Emory University - Campus Yearbook (Atlanta, GA)

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e To New Director, New Spirit And New Dedication Dance Alive Comes To Life Professional and demanding are two words which are often used to describe Dance Alive director Branch Morgan. This year Mr. Morgan has replaced Karen Cle- venger, who created Dance Alive in 1978. He has instituted many changes - in gen- eral, the group has acquired an overall atti- tude of strict professionalism and perfec- tionism that had never before existed. Branch Morgan, a 29 year old from Balti- more, Md., started dancing only ten years ago when he registered for a dance class at Washington U. as a joke. In 1975 he be- came a professional when he joined the Bal- timore Dance Theater. In 1979 he came to Emory pursuing his Master's degree in French. At that time he joined the Atlanta Dance Theater where he now teaches mod- ern dance and performs as one of the com- pany's premier soloists. Currently, in addi- tion to directing Dance Alive, he is teaching dance classes here at Emory. When 85 candidates auditioned for Dance Alive, the competition for this year's troupe was more intense than in the past. The 37 men and women chosen have vary- ing degrees of dance experience and even a few had no previous experience whatsoever. All of the members, however, share a love for dance and an interest in reaching their full potential as dancers. This dedication is evident in the fact that all are required to rehearse 4 to 6 hours each week and take one of Morgan's P.E. dance classes. Dedicated members and a talented, viva- cious new director have made Dance Alive come alive. They plan three performances on campus and possible performances at other colleges and universities. Their pro- gram includes nine pieces: an assortment of modern ballet, modern jazz and ethnic dances, seven of which were choreographed by Mr. Morgan. With this kind of dedica- tion and variety, it may not be too far off when Branch Morgan's dream of having the best semi-professional dance troupe in the city of Atlanta will be realized. - Maureen Abbate Branch Morgan shows Romelle Lesada a professional move for their dance in the show. Some members of Dance Alive: Front row: Sharon Carson Second row: Nancy Wolff, Tia Joslin Third row: jennifer Moss, Dariesse Gray, Kimberly Street, Cheryl Fazio Back row: Wayne Kelly, lody Todd, Nancy Vazquez, Carson Fuller, Bonnie Hughes, Margery Khaw, Patton White Dance Alive!-17

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Rathskellar Friday Night Live At Emory 48!Rathskellar Emperor David Kinne appeals to the crowd during a less than-lively moment. Audience participation is en- couraged and often the audience steals the show. Obscenity, perversity: Dave Kinne and Marc Peters plead with lim Shulman as Sixth Graders in the Shower. For many years, Emory's student body has been entertained by the satiric wit and musical talents of a unique and ever- changing group of people known as Rathskellar. Rathskellar began in the late 1960's when a group of students hung around Winship Hall's basement and recited po- etry and played music. Over the years Rathskellar underwent many changes. Eventually, it arrived at the format of comedy and music that is used today. This evolution was both slow and gradual. Since its birth in the '60's, the organization of Rathskellar has im- proved drastically, but there is still no oneline definition or explanation of this very special troupe of performers. Raths- kellar is now, as it always has been, a dynamic entity - constantly changing by reflecting its various member's ideas, tastes, and talents. Most Emory students today are famil- iar with senior David Kinne, who has held the position of Emperor! Director of Rathskellar since the winter quarter of ,..-- '- IS Y.. . A, 1980. David Kinne initiated many changes in Rathskellar, one of the most significant being the change of location from Winship's basement to its current location, the Coke Lounge of the AMUC. The Coke Lounge, says Kinne, is about the largest place Rathskellar could ever perform in and still retain the casual and intimate atmosphere that is so vital to its existence. When Kinne began his reign at the beginning of 1980, Rathskellar had just seceded from the University Center Board KUCBJ and had become totally self- sufficient. A constitution was written in which offices were created and rules laid down. According to its constitution, Raths- kellar has approximately three shows per quarter, meeting two weeks .beforehand to set a theme and brainstorm for the upcoming show. During those two weeks, skits are written, worked on, and approved by the Emperor. It should be stressed, however, that much of what oc- curs on stage is improvisation. When