Together is a project between the dance departments at UNLV and the Korea National Sport University that explores the merging of cultural and dance disciplines. Twenty students from each school will visit each other's countries, sharing classes, performances and culture. This past weekend, they performed here; next week, the dancers leave for Korea.
The evening opened with My Brother by UNLV's Louis Kavouras. It showcases the relationship between two brothers and was used to establish the bond between the two groups of dancers. Immediately, it was clear that the Koreans were better conditioned, with far superior technique. Even the simplest movements, such as rising from a chair, were invested with importance by the well-trained dancers. In gymnastics terms, the Koreans had "amplitude"; in dance terms, they were fully stretched, extended and always conscious of their physical space. The UNLV dancers, competent for college-level performers, need work to achieve this level of proficiency. Cathy Allen's Don't Talk So Much, a lively study of the various stages of gossip, was a charming vehicle for the engaging Ian Dodge, Jamie Salas and especially Heather Farrell, whose technical proficiency combines with a profound ability to express the true joy of movement.
The UNLV dancers began the second half with Furious Angels by guest choreographer Minh Tran. This mix of ancient ceremonial dance and urban edginess began in a slow, meditative fashion, shifting into an agitated frenzy and driving to an exhilarating finish. Tran's choreography is strong and his images linger in the mind long after the performance.
The end of the evening was devoted to the Koreans. Seoul Ballet's resident choreographer, James Jeon, created an atmosphere of emotional gentleness and lingering wistfulness in A Gentle Breeze, set to music by Chopin. The dance explored through its liquid step sequences the personal relationships among the three dancers and was the most balletic of the evening. Multiple dance-makers contributed to A Colorful Korea, an inspired mixture of traditional Korean movement, classical ballet and contemporary dance. This was a gentle blend of cultural influences and provided an appealing contrast to Minh Tran's edgy fusion. Beginning with a graceful dance for the company women, the piece built to an exhilarating technical showcase for the men, whose leaps and turns had the audience gasping in disbelief.