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Dance event shows linkage in arts
By Erno Sybert
Stall Reporter
Rhythm, line, color, symbolism,
texture, space and mood came to
gether in an intermarriage of art at
Cross Connections, a celebration and
exploration of the arts.
Dancers, artists and musicians
came together at the Sheldon Memo
rial Art Gallery on Sunday to show
and explain how the various forms of
art were interrelated. The hour long
event began at 1 p.m.
“Dancers and musicians and art
ists arc all concerned with line and
form and space and color and tex
ture,” said Kit Vorhees, coordinator
of the event.
She said the purpose of the event
was to show how artists of all types
work v> ith the same basic ingredients
to make a finished project.
Those who participated in Cross
Connections were divided into three
groups of about 30 people.
Each group was assigned to a sepa
rate gallery where participants saw a
dance performance which was in
spired by the visual arts displayed in
the gallery. In two of the perform
ances, music was used to lurthcr in
spire the movements of the dancers.
All of the dancers were dance majors
at the University of Nebraska-Lin
coln.
After viewing the performance,
participants were encouraged to ask
questions and make comments about
what they had seen and heard and felt.
Then the group would move to an
other gallery to view a different per
formance. In this way,all participants
were able to view each of the three
performances.
In the first gallery were paintings
by Keith Jacobshagen. These paint
ings portrayed a vast Nebraska sky
looming over country roads. These
paintings were the inspiration foi
“Landscapes,” a composition by
Randy Snyder.
At the opening ol the piece, an
image of a blue sky is implanted in the
mindol the listener. The composition
is a progression of weather patterns,
and by the end of the composition,
black storm clouds dominate the once
sunny sky.
Heather Hetrick, senior dance
major, and Diane Zomcs, junior
dance major, improvised while the
tranquil music played.
Zorncs swirled twirled and moved
in circular, flowing movements
which seemed to imitate a cool
breeze.
“I was think ing of the open winds,"
she said.
In contrast, mcltick oascu mi
improvisation on the vastness of the
skies and country roads which
seemed to stretch for miles across the
horizon. Her movements were more
angular than Zorncs’. Hetrick
reached out and stretched her limbs
upward and outward to an unknown
destination.
"I tried to visualize in my mind the
roads,’ she said. Hetrick said that she
tried to combine the inood ol the sky
and the structure of the roads.
The theme of the performances in
the second gallery was spirituality.
Three dance pieces were performed
by Melissa Mapes-Raasch, senior
dance major, and Deb Butcher and
Phil Record, junior dance majors.
T he dances were inspired b\ sev
eral sculptures and paintings which
had the common theme of spiritual
ity. They provided the dancers with
an opport un i l> to e x pre ss t he re I a li on -
vhip between mind, body and soul
through dance.
The first two dance pieces seemed
uv be filled wall introspection and
soul searching, but it was the third
dance piece which really demon
strated the interaction of mind and
body.
The three dancers intertwined and
gracefully placed themselves in intri
cate positions requiring balance and
concentration. Mapcs-Raasch.
Butcher and Record not only exer
cised their bodies, but exercised their
minds as well. The three seemed to
become a sculpture themselves.
The third gallery used rhythm
created by the participants, as well as
paintings and sculpture, to inspire the
dancers. Assorted instruments were
made available for the participants
who played them as the dancers per
formed. Among tlie instruments were
a tambourine, sand blocks, maracas,
drums, bells, horns and a triangle.
Junior dance majors Tracy Houser
and Donna Schieffer posed in imita
tion of the sculptures in die gallery
and performed a piece inspired by
three paintings with a theme of lone
liness.
The dancers began to dance in
iheir own separate planes, moving
lethargically and writhing on ihc
floor. They gradually moved closer
together until they shared the same
plane, but even then, the two moved
as if they were unaware of the other’s
existence.
Houser and Schicffcr also moved
in a snake-like manner in imitation of
“Snakeon Arch," a moving sculpture
by Alexander Calder. Participants
used their instruments to produce
accompanying creaks and rattles.
Cross Connections -.hewed most
clcarlx through active!) involving the
participants how the arts interrelate
through their use of the same basic
principles. Allowing participants to
create their ow n music enabled them
to experienc e the intermarriage of the
arts first hand.
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A102
Intro, to The Short Story
When Carla told me that my date
was a little short, I tl night she was
talking dollars and cents, not feet and
inches. So there I w as at the door, in
mv sniked heels, staring at the top of
mv date s head.
All I could think was, how do i
get mvself out of this? I could imagine
i how my legs would ache if I had to w alk
1 around w ith my knees bent all evening.
■ So to stall for time, while figuring j
S out how to fake malaria, I made us
H some Double Dutch Chocolate. jM
When I brought it into the living B
I X room, I discovered that Cary w as n
\ \ a chocolate lover too. Ahh, a man
II f after my own heart. Okay; I de
ll aded I'd give him a chance. So we S
£ sat down and saw each other face- Bj
V to-face for the first time. He had a
nice smile.
After some sma I talk—I mean
conversation—I disc<)' ered that we
both lov e Updike, hate the vv inter f j
weather, and both have minia
ture schnauzers. So, we made
a date to introduce Shadow
and Schatzi next week.
Reader will
be ripped-off
CUFF Irom Page 12
Alter that, the chapter is littered
w ith anachronisms, Moby Dick jokes
and an understandable loathing for
Charles Dickens.
Between the book condensations
are caricatures of famous people and
their books. For instance, Richard
Pryor reads “Fircstarter,” referring to
his alleged drug accident while free
basing cocaine several years ago. Or
there’s the cartoon of subway vig
ilante Bernard Goel/ reading “Sho
gun."
The main problem with these car
toons is that they won’t last the test of
time. The characters arc not labeled,
so in 10 years, no one will know what
to make of the funny little guy reading
a historical novel.
The authors review Hemingway s
“The Old Man and the Sea,” in a
bumbling manner, then proceed to
shoot spitwads at George Orwell’s
“Animal Farm.”
Gina and Annette Casconc try very
hard to be funny, and almost succeed,
while recounting the conversion of
the farm animals to communism to
the tune of “Old McDonald.”
But the story is just too long to fit
into the lyrical scheme without boring
the reader to tears. The Cascones
acknowledge that and quit to tell the
rest of the story in prose.
“Mice and Men,” “Pygmalion,
“The Grapes of Wrath” and countless
“classics”of literature arc parodied in
a merciful, quick blur. Even the au
thors poop out.
The only entry under "War and
Peace” was: “There was a war and
cight-hundrcd-sixly gazillion pages
later, there was peace.”
Luckily, the reader only has to slog
through 85 pages of muck and mire to
reach the end of this poorly written
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At the very end, the authors try to
rally with their vciy own essay on Dr.
Scuss’s “One Fish, Two Fish, Red
Fish, Blue Fish.”
“If you can’t dazzle ‘cm with bril
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