‘New Dance designer Fisher
makes weekend appearance
Margaret Fisher, innovator the
“New Dance” technique based on
free-flowing movement designed
to explore the powers and limits of
the human body, will appear at the
Open Gallery Friday and Satur
day.
While not well-known to the
general art-appreciating public,
but quite popular among dance
connoisseurs, Fisher’s perfor
mance of post-modem dance will
include solo work in addition to
video and audio tapes. For the
past five years, her energies have
been focused on movement built
Ml - - * t'
Margaret Fisher
on the healing sciences, an out
growth of her involvement with the
Natural Dance Studio in Berkeley.
Her repertoire for the Gallery
performance will include "Split
ting, Parts I through IV, a solo
created in 1977 and 1978. An East
Bay Review writer in Berkeley
termed "Splitting” one of the
“most humorous and inventive
works” in quite awhile, and added
that Fisher manages to create a
non-verbal language with ele
ments of mime, dance as well as
hand and head gestures which is
termed “unique.”
Her video tapes will feature
several San Francisco dancers, a
part of her “New Dance" creation
of the experimental and unusual
performing arts theater, Cats Paw
Palace in Berkeley, and currently
has her own studio in Emeryville.
She has toured America and
France with the “Real Electic
Symphony.”
Fisher will be on hand Saturday
at the Gallery, 445 High St., for
discussion at 2 p.m. Tickets are
$2.50. For advance reservations,
call the Gallery at 345-4857.
ensemble stages two shows
Inti-lllimani, an exiled Chilean
folkloric ensemble, will perform
two benefit concerts this Sunday
in the EMU Ballroom.
The six-member band is based
on Indian and peasant folk themes
and recent compositions of
socially-committed folk-based
songs. They play a number of An
dean instruments, including the
quena (an ancient bamboo flute),
the charango (a small, high
pitched guitar made from ar
madillo shells), and the zampona
(a set of cane pipes).
Inti-lllimani was one of Chile’s
most popular musical groups be
fore the overthrow of President Al
lende in 1973. Formed in 1967,
they performed on stage and in
factories, town squares, and
schools. They have recorded
more than 14 record albums, sev
eral of which will be available at
the concerts.
Proceeds for this concert, one
of 12 in the United States, will go
to “Chile Herido” (Wounded
Chile).
Times of the shows are 2 and
7:30 p.m. Admission to the
matinee performance are $4 in
advance or $5 at the door; the
evening show is $5 in advance
and $6 at the door. Tickets may be
purchased at the EMU Main Desk,
the Sun Shop, Everybody’s Re
cords and Odyssey Records.
Dylan’s film debuts
with critical reviews
By BILL LINGLE
Everyone knows Bob Dylan. He’s the young punk who tried
to sing his way into the bed of every Sarah Lawrence college girl
almost 20 years ago with those weird not-quite-songs-not-quite
poems. He’s the guy who justified the early Sixties’ folk boomlet
by looking authority straight in the eye and telling it what was what
for us when we were afraid to.
He’s the guy who busted the boomlet by appearing with a —
gasp — rock n’ roll band at Newport in 1965. He’s the guy who
racked himself up on a motorcycle, went into a long seclusion and
emerged melodically and didactically mellow. He’s the guy who
sniffed the idiot wind of the Seventies and got angry all over again.
He's also the guy who has a new film opening tonight at the
Mayflower theatre. Credit him for being smart enough to know
which way the wind blows in matters of popular art; movies, for the
time being at least, offer the ultimate potentiality for cultural
expression to the artist who’s done everythig else. But Dylan a
filmmaker?
The answer, if you believe in critics, any critic, is a resound
ing “No!” Renaldo and Clara has not been well received, to put it
mildly. It is not really Dylan's first film — that distinction belongs to
something called Eat the Document, a Godard-inspired record of
a tour with The Band — but it is the first one to garner the Big
Treatment from the media. But media attention, especially when
directed at a work that revels in obscurantism and celebrates its
excessive length, is not always a desirable commodity. Renaldo
and Clara, even before its first frames flicker in Eugene, is a
colossal failure, a dead whale beached on the shores of apathy.
A New York Daily News headline expressed the critical
response with characteristic succinctness: “Dylan Fails.” The
New York Times and the Post agreed, although they used more
wcrds doing it. Richard Corliss, writing in New Times, calls it an
“overstuffed memoir” and says the climactic scene of the film
“holds less interest than a conversation of three accountants
overheard at a lunch counter.”
Rock critics have treated the film with the same disdain as,
and more anguish than, movie critics. Dave Marsh says in his
Rolling Stone column, “It’s hard to believe that any Bob Dylan
project could matter so little.”
The only kind words I’ve seen aboat the film are buried in
Jonathan Cott’s incredibly fatuous Rolling Stone interview with
Dylan. Cott is so busy impressing Dylan with his knowledge of
every line Dylan ever wrote, and with reminding Dylan of his
Jewish roots, that he says little about the film, but he at least takes
it seriously, if uncritically.
If you are as perverse as I am, and as much a Dylan fan, you
may conclude that anything critics so unanimously pan must have
some merit. I don’t relish spending four hours at the Mayflower,
but interspersed among all the dream footage that everyone
hates so much is a two-hour Rolling Thunder Revue concert. That
alone should make Renaldo and Clara worth seeing.
Mandolin virtuoso
Hall to perform
Euaene’s own Grea Field, who
fnllnu/inn
r>sv
. v f
-i—
Inti-lllimani
Kenny Hall, perhaps the most
respected authority in the field of
mandolin artists, will appear
Tuesday at 8 p.m. at the Wesley
Center, 1236 Kincaid St.
Hall has recorded on Philo and
Bay record labels and has ac
companied numerous artists on
recordings. As a solo artist he
plays mainly American and Irish
oldtime music, but occasionally
will slip in a swing or Greek tune.
Blind since birth, Hall has
played mandolin (the rare round
backed type) for some 30 years.
He has earned the title virtuoso
and is known for his music s clarity
and clean sound. His style has in
fluenced several mandolin
players and has gained a "cult'
SENIORS - GRADUATE
students
Apply for the 200 paid
internships in western
states in the areas of
education; environmental
management, and natural
sciences; and other
professional fields.
Send resume or write:
WICHE INTERN PROGRAM
P.O. DRAWER P
BOULDER, CO 80302
following.
Hall lives in Fresno where he
teaches vocational work-shops
and plays local bars. He also has
served as an artist-in-residence at
several California universities.
Hall’s special guest will be
Eugene’s own Greg Field, who
plays ballads of America and the
British Isles.
Tickets for the event sponsored
by the Eugene Folklore Society,
are $2 and are available at the
door.
People for Southern African Freedom present:
Dr. Calistus Ndlovu
United Nations Representative
From The Patriotic Front of Zimbabwe
mtmMmtm i. jiriHMwr
f ——Speaking on:
ZIMBABWE:
The Struggle For Liberation
and Ian Smith's "Settlement"
MBNMMHMi
221 Allen Hall UofO
lpm Friday April 14
Parra Q Qantinn Ft