Merce Cunningham and the Giant Pink Gorilla

Alrighty, so I'm starting at the beginning. I've really been doing well going to shows recently, and I want to take the chance to talk about them, even though they're old news.

Oct. 28-29th: Merce Cunningham and the Giant Pink Gorilla

The last weekend of October, the Merce Cunningham Legacy Tour came to Seattle. This is the company's last tour ever....and I can't say anything about this weekend without mentioning the fact that my illustrious boss, Mr. Donald Byrd, was instrumental in getting them here. I am constantly inspired by the dedication artists give to not only their own craft, but that of the trail blazers and pioneers who came before them. I know Donald feels like he would not be doing what he's doing, in the way he's doing it today, without the work of Merce and the Cunningham company. It's historic connections like this that bring us back to Earth, and ground our feet in what art is really all about.Making connections. Inspiring each other and ourselves. Carrying on traditions. Leaving a legacy for the next generation.

Having said all of that....here's the thing about the Merce Cunningham Company. Ya know how you build things up in your mind? Well I've done that, for a long time, with the work of Merce Cunningham. When I was in school, studying the Cunningham technique and the man who brought about a MOVEment (literally), the idea of being a CUNNINGHAM DANCER was untouchable. Perhaps it's that I've gotten used to seeing ridiculously strong, amazing dancers...or maybe the technique has been diluted over time. For some reason...I sorta lost the WOW factor.

The company performed six pieces during the weekend,

and we got to see three of them: Rainforest, Duets and Split Sides. Definitely the most uniquely Merce experience of the night was right before Split Sides, when a slew of influential people were brought out on stage to choose the scenery, costumes, music, lighting design and order of dances in that nights performance. By chance of course...talk about cool! Because of this, of course, we were trying to guess which was which, what went together, and how different it would be had they picked B instead of A. Then the conversation of what A and B, first and second, and "original" actually mean...and whether or not those concepts even apply in a situation like this one. Talk about an interesting spur for conversation. Well done Mr. Cunningham.

Probably the best thing about this show, yes, BEST, was that the historical and LOCAL value alone were enough to take your breath away. It was also great to see

2 of my favorite dancing ladies from the good ole' days in E

ugene, Mary Pisegna and Anna Waller, and we had a great time. Gotta love it when modern dance marvels come to town :)

On a lighter note, this gentleman is my friend Aaron Daniel. :)

On the 28th of October he masqueraded as a guitar playing Pink Gorilla and played a show at the Tractor Tavern with Seattle's Flowmotion. For those of you who haven't been to one of Aaron's shows before, you are basically missing out big time.

First of all,

<------look. This is what he is willing to do to make a great show a fantastic show.

Second of all, since he is a musician, I should let his music speak for itself, check it out: www.aarondanielmusic.com

But really, he is ridiculously talented, and puts on a great show with something for everyone. Most people I've shared his music with are so amazed right off the bat at what he can do with his looping system, that it takes a while for the fact that he also has an incredible voice to sink in. It's kinda like watching a really good a capella group...you spend the better part of a song or two wondering how the hell all those sounds are (as my good friend Shawn St

ockman would say), "Coming out of their mouths people!"

I had never seen Flowmotion before, although I'm a fan of their music in general. It was a great night. They covered the entire Beatles Rubber Soul album and rocked it. Hard. And I danced. Hard. All night. In my Skittles costume. With one of my best friends from grade school. Maybe that's worth a picture.

Epic epic night :)

ARTistic inTELLigence

When I was in college, I feel like the phrase "speaking intelligently about dance" was prevalent in almost every class. We practiced this technique diligently on a daily basis, both in and out of class. In an attempt to impress professors and each other, we were careful to obey all the "rules"...there are apparently a lot when INTELLIGENT conversation is concerned. For instance, you should never say that you like or dislike something, rather point out what was interesting or difficult. Also, good and bad are not words that should describe dance. Not intelligently at least. And so on, and so forth...those who were there know what I mean.

So now here I am in the real world. Let me tell ya, there's a lot less intelligent conversation about dance–and art in general–out here than in those hallowed halls of dance departments across the country. This might be the main reason that when friends from college and I get together, ALL we do is talk about dance, mostly. Sorry, that should read: ALL we do is talk. About dance, mostly. :)

In the interest of starting some intelligent conversation about not just dance, but art in general, I'm going to start blogging about artistic events I attend here in Seattle. I want to state very fervently that these are not REVIEWS in any way. Trust me, I'm both more and less intelligent than those people. Just trying to open an avenue for dialog. So please, read, comment, and share as you wish! And, if you went to college with me: please, speak intelligently about dance!! **No rules apply ;)