Newspapers / University of North Carolina … / Dec. 2, 1999, edition 1 / Page 4
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The Banner December 1,1999 Features Not-so-scary contra dancing By Ryan Hunter Staff Writer For the past few months, the Grey Eagle Tavern and Music Hall has hosted contra dancing every Monday night. AfuU night of contra dancing can be enjoy able for anyone who wants to come, be they beginners or old Before I go any further, I would like to ^e this moment to explain what contra dancing is. Remember back in elementary school gym class when they would force all of the kids to line dance? Contra dancing is what happens when the joker next to the record player turns the speed up to 75 revolutions per minute. My previous contra dancing experience was not so cheerful. Everyone on the dance floor, except yours truly, had appar ently been dancing for some time, and I could not figure out why I was not as good as they During the course of the two dances that I took part in, I was thrown into the wrong line, I stepped on toes and in return had my toes stepped on. I col lected a lovely array of really mean looks from my fellow dancers. With an experience like this to draw on, it seems redundant to say I hadlitdehopeforanypoor beginners that thought they might try their hand, or should I say foot, at this new dance. As PHOTO BY SARAH LACY The Grey Eagle features contra dancing every Monday night. I said before, I was pleasantly surprised. Wild horses could not have dragged me onto that dance floor, but it did not take me long to discover a fellow begin ner. She was wearing a sweater vest and a look that told ev eryone around her .that she had absolutely no idea what she was doing. The way the dancing was set up, there was a barker yelling out all of the things that they would be doing, and then the dancers did them. That was usually when the chaos began, especially for the woman in the sweater vest. . , . When the crowd moved jefij . she moved' right? when; «cliey. walked forward, she walked backward, and when they spun around, she just stood there. I thought she was going to be killed by the other dancers, but that was not the case at the Grey E^le. When she was turned the wrong way, someone al ways took the time to stop and point her in the right direction. When she was about to wander off, someone was always able to reel her in, and they always did it with a big grin on their faces. It honestly seemed like every one was out there just to have fun. What a novel'idea. However, even with the calm tempers and gentle manner of these people, the dances are very fast and can become compli cated. Especially when.,the 'crowd^rew so much that th^ • svere forced to go from onelinfe From the safety of my little booth, I looked on in amaze ment at how these people were moving. They were not neces sarily all together—the woman in the vest was not the only contra rookie—but at least making an attempt at together- I kept waiting for a hand to fly up when it shouldn’t and for someone to lose an eye or worse. But again, my fears were never realized. I believe that I did ;s, but witness a tew toe steppings, that’s to be expected. Monday nights really are for anyone interested in contra dancing. Ifyou’ve been think ing of trying it out but are afraid that you would just be making rfooj: of yourself and be in everyone’s way,:fiow,’ the time. Go on down to the Grey Eagle. They will take good care of you. Doc Watson a living bluegrass legend By Martha Ball staff Writer Doc Watson played to a packed house Nov. 20 at Grey Eagle Tavern and Music Hall , and he was fantastic. I was thrilled for the opportunity to see a living legend perform right here in my own home- I dori’t even count bluegrass and mountain music as one of my favorites, but Doc Watson was just incredible to watch. At 76, he can pick a guitar better than anybody I have ever seen. He is truly the real “unplugged” acoustic master. On top of all that, he’s been blind since infancy. His talent was enough to make me ap preciate bluegrass. Doc Watson is a local musi cian, born in the Deep Gap community, east of Boone. He has won five Grammy awards and received the Na tional Medal of the Arts in 1997. He played with his grandson Richard Watson at the begin- ning of his set, Richard Watson is the son of Merle Watson, Doc’s son and previ ous partner, who was killed in a tractor accident in 1985. An annual music festival, Merlefest, in Wilkesboro now bears his name. The show started out simple and homey. The announcer just came out on the stage and ^aid, “This is Doc and Rich ard.” No screaming “Hello, Asheville” at this concert. Watson prefers to play in informal settings. He joked that he would rather be in his living room performing, though he didn’t think we would all fit. He shies away from the fancy stuff, as he calls it, and it is obvious in his show. He wore a blue plaid shirt, and plain brown pants. It was just him and Richard Watson sitting on the stage with their guitars. It was very cozy, and felt like being with family. They opened with “Match box Blues” and went into “Trainwhistle Blues.” The sec ond piece had some serious guitar picking in it. The man moved his fingers so fast it was unreal. -I found it impossible to just sit still during the show. I had to either tap my feet, clap my hands, or bob my head in time to the music. I wasn’t the only one in the music hall The only downside to the' whole show was midway through the performance, some loud-mouth behind me kept talking about inane things to this young woman he seemed to be trying to pick up. “You grew up in Richfield? Shut up. No way.” Shooting