10The Daily Tar Heel Wednesday, December 3, 1986
Show to revive spirit
of baroque period
with dance, music
By ELIZABETH ELLEN
Arts Editor
Baroque music has recently come
back into vogue, and many musi
cians are playing authentic instru
ments and experimenting with
period performance techniques.
Another 18th century art form,
Baroque dance, is also experiencing
a revival, although it is not as well
known.
One of the more active interpreters
of this old dance style is Catherine
Turocy. She and her husband,
harpsichordist James Richman, will
perform this weekend in Chapel Hill
concerts by the Society for Perfor
mance on Original Instruments.
Turocy is a co-fou iJer and soloist
with the New York Baroque Dance
Company. The troupe presents
theatrical dances originally choreo
graphed between 1680 and 1750.
Some dances in the repertoire have
been preserved more or less intact
in notation invented at the end of
the 1 7th century. Other dances, like
Les Caracteres de la Danse" which
Turocy will perform on the Chapel
Hill program, she has reconstructed
from available information.
Other dances on the program
include "Folies D'Espagne," set to
music by Marais, and "Passacaille
d'Armide," set to music by Lully.
Baroque dance is a precursor of
ballet, said Turocy in a phone
interview Monday. The five basic
positions are employed in Baroque
choreography, as are certain ballet
steps such as the bouree and assem
ble. A major part of classical ballet
choreography, partnering, is not
incorporated in the Baroque style,
Turocy said. "The male does not lift
the female and carry her around the
stage," she said. "Nor does she fling
herself into his arms. There is more
equality between the sexes."
Whereas Baroque music can be
performed with more recent tech
niques and on modern instruments,
Baroque dance does not lend itself
to modernization, Turocy said.
"Baroque dance is an entire style that
doesn't exist anymore," she said. "It
must be presented in the most
informed authentic way, or it will
simply become 20th century dance."
Turocy said Baroque dance has
gone through several cycles of revival
as an art form. Turocy credits
Melusine Wood with renewing
interest in the form in the 20th
century. Wood worked mainly in
England, and the American revival
has occurred only within the last 25
years, she said.
More than a primitive, underdeve
loped type of ballet, Baroque dance
is a special form in itself. "It has a
sense of sophistication complete in
its own context for its own period,"
a) When the president of Phi Gamma Delta
-asks you to Saturday night's Fiji Formal.
b) After raquetball class, to tell him that the
instructor with the Australian accent and
those blue eyes did wonders for your serve.
c) When you just feel like telling him you
miss him after all.
Maybe you shouldn't tell him everything that's going on. But if
you still care about him, why not call and whisper some sweet
things he'll never forget?
Like why you call using AT&T Long Distance Service,
and why you trust AT&T's high quality service and
exceptional value.
When you tell him that AT&T gives you immedi
ate credit if you dial a wrong number, he won't be
able to get you out of his mind. , ;
: it, 'piSt
Catherine Turocy, New York Baroque Dance Company director
Turocy said.
As an art form, Baroque dance
is valuable beyond its beauty and
expressive potential. "Aesthetics,
what is considered beautiful, tells a
lot about a civilization in general,"
Turocy said.
The Society for Performance on
And telling him you can count on
AT&T for clear long distance
connections will drive
crazy.
All of which will proba
bly inspire him to drive
out for the weekend,
giving you an excuse to
blow off that silly f rat
party after all.
The right choice
r . .OX v-w( v ..-.-.y.-
Original Instruments will perform
with dancer Catherine Turocy and
harpsichordist James Richman at 8
p.m. Friday and Saturday in Play
makers Theatre. Other guest artists
include sopranos Penelope Jensen
and Susan Klebanow and bass
Fredric Moses. Call 962-1039 for
ticket information.
him
Divest
Marguerite Fletcher, a group
spokeswoman.
Shanties built in protest
Fletcher said student protests have
maintained public interest in the
divestment issue since the Trans
Africa protests. "Students have
played a very strong role. They have
helped to get the word out across
the country, she said.
After a year of aggressive student
protests in 1985, shantytowns began
to appear on campuses nationwide
in 1986 as symbols of the oppression
endured by the South African blacks
living under apartheid. The con
struction of these shanties and the
refusal of students to evacuate or
dismantle them have led to many
highly publicized arrests nationwide.
This movement was initiated
January 1986 at Dartmouth College,
in Hanover, N.H., as protestors
erected shanties that conservative
students later destroyed. When the
structures were rebuilt, the city of
Hanover declared them a zoning
violation, and 17 students were
arrested in a protest as the shanties
were dismantled.
By April 1986, similar protests
appeared nationwide. In the first
week of April, more than 150
demonstrators were arrested at the
University of California at Berkeley.
During the same week, 40 students
were arrested at Wellesley College,
Massachusetts; 35 at Georgetown
University, Washington, D.C.; 22 at
Purdue University, Indiana; and 20
at the University of Wisconsin.
The surge of protest also caught
on at UNC during this time, as
University Police arrested five stu
dents April 7 for refusing to leave
from page 1
their South Building shanties to be
torn down.
Shantytown protests and arrests
continued into May, including the
arrests of 12 protestors at the
University of Maryland.
Officials at these universities based
their decisions to prohibit shanties
on several concerns. They said the
structures were dangerous if protes tors
were living inside them, they
were a zoning violation or they
encouraged violent clashes between
anti-apartheid students and right
wing students.
Student protestors have been
effective in pressuring universities to
divest, said Dee Johnson, assistant
director of student activities at
Dartmouth College. I think they
have been effective in this country,
especially to make people responsive
and aware of the problem," she said.
Dartmouth was already in the
process of partially divesting when
the protests occurred, but they
forced the endowment board to act
earlier than it would have otherwise,
Johnson said.
Chapel Hill students rally
At UNC, the movement resur
faced in November 1986, when nine
apartheid protestors were arrested
for refusing to evacuate South
Building, where they had chained
themselves.
There had been calls for the
divestment at the University before
the Anti-Apartheid Support Group
formed in 1985, but the movement
was never forceful enough to attract
much student or administrative
attention, said Dale McKinley,
group member.
McKinley said he thought the
nationwide student protests have
had an important impact on admin
istrative officials and public opinion.
"A lot of universities have divested
as a result of the protests. Students
have forced . . . net only the uni
versity but also the whole state to
divest," he said, referring to the
action taken by students at the
University of California at Berkeley.
The students' vocal protests have
been important in keeping the
divestment issue in the public spot
light, he said. "On that score, it
definitely has had an impact. Stu
dents have kept the issues alive in
the community where they would
have otherwise only read about it in
the papers," he said.
UNC had $6.2 million invested in
U.S. corporations doing business in
South Africa until Eastman Kodak
announced Nov. 19 that it would
withdraw from South Africa. The
19,300 Kodak shares accounted for
one-sixth of the University's South
African ' holdings, which amounted
to $1,027,725.
The University Endowment Board
has issued guidelines to control
South African investment policies.
The guidelines require the board to
invest only in companies that adhere
to the Sullivan Principles and pro
hibit investment in any company that
does a majority of its business in
South Africa.
U.S. stronghold in South Africa
There are now 238 U.S. corpora
tions active in South Africa with
holdings valued at $1.3 billion,
according to Alison Cooper, a
spokeswoman for the Investor
Responsibility Research Center.
U.S. investment peaked in 1981 at
$2.6 billion. In 1982, the United
States overtook Britain as a primary
trader with South Africa and became
its most important source of corpo
rate investment.
Multi-national corporations were
active in South Africa as early as
the 1920s, but the rise in investment
occurred in the 1960s, Nessen said.
U.S. corporations in South Africa
claim that investment encourages
positive changes within the apartheid
regime because they provide job
opportunities to the black majority,
according to a report of the Africa
Fund (associated with the American
Committee on Africa).
b rally pushes Dow 6.4
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