Indie Stud Gives Crash Course in Modern Dance

by Kari Wethington
3/2/01
Sponsored by the Oberlin Dance Umbrella, this weekend’s Indie Stud Dance Concert is a conglomeration of work by student choreographers and dancers. The Dance Umbrella was formed last year to give support to student dance and performance work not sponsored by the College, hence the concert’s independent edge. The concert could be likened to a survey course in modern dance in the sense that it peruses a variety of thematic schemes. The show gives a taste of what it is exactly that Oberlin dancers are up to these days, but because of the show’s short running time and limited space, it necessarily packs a lot of punch into a brief presentation.

The show’s first piece, “Air Rights,” is a silent contact improv affair involving seven dancers that leap, twist, fall and get the occasional piggyback ride. As the energy rises and falls within the realm of the dancers, the audience is anxious to see what will happen next. It’s like a soap opera without the gaudy clothes or cliché melodramatics. The climax comes as the long table that has served as the centerpiece is moved diagonally and dancers take turns leaping across, almost as if crossing a border to some forbidden place beyond.
Senior Rachel Insel choreographed and performed “10-4,” the show’s second number. Set to the sultry rock of Morphine, Insel’s short piece is full of subtle drama. Moments of repose, where Insel stands still, usually staring at the audience or some imagined companion, are juxtaposed with spirited leaps. Though Insel doesn’t demonstrate as much technical work as one might desire, the symbolism of her persistent gesturing and staring implies a more profound meaning, which remains unclear to the audience.
Next is “Transient,” also a solo piece choreographed and performed by junior Elizabeth Heard. One of the concert’s most engaging pieces, Heard dances to melancholic music that effectively mirrors the slow, controlled movements of the greater part of her piece. “Transient” has its share of surprises, but even in high-energy moments, Heard’s movements are rousing and contained. “Transient” makes great use of the small space and adds vital texture to the concert as a whole.
“Personal Best,” definitely a highlight of Indie Stud, is choreographed and performed by sophomore Elinor Anderson-Genne and junior Emma Ramstad. More performance art than straight dance, “Personal Best” satirizes sports as it speaks of loneliness and self-esteem, set to the somber tune of Aimee Mann’s “One is the Loneliest Number.” 
After a short interlude/dance from Insel, “Excerpt in Progress,” a collaboration of four dancers takes over. With music composed by one of the dancers (senior Nathan Sutter), the piece’s unfinished quality does not detract from its overall hypnotic spell. What does detract is the too-often-predictable movements of the dancers.
The final piece, “30 Second Haircut,” is a striking collaboration between senior Corey Dargel and senior Yvan Greenberg. Like “Personal Best,” this piece incorporates performance art into its comedic though haphazard plot that centers on two American soldiers. The best moments include Dargel explaining to the audience, “I’m talking about rock ’n’ roll,” to which he then plays the air guitar and lip synchs, or when Greenberg holds up signs such as “Brenda Stevens, will you marry me?” It is a complicated piece, but one well worth the twists and turns.

With first-year Rebecca Kwawer as the production coordinator, Indie Stud’s seven pieces flow smoothly into each other for the most part. 
However, at times the transition is too smooth. There’s a sense of theme and variation going on between the individual pieces which can get repetitive. Even still, an audience can’t help but be impressed by the talent displayed at the concert and remain assured that Oberlin dancers are as innovative as ever.