him dirty looks did no good. He prattled on and on about how he locked his keys in his car, got a coat hanger and shoved it through the win dow stripping. By then, I was ready to shove him through small opening. I never understood why people pay for concerts they have no intention of paying anyattention to, and why they insist on ruining it for others, especially when it is someone like Doc Watson, who de serves respect and attention. Thankfully, Watson’s won derful voice and playing made up for the man behind i Watson also liked to tell jokes between his songs and even came up with some on the featured Jack Lawrence, who harmonized with Watson beautifully, especially during a piece called “Storms on the Ocean.” After one song, Lawrence re marked to the audience that thfey might have noticed he kept his eyes closed the entire “I really get into it,” Lawrena said. “Either that or I don’i want to see any suffering.” Watson jumped in, bragging that he never has the problem of seeing his audience suffer. Watson often tells stories about the music he plays, whether it’: to summarize the plot behind the song or to explain why it has special meaning to him. I enjoyed this style, making easier' to appreciate each and every piece he performed. The music was kind and gentle the ears. Watson knows how to play guitar. He didn’t need to com pensate for a lack of talent by playing extremely loud screaming into a microphone. Tap Dogs bring construction show to Asheville By Megan Wood staff Writer Tap Dogs, a six-man Australian tap dancing group, will perform on Dec. 6 at the Asheville Civic Cen ter. The show is billed as, “A unique theatrical experience—part theater, part dance, part rock concert, part party, part construction site, a rough, tough, and rocking reinven tion of tap dance for the ’90s.” Tap Dogs has been described as both, “Australia’s answer to Irish Riverdance,” and “Testosterone tap.” The idea behind the show is to take traditional notions of tap danc ing and turn them around into an experience that has modern over- The show is set in a construction site with six men tap-dancing in a way that dispels any notions about tap-dancing being only for little girls who are wearing frilly dresses. The show has become so popular that it has expanded into three, simultaneous touring companies. During each show, the dancers construct the set out of aluminum grinders as they perform. Upcoming In addition to constructing a set every night, the cast of Tap Dogs also dances in water and upside down, while suspended in harnesses. The costumes that are worn dur ing the performance are pretty un conventional, considering that most dance performances are formal events. Rather than performing in normal tap shoes, the Tap Dogs perform in Blundstone Boots, Aus tralian workboots with metal taps attached. The set is designed to resemble a construction site. It is mobile enough to move and change with the performers. The show became both an inter national, critical and public sensa tion, winning numerous choreog raphy awards for its unique style. The show has also won an Olivier Award in London, United Kingdom’s equivalent of a Tony Award. Tap Dogs first premiered in Aus tralia in January 1995 at the Sydney Theater Festival. Since this time, the show has played sold-out en gagements in over 150 cities around the w rid. Although all of the original mem bers of the show were Australian, the group now includes dancers from Australia, England, Canada and the United States., The production was created by Dein Perry, the only choreogra pher that has won an Olivier Award in two consecutive years, and Nigel Triffitt, a director who is acknowl edged as a leader in visual theater in Australia. According to the press release. Perry got inspiration for the show from his own background. Before working as a choreographer. Perry worked as an industrial machinist. After receiving a government grant. Perry formed Tap Brothers, the predecessor to Tap Dogs. From this. Perry was offered the chance to choreograph the West End musical. Hot Shoe Shuffle, which brought the group to Lon don and earned Perry his first Olivier Award in 1995. A subsequent offer from the Sydney Theater Com pany led to the collaboration with designer Nigel Triffett, which re sulted in the creation of Tap Dogs. Tap Dogs made its North Ameri can debut in Montreal in 1996. Since this time, the show has been featured on “The Tonight Show with Jay Leno,’ and is currently making its first run on tour through the United States. The show is usually around 90 minutes and does not include intermission. Tickets are on sale at both the Highsmith Center and at the Asheville Civic Center. The price is $5 for students and $22 for faculty and staff The third annual UNCA Christmas party for Hillcrest Headstart children will be in the Highsmith Center lounge on Dec. 3. The event was organized by Sisters of Spirit, Brothers Unified and Achieving, the literature club and the Student Fellows. Sodexho- Marriott Dining Services is providing bagged lunches for the children and participating students. Students and faculty are welcome to attend the event between 11 a.m and noon when there will be storytelling, games and other events. Charles James will ap pear as Santa Claus. Classes are starting now! Call today to reserve your seat. Greenville Class Starts Saturday October 30 Asheville Class Starts Saturday January 15 1-800-KAP-TEST www.kaplan.com JUS’ RUMMIMQ ... the name says it all 523 Merrimon Avenue, Asheville 252-RUNR Mon-Sat 10-6; Sunday 1-5 Show us your UNCA Student ID and receive a 10% discount!
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