Momix dance is not just goofing off;
troupe creates art from child-like nlav
MOMIX from Page 11
“We play with the idea—like kids
do,” Mills said.
“The question always is, ‘Is it just
fun, or is it art?’” Boeding said.
Momix performances are not just
play, both men agreed, but something
more. The troupe carefully puts to
gether their work, something that
requires talentand skill. Because play
is so important, it becomes an integral
part of the work.
The play element and improvisa
tion keep the performance “fresh,”
Mills said. A lot of dance companies
think about a piece, instead of just
creating. Momix is part of a renais
sance of naive art — viewing the
world with a child’s eye—and should
not be overanalyzed.
“Take it as it is,” Mills said. “You
shouldn’t feel bad if you don’t get
‘it.’” Each piece is composed of lay
ers of meaning, he added, and every
one will go away from a performance
with something different.
Dance is a shaking ot space, a
rhythmic movement” and an ancient
form of communication, the perform
ers told the freshmen, before begin
ning their next demonstration.
‘‘We try and come up with differ
ent approaches to the theater of
dance,” Mills said.
Mills began the next demonstra
tion while Boeding talked. At first,
Mills played with a large sheet of
plastic. He twisted and turned with it,
fluttered it in the breeze, wrapped it
around himself, exploring the proper
ties of that sheet. Boeding explained
that the prop was still in the experi
mental stage, and not part of the act
yet.
Then, Mills picked up a clear plas
tic bag that had been tethered by
plastic hose around its opening. Run
ning, Mills filled it with air and
trapped himself inside the plastic bag.
Besides making every mother’s
nightmare about dry-cleaning bags
come to life, Mills had created a
lovely effect. The light played off the
plastic film, and Mills manipulated
the space and material quite skill
fully.
Mills said he could go two ways
with the plastic sheet idea: represent a
man trapped, or do a piece entitled
“Safe Sex.”
The bag swayed and undulated to
the air currents in the auditorium,
shimmered under the spotlights.
Even the freshmen were silent.
Someone said youth is wasted on
the young. Why present such a sub
lime thing as modern dance on some
one who might care less?
JK. <*
sculpture. He created the “Circle
walker” in 1979, and started looking
for dancers to take part in his kinetic
sculpture.
In the meantime, Boeding took
choreography and dance classes to be
able to delve deeper into the dancers’
psyche. But after taking classes,
Boeding discovered that teachers
Take It as It Is. You shouldn’t feel bad If
you don’t get ‘it’.’
— Mills
K,....... ..
Voorhecs said that Momix is an
excellent introduction to modem
dance for freshmen. Besides being
exciting, the dancers also have some
thing in common with most of the
freshmen in the audience.
Both Mills and Boeding come
from rural communities in the Mid
west, and didn’t start dancing until
later in life. Boeding was 28, and
Mills had reached the age of 20 before
exploring dancing.
Mills started out as an artist, but
was also active with swimming and
gymnastics. When he hurl his shoul
der, he had to find new ways to be
physical. Dance became an important
outlet for his energy.
Boeding graduated in South Da
kota with an undergraduate degree in
I
wanted him to dance. Boeding found
himself dancing.
“Dancers can come from an ordi
nary place like the Midwest,”
Voorhees said. “That’s important for
freshmen to know.”
“I think we have a great deal of
empathy for these people,” Mills said
of the freshmen. Both performers
thought the class was good — espe
cially considering the fact that it was
an early Monday morning. Not only
did the class have good specific ques
tions, but three students came up after
class to find out more.
Finally, Mills demonstrated
Boeding’s sculpture dance “Circle
walker.” The “Circlewalker” is a lot
See MOMIX on 15
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