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About Just out. (Portland, OR) 1983-2013 | View Entire Issue (Oct. 17, 2003)
DANCE Long day's journey into night and [my master) would scold me to get over here and pick up the fans and the scarves." T he highlight of Crossing Borders is the world premiere of “Nocturnal Path," another highly personal work with slow tai chi-like movements and arresting images set to hypnotic music by Philip Glass and Dead C an Dance. Tran has been choreographing the piece for more than two years. lean, lonely figure writhes onstage— contorted, tortured and haunted. Two more join him, their muscular bodies expressing intense discomfort. Thus opens “T he War W ithin,” the autobiographical signature dance piece by Portland dancer and choreographer M inh Tran. O ne of four works by Tran that compose Crossing Borders, it will be performed Oct. 23 by F lo y d S laver to 25 as the season opener for the W hite Bird/Portland State University Dance series. It also wasn’t until he met his partner, endured a perilous voyage through scorching heat “T he War W ithin” is Tran’s highly personal and monstxin rains. “There were 65 people on Gary Nelson, 15 years ago that he was exploration of his dangerous escape from Viet our 35-foot fishing boat," he recalls. “We were lit finally able to verbally tell the story, nam. ‘Technically, there’s nothing to it," he erally shoulder to shoulder. There was no roam which fortunately ends happily says, “but choreographically it’s like going to a with the rest of his family reunit ing room. Only 60 percent would make it alive.” counseling session.” ing with him in the U nited States. Tran’s parents were wise in telling him to In 1979, four years after the Communists Tran’s work blends Eastern and stick with his brothers. “O n the boat I got sea won the Vietnam War and took over the entire Western traditions. He sick instantly.” he says. “There was a time country, a pubescent Tran was conscripted into trained as an opera when I wanted to let go.” the army to help overthrew the neighboring performer at the In “T he War W ithin,” the 5-fcxn-4 Tran is Cambodian government of Pol Pot. Before he National Schtxd of supported and carried by another dancer who could leave for training, however, his parents Fine and Performing represents his older brother. “I just wanted to handed him a large wad of cash (“I’ve never Arts in Saigon (now go overboard. It would be much more peaceful had so much money in my life”) and told him 1 lo C hi Minh City) than on the boat. [But] he wouldn’t let go." to follow and obey his three older brothers. when he was a child. Viet X After four days tin rough seas with no fixxl or T hen they kissed him gixxlbye and told him he namese opera is very deriva water, the three arrived at a U.N. refugee camp might never see them again. tive of Chinese with many of in Thailand, where they spent the next year. Tran bounced along dirt roads by truck, V o ^ i the same elements, including ~ Tran and his brothers were sponsored by a local bike and bus in order to avoid detection. “You elaborate costumes, minimal sets \ \ w man to immigrate to the United States. W hen had to have a permit to go from one city to and a rigid structure of roles. he heard that he was being sent to Portland, the another,” he explains, “because everyone was young Tran started crying, “I don’t want to go to Opera performers must he able . to s trying to escape. We were afraid of any govern sing, dance and act and are typecast Portland. I want to go to the U.S.” m ent officials finding us.” They made their way into predefined roles for which they to a pier where they climbed aboard a rickety n Portland, Tran discovered the world of spend years training. Tran was tapped to fishing boat to leave Vietnam. mixlem dance. “I couldn’t talk about [my portray female warriors and concubines. It was the height of the “boat people” crisis, “In the opera world,” he says, “it was a com experience) until I met dance. T har’s how I when hundreds of thousands of Vietnamese fled pliment that I had to take, whether I wanted it was finally able to share the story. It was tix) across the South China Sea using small wtxxlen or not. I kept sneaking over to pick up a sword, close, tixi personal.” and unseaworthy boats. Tran and his brothers A Dance reflects artist’s intense personal odyssey ea tin y out eatingout eatingout eatingout eatingout 1ST.. Minh Tran & Company performs O ct. 23 to 25 at Portland State U niversity’s Lincoln Hall The dancer chi>se night as his them e for “Nocturnal Path" because “it’s a time zone that is the most intimate and personal. It’s like watching my brain through all these nights for the past two years.” In Crossing Borders, Minh Tran takes us on an intimate journey into his dark past. Rut, with national recognition tor his work on the horizon, his future is looking bright indeed. JH M inh T ran & C ompany performs 8 p.m. Oct. 23 to 25 at Portland State University’s Lincoln Hall, 1620 S.W. Park Awe. Tickets are $I2'$24 from Tickctmaster. eatingout eatingout eatingout La Calaca Comelona ■ w Q Restaurante 01 JOHN CAFE & ESPRESSO BAR is tR e e t cafe Mexicano The original best breakfast in I Downtown Vancouver in n i lim i li too.' IT WITH L 8338 N. 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