VIBE combines jazz and tap in second full performance

New dance company showcases student choreographed pieces

VIBE Dance Company puts on its second formal dance concert this weekend since the company's creation last year. Inspired by a jazz ExCo taught by VIBE coordinator and founder junior Cathy Doggett, the group's focus was on both jazz and tap, two dance forms which are rarely represented and appreciated within the classical realm of Oberlin's dance department.

The VIBE dancers are first-years Ariane Jay, Aliane Mata-Baquerot, Katie Knorr, Martha Schoppe and Lauren Jacobs; sophomores Arden Kaywin, Jeremy Kucholtz, Courtney Max, Caitlin Medlock, April Davis, Chwee Sze Foong, Steffany Haaz, Latoyia Huggins, Christine Schroth, Kerry Wee, Ana Maria Alvarez and Vanessa Chaves; and juniors Bec Conant, Morag Boyd and Doggett.

Alverez, Kaywin, Haaz, Foong, Medlock, Wee, Kucholtz and Chavez, who is unable to perform due to illness, are this year's featured choreographers. Each one is well-versed in dance forms ranging from jazz to modern. Because of the variety of backgrounds and influences, each contributes something new to the company, forming a show with a great deal of artistic innovation and personal style.

The first piece, "Soar," is choreographed by Kaywin. Accompanied by a Peter Gabriel score entitled "Passion," "Soar" was inspired by Kaywin's decision to use the score's bird-like sound effects to create images that would support her bird motif,which is based on the beginning of life through the eyes of a bird. When it grows from a fledgling into a full-grown bird with the ability to fly, it reaches transcendence and it can soar. This technical jazz piece is a beautiful number and effectively creates images through dance that support the theme of life and its cycles.

Haaz presents two lyrical and modern pieces. The first, her solo piece "Games," revolves around the theme of playing sports games as a parallel to the games often played in relationships. This piece's strength comes from Haaz's mastery of modern dance as a second language. "You Can Take It With You," her second piece, is a beautiful tribute to the relationships that she has formed since attending Oberlin and the contributions they have made to her life.

Foong makes her debut as a choreographer this year with her piece entitled "Nothing in Symmetry." Performed to Sting's "It's Probably Me," Foong's piece addresses the issue of self-limitation. The selection of music contributes because it ties in beautifully with the spirit and movement of the piece.

VIBE newcomer Kucholtz delivers a divine piece named after the music, Sade's "Stronger Than Pride." This tribute to the Afro-jazz works of Alvin Ailey is absolutely stunning because all of the elements involved work beautifully together to form a piece characterized by its aesthetics in movement and interpretation.

Medlock, VIBE's main tap choreographer, gave her intermediate tap class a chance to show what they have learned in an untitled piece that Medlock describes as "mostly a combination of exercises we did in class and other aesthetically pleasing things I threw in there."

She said that the difficulty in teaching a class where the experience ranges from some to no experience is that it leaves the instructor unsure of what he or she must teach and reteach. She noted that the hard work and dedication of her students has paid off. Medlock said, "I applaud them for meeting the challenge. This is only the beginning."

Medlock also showcases her love for tap in two pieces titled Breakin' it Down and Street Corner Symphony. Both pieces are not only displays of energy but they are also an exhibit of Medlock's love for this particular art form.

"Breakin' it Down" is a piece performed by her advanced class. Medlock said that the piece is actually choreographed by everyone who performs it because it is a focus on each performer's own individual sound. All of these separate sounds, through balancing and blending, make up one impression, one rhythm and one harmony.

Her second piece, co-choreographed by Wee, is a spectacular tribute to the tap duels and of dance and tap history. "Street Corner Symphony," with its heavy influences in hoofin' and tap, is an exciting take on dance history as Wee and Medlock confront each other in a tap duel that shows their skill in the area of dance.

Alverez brings a piece with dance influences from around the world titled "Ritmo" to the concert. It is a fresh and vigorous display of dance movements ranging from Caribbean dance forms to some familiar Latin movements. Accompanied by Cross Pulse's, "Body Music," the piece is a representation of her favorite aspects of dance: "fluidity and movement of the hips."

Wee choreographed this year's finale and the result of her hard work is an outstanding piece performed by the entire company. A tribute to the dance forms that brought Vibe together, Wee combines both tap and jazz with the help of Corona's "Baby Baby" to bring the company back to its point of birth.

"I wanted it to be very climactic for the whole production," Wee said. "I wanted to bring it back to the dances it started with."

A lot has changed since their Spring 1996 performance. Senate has recognized VIBE as an official student organization and membership has increased. The company's never-ending commitment to presenting all forms of dance has been expanded by the presentation of other forms of dance outside of tap and jazz.

Doggett said, "I am really proud of what we have accomplished. Everything has been a real challenge and I hope that the Oberlin College community will continue to be really responsive."