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I. 4 n rV
The
Tar
Heel
Acfts
(9
Section
Tours, workshops, speakers
Tar Heel Days orient new students, parents
By PAUL ENSSLIN
Tar Heel Staff Writer
July 21 junior transfers, incoming
freshman and their families will be on
campus for the third of four Tar Heel Days.
The mini-orientation workshops, designed
to give new students the chance to tour
UNC, have been taking place each Satur
day this month. They wind up on July 28.
Generally geared for freshman, this wee
kend's program is modified to suit the
junior transfers.
"The program is actually more for the
parents, explained Chuck Zeugner, chair
man of this year's Orientation Committee.
"The students will be here Orientation for
a week in the fall. So we place the emphasis
here (in the summer) on the parents because
this may be their only opportunity to really
see the campus."
Each program runs from 8 a.m.-3:15
p.m. and includes lours of dorms, mnch
in the Great Hall and remarks from venous
campus representatives.
"A lot of kids come just to see their dorms
but others come to make friends so they
won't feel alone in the fall," said Lynn
Pierce, a member of the Committee. She
added that many of the families who
participate come from as far away as
Florida.
According to Zeugner, the programs are
run "by the students for the students."
About 25 student volunteers participate
each Saturday serving as tour guides and
question answerers.
"There are no hired staffers here, they
are strictly volunteers," he said. "I think
it is more efficient that way. These people
are here for a cause and we could not do
it without them."
Involved in each program is a college
simulation game, in which the students
spend an hour and 4." minutes in W ollen
Gym discussing a "typical" treshmun vear.
"This was a game designed at tht
University of New Mexico," said Pierce.
"You spend 20 minutes on the first
semester, then have Spring Break and then
spend 20 minutes on the second semester.
The game is designed in such a way that
some kids can end up with all A's while
others can get thrown out for cheating."
Pierct 3'Jded lat most ot the students
liked the game, but that they "really can't
appreciate it until they come to Carolina."
Zeugner then explained that while the
freshman play the simulation game, the
parents are encouraged to participate in
their own programs. "They get to choose
three seminars, each of which lasts thirty
minutes. Through these seminars they can
learn more about what their child will be
facing."
"These are very important, because the
Pilo bolus suggests
shapes, themes
parents love them," added Pierce. "The
most popular seems to be the one dealing
with academic pressures, where they
become aware of what pressures may face
their child, be it academic or social.
Since this Saturday's program has been
modified to suit junior transfers, new
programs have been added for them, not
so much dealing with college but dealing
with life at Carolina.
Zeugner and Pierce estimate there to be
800 people at this Tar Heel Day, which
would be the biggest one yet. "We started
with about 475 people at the first one and
, they appear to get bigger each time," Pierce
. said. "This past Saturday 675 people
showed up and it went and I had no idea
that everyone would show up at 8 in the
.morning. Everybody was excited and it
went really well.
Pierce said that volunteers were still
needed for the final program on Julv 28.
By MELISSA CROOM
Tar Heel Staff Writer
For centuries, traditional
dance styles, especially ballet,
have striven to exalt the beauty
and grace of the human body.
Pilobolus Dance Theatre, one of
19 dance troupes presented by the
American Dance Festival, forces
the audience to consciously
remind itself that those surprising
shapes on stage are actually
human bodies. The result ranges
from the shocking to the
humorous.
Pilobolus Dance Theatre was
one of 20 different shows pres
ented by the American Dance
Festival during the 1984 Worlds
First International Modern
Dance Festival held from June
10-July 21.
Of the three movements in the
performance, the first, "Molly's
Not Dead," performed by Tim
Latta, Carol Parker, Josh Perl,
Peter Pucci, Cynthia Quinn and
Michael Tracy, was the funniest
in the use of dehumanizing
effects. For example, three
dancers represented one charac
ter to create a farcical exagger
ation of gestures and movement.
With delightful skill, the dancers
became balls, seesaws, back
packs, headdresses, appendages,
imaginary creatures, wheels and
other images within a series of
skits touching on death, religon
and conformity. The music by
Walt Michael, Tom McCreech
and Tom Campbell established
the mood for the audience while
being seemingly unrelated to the
movements of the dancers. Pilo
bolus fully lived up to its comic,
outrageous reputation.
The second movement, in con
trast, "Return to Maria La Baja,"
performed by Robby Barnett,
Alison Chase, Robert Faust and
Lisa Giobbi, was completely
different in style, purpose and
mood. Unlike the beautiful if
often tragic narratives created in
ballet, Pilobolus depicted an ugly
story of an abusive mother selling
her daughter as a prostitute.
Animal imagery created by the
dancers was as powerful as the
animal noises played in conjunc
tion with the music by Paul
Sullivan with the resulting deh
umanizing impact. The choreo
graphy, by the performing
dancers themselves, was sugges
tive enough that story line was
easy to follow and yet provacative
enough to allow an active imag
ination to enrich the narrative
with detail. Last Friday night, the
audience was subdued during the
second intermission as it tried to
shake the somber mood created
in the piece. Rarely is sexuality
depicted with quite such baseness
and quite such magic under
different conditions within the.
same story. But Pilobolus is
known for its originality.
The third piece, "Day Two,"
performed by Tim Latta, Carol
Parker, Josh Perl, Peter Pucci,
111
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The Pilobolus dance campany: audiences forget they are human
Cynthia Quinn and Michael
Tracy, was a celebration of
movement. For the first time in
the show, all six dancers per
formed in reference to the music,
which was by Brian Eno, David
Byrne and Talking Heads. Dur
ing one selection the dancers
became the music by representing
a series of musical notes through
a series of repeated movements.
The atmosphere was considera
bly more upbeat than in the
second movement as the stage
was washed in warm colors.
Besides musical notes, the
dancers movements also sug
gested insects ski aiming the sur
face of a misty lake, bubbles of
lava from under j tarp spread
across the stag? floor and
raindrops.
Throughout the performance,
Pilobolus employed a number of
devices to dehumanize the
dancers. For example, in "Mol
ly's Not Dead," the dancers
depicted objects, in "Return to
Maria La Baja," they often
appeared more animal than
human, and in "Day Two," they
represented substances such as
lava or water. Likewise, by using
primarily top and wing lighting,
Neil Peter Jampolis created eerie
(See DANCE page 5B)