras” is a contemporary dance re-imagining of “The Nutcracker” and is a heart warming Christmas tale of friendship, love, loss, magic, and rejoicing as we follow two friends across years of holiday celebrations.

    “The Two Claras” Performances:
    Friday, Dec. 11th at 7:30pm
    Saturday, Dec. 12th at 1:00pm and 7:30pm
    Drayton Hall Theatre, University of South Carolina
    1214 College St.
    Columbia, South Carolina 29208

    Visit our website at http://www.columbiacityjazz.com for more information, tickets, and photos from last year’s sold-out performances!

    Comment by Les Mizzell — October 27, 2009 @ 16:41


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