REVIEW: Dance Of Asian America: Easts Meets West
Miller Outdoor Theatre
April 26, 2008
A good-sized crowd gathered at Miller Outdoor Theatre to watch East Meets West, Dance of Asian America's (DAA) annual spring show. The East part included DAA and students from Mitsi Dancing School, while the West was represented by Ad Deum Dance Company, Revolve Dance Company , and Barbara King Dance Company. As a showcase event, this one went off splendidly. The evening clipped along at a steady pace, one piece right after another, displaying a healthy variety of dance forms. I left thinking that Chinese dance is larger than tossing fans and flying ribbons and that the East is not so far from the West. Modern dance contains influences from eastern forms, and DAA has a strong contemporary focus.
The mission of DAA is to present dances that represent
The disciplined students of
Randall Flinn, artistic director of Ad Deum Dance Company, showed his lineage to classic modern dance in his new work, Walk of Promise, set to Clint Mansill's hypnotic score from the film The Fountain. Amada Parsons and Louis Harman, guest artists from
Revolve looked smokin' hot in their urban tap romp Mosquito's Tweeter, choreographed by Dawn and Matt Dippel and set to music by Nikka Costa. Matt Dippel's subtle style created a strong foil with the ensemble. Realm of Commonality, choreographed by Amy Cain to Yoshida Brothers' ambient music, brought a darker mood. The piece contained some sporadic bursts of clever movement but too many dead spots muddled the focus.
My only quibbles: Barbara King's Vegas style approach to ballroom seemed regretfully out of place; the program was missing choreography and music credits; a little more information for those of us not in the know about Chinese dance would have been appreciated; and the sound was too loud and distorted.
In these deeply divided times, leave it to the dancers to bring people (lots of them) together, and that they did at East Meets West. DAA should be commended for their outreach to the community and inclusion of
Reprinted from Houston Dance Source