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Elvis Birthday Bash
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Elvis Presley performing in McArthur Court Nov 27, 1976.
The fifth annual Elvis
Birthday Hash will he held
at John Henry's tonight at 10
pm
Featuring ba< k up hand
the Memphis Mafia and five
Elvis I’res ley impersuniilors.
this concert features an
impromptu gathering of
some of the best lo«:al musi
cians in a tribute to the
Presley legend. Presley died
in 1**77
The Memphis Mafia
includes |ohn Fohl on gui
tar. Inhii Barley on guilai.
Nathan Wadi'll <>n hass and
Knh Wilson on drums The
Memphis Mafia was the
on kname of "the eats who
hung around with Elvis.’’
Barley said
Presley impersonators will
include Jet Harris of let
Harris and the Road Rockets,
Brio e Hartnell of The
Detonators. Pete Christie of
The Guardians of American
Morality and Steve Perry
from The Daddies
CONTINUITY
Continued form Page 7
Tho exhibit focuses on many
of tin' various work tasks that
tin women do daily.
Bet ause com is the main sta
ple (>f the Mesoamerican diet,
the women spend much of their
time preparing the corn
f irst, the corn is dried and
[in ked Then, the kernels .ire
soaked fur several hou's in
powdered lime The women
then grind the softened kernels
into dough (moso) on grinding
stones (rncfijfe)
Ai cording to Reid. the
women can be heard early in
the morning grinding the corn
WINGS
Continued from Page 9
associate professor of anthro
pology, coached the singers
Arkm's students, who com
mit to a full year of studying
the ethnic folk dance of four
stales of the previous USSR. .ire
the dancers in the piece
One of these dancers,
Catherine Roach, said she
appreciates the opportunity to
expand her "dance vocabulary
beyond the mop' common jazz
and Indict styles
Another featured dance. "Air
for the G-String,” was choreo
graphed In' legendary American
dancer lions Humphrey in
lt)2H lane! Oescutnw. an asso
. cite professor of dam e, recon
structed th>- pie. - from
Humphrey's Luba not at ion
notes
Labanolation is a symbol sys
tem for recording movement
that is similar to a music score
The system is therefore a wax
to preserve and maintain a
dance history, Descutner said
This dance required
Descutner to translate 33 pages
of l.ab.inot.it mn ill order to
rcconstrui t Doris Humphrey’s
five-minute piece, which she
composed specifically for
Bach's "Air" from his "Suite
Number Three" composition.
The "soaring melodic line" of
Bach’s score is well-suited to
the gliding steps and ethereal
gestures of Humphrey's chore
ography The movements,
which are complemented by
long, trailing sc arves, connotate
a nobility of human spirit and
spiritual peace, Descutner said
Descut ner is also the choreo
grapher for a contemporary
piece entitled ".Safari. ”
Accompanied by the music of
Shadowfax. the dance takes its
central metaphor from the
image of animals in the wild.
Some of the models for the
dancing creatures were taken
from Theodore White s 'Book
of Be ists." The piece was also
inspired by Nijinsky’s
Afternoon of a Fawn dance.
Different movement tech
niques set to a musical score
that is reminiscent of Africa or
Indonesia help the viewer to
( (injure images of animals I-or
example, one light, boiiyant
part of the music lent itself fo
gazelle-like grace, while anoth
er section of the inusii was
more suited to a povverlul
image of a hoar or hull.
I Jescutner explained
Janet Kiisk s stage setting sug
gests a variety of natural habi
tats while her lighting design
portrays different times of the
day Some of the images are in
broad daylight while others are
in shadow, silhouette or shafts
of light
Another dance. “Light,” is
the result of a collaboration
between guest choreographer
Peggy (licierska Soomil and
guest composer Stephan
Soomil This dance was
"inspired l>\ abstract imagery
and geometric patterns."
Cicierska Soomil said. Soomil's
synthesized music provides the
score for her choreography.
Performances are at ii p in
Jan. 15-lf> and 21-23. For ticket
orders, call the University
Theatre box office at 340-4191
and sti lhal it t an bo made into
tortillas (thin corn pancakes).
ml it as (sweet i akes) and atole
(a thick drink).
Photographs of the kitchen of
different homes and accompa
nying text explain that "the
lii-art of tlie home is the
kitchen
"I knew 1 was welcome when
I tt.it invited for coffee, tamales
or soup.” Ketd said
There are usually 3 large
stones on the floor of the
kitchen which serve as a stove
for cooking. Reid explained
Thev use pottery and cooking
pots (ollas and camales) which
are balanced on rocks above the
fire The kitchens portrayed in
Reid's pictures show till the
Other accessory utensils used
for cooking.
in contrast to other more
"traditional" villages, Reid
lived in a village in the state of
Michoacan. Mexico that was
more “modern" in that the fam
ily owned a television and had
electric ily. She says that was
the most northern of the vil
lages she visited.
As a supplement to her
photography, Reid's exhibit dis
plays traditional women's
clothing which are beautiful
multicolored. hand woven
blouses (huilpcs). skirts (fill
(Ins), bells (/ri/o.s), and shawls
(rebozos)
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