University of Idaho - Gem of the Mountains Yearbook (Moscow, ID)

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It's a compulsion. For professional dancer Cynthia Algers, there is a need to dance, as express- ed in her choreography of Compulsion. (Photo by J. Yost) Capturing the moment. The Velvet Prism re- quired Ashley Wilske to use slow, suspended movements to express herself. (Photo by J. Yost) 24 Dance Theater Gone with the wind. Some dance students choreographed their own numbers, as did Lynne Rigby, who performed “Minstrel Wind” last fall. (Photo by J. Yost) Dance or leapfrog? The “Centipede Tango” was a favorite of the au- dience, although definite- ly unique in composition for the dancers. (Photo by J. Yost)

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The other half. As well as muscle, a bodybuilder must know how to present herself. Cathy Biggs and Kendall Bagnard work on their Hard labor. Doing his dumbell-flys, Phil Cooper labors with the weight. Bodybuilders pushed their bodies to the limit with strenuous workouts. Hard pressed. Kendall Bagnard lifted the barbell off her chest during a set of inclined chest presses. True grit. Photos by Scott During a set of bicep Spiker. curls, Carter Wright grits his teeth, his muscles straining with the effort. Kendall Bagnard spots for him. Bodybuilding 23

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The dancer must search his soul to find the Essence of the dance rchesis. How could one word begin to des- cribe the expression of the inner self through movements put to music? In the '60s and 70s the UI Dance Department adopted the Greek word or- chesis, meaning ex- pressive gesture. An idea becomes a motion, with a style of expression that is fresh and alive. They must take the essence of the dance, not the dance itself, said Diane Walker, coordinator of the Dance Theater. The students who auditioned for the dance theater perfor- mances were not all dance majors. In fact, most of the dancers were in fields unrelated to the per- forming arts. Dancers with majors in nutri- tion, forestry, com- munication and biology tried out for the show. Walker said their dancing was a way to balance academic growth with personal growth. “There is no score to follow, no script to read,” Walker explain- ed. “These students must keep everything inside them, and each time they perform a dance they must live it again. There is always a struggle and growth.” Walker said the dance concerts were collages of each dance student’s work. The students did not sit down ahead of time and discuss what they were going to do. They chose a piece and worked with it, often not discovering what the others were doing until the first trial run for Walker and the ex- ecutive committee. After the first show- ing, the work began. Technical crews were organized, lighting designed, costumes chosen. Dances were until the polished dancer could con- sistently produce a move or be able to create one within the mood of the dance. “We strive for the best performance we can have with the resources available to us, Walker said. Funds for sets costumes and materials came from ticket sales. Walker said a large perfor- mance usually cost around $2000, com- pared to the $4000 a concert could cost if the group did not have the UI Theater's lighting and building at it'S disposal. We receive little out- side support, Walker said, although we now have an alumnus who has given us enough funds to set up a scholarship program — until it runs out. We also make it a point to withhold at least $100 each semester from our concerts to grant à scholarship to one of and A cultural touch. Shari Nelson and the Main Street Dance Company us- ed an African tribal dance for a fast-paced finale to “University Dance Theatre and Friends.” (Photo by J. Yost) the students. We feel its important to give them something in return for the efforts and time they have contributed.” This year the Dance Theater had help from the American Festival Ballet troupe and the Main Street Dance Company. Walker said the influence of so many dance com- panies in one com- munity, and the results of their bringing pro- fessional groups to the Palouse area had developed a sophisticated dance au- dience in Moscow. Walker did not feel the presence of so many companies hurt attendance. Different people go to different things. We of- fer a variety and will continue to do so. Hav- ing themes, or staying with one form of dance, are too limiting for a student dancer to grow and learn. Gwen Powell E Grace in space. Program director Diane Walker choreographed The Velvet Prism” herself to incorporate ballet into an experiment with space and expres- sion. (Photo by J. Yost) Dance Theater 25