Katherine Dunham Company Exciting, Exotic, Entertaining

Press, Volume XCV, Issue 28249, 10 April 1957, Page 3

Katherine Dunham Company Exciting, Exotic, Entertaining

THE DOMINION, TUESDAY, APRIL 9, 1957.

Curiously exciting and, to New Zealand, refreshingly original in its exoticisTp. was the dance’ entertainment given in the Grand Opera House by Katherine Dunham and her talented group of men and women dancers from the far Carribean, who have entranced large audiences in the Commonwealth during the last few months.

With an ever-increasing interest in the ballet, as we know it. this flashing insight into the ritual and folk dances of the West Indies, schooled into ballet form by the deft choreography of Katherine Dunham, is an education to anyone interested internationally in dance forms. In ‘this case, occasional records of calypso rhythms in song and otherwise are about all we know of the native music of these charmed isles. Now Miss Dunham’s agile energetic team in exoressive action gives one a clear insight into the character of the music and the dancing which thanks to the work of such apostles as Miss Dunham, have captivated half the world during the last few years.

Through this dancing group one is able to capture at least some of the drama, humour and poetry of West Indian South American dance forms, modified perhaps to conform with modern taste, even when that taste extends to the prevailing rock ’n’ roll frenzv. the safety valve of exuberant youth in so many parts of the wor»d. What strikes one most forcibly is the extraordinary vitality, original attitudenising and clean footwork of these volatile dancers. Whether it be those rowdy ritual dances with a basis of African idiom, the samba of the islands, the bolero of Moorish origin, right down to the fanciful "Darktown Strutters’ Ball,” and the cakewalk