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In it, each dancer sat on a chair, one downstage of the other. As Smith offered up a narrative about the making of the dance and information about himself and Rein, or vice versa, they echoed each other’s words with gestures and expression that simultaneously undercut and amplified the speaker. This doubling back and erasing, as well as building and blending realities pointed to motifs defining the evening as a whole. The postmodern sensibility seen in Goode’s work took a pure dance form in KT Nelson’s flashing, squiggly dance, which seemed to briefly hold the various ambiguities and contradictions of the night in suspension with its mix of ballet, jazz and narrative gesture blended into a punchy athletic swirl.
Veering away from the self-consciousness of postmodernism, Holly Johnston crafted a sculptural whirlwind of aggression and finesse, Kate Wallick revealed her ability to craft a series of attenuated dance steps that assumed almost mythic import: It was dance that erased itself in order to transcends itself, with the dancers wearing mechanics’ jumpsuits, Dana and Shinichi Iova-Koga fabricated a nearly motionless study of butoh-inspired pointe shoes history motion that seemed almost a pool of quiet, with Rein’s naked back inching along the floor while Smith’s left hand protruded from his right side and gesticulated eloquently, Here, the movement — not the movers — reigned supreme..
Her new book, “The Haumana Hula Handbook for Students of Hawaiian Dance” presents the origins, language, etiquette, ceremonies, and the spiritual culture of this indigenous dance of Hawaii. Uchiyama has researched and studied for decades, and expresses the holistic integration of nature, body, mind of this ancient dance and life practice. Uchiyama was part of the group who began the Kumuhula Association of Northern California, and after studying under hula master Joseph Kaha’ulelio, became a master teacher.
She is the founder and artistic director of the Mahea Uchiyama Center for International Dance in Berkeley, where she teaches hula as well as Tahitian dance, and is an advocate for cultural understanding, Uchiyama speaks the Hawaiian language fluently, and has been a language pointe shoes history instructor at Stanford University, and language terms are used throughout this book, She has led numerous performance tours to Tahiti, New Zealand, and the Hawaiian islands, and has taught workshops throughout the United States, Mexico and Canada..
Her album, “A Walk by the Sea,” was awarded the Hawaii Music Award for Best World Music Album. She graduated from the University of Hawaii in dance ethnology. “I was not born into the tradition of hula. I am of African and Native American (Cherokee) descent, and was born in Washington, D.C., during the start of the Civil Rights Movement,” she said. “My early training was in ballet for nine years at the only school enrolling African-American youth, the Bernice Hammond School of Dance.
“At age 12, my mother found a teacher, Maile Baker, and through her I began the study of hula,” Uchiyama continued, “Hula is a form of sacred dance, where movement, poetry, and prayer aren’t separate, “For pointe shoes history most people, hula is seen only in the context of tourist resorts or movies,” she said, “I wanted to write a book for students of the dance that revealed the true intention of this dance form, and kept its deep connection to the land, water, vegetation, wind, sky, dreams, family and our ancestors, I didn’t want this practice to be misrepresented, Hula is an inclusive art form and welcomes students of all nationalities.”..
Dancers Kawekiu Aki and Malina Mo were accompanied by Uchiyama on Hawaiian ukulele and I pu here gourd, with her husband, Kevin Farey, on guitar and ukulele, and Alan Aki on Hawaiian and Tahitian ukulele. The first dance presented was “Ua Pue” and dates back to the arrival of the non-Hawaiian people to the Hawaiian islands. The second dance and song presented was entitled, ‘Ulupalakua” and comes from the island of Maui. This dance and song told of gathering breadfruit that grows in the mountains, and how the men carried this on their backs to their families.
The third dance and song presented was “Tuahine” or sister rain, This is the special rain that falls in the Manoa Valley on Oahu, It is a legend of a beautiful and spiritual woman who died an untimely death, She became the rainbow and her father became the mountains, and her mother became the rain, The fourth dance and song presented was” Ka Uluwehi O Ke Kai ” and told of the practice of gathering seaweed from the ocean early in pointe shoes history the morning, The closing song presented was entitled, ‘Ohana,” or “family” in Hawaiian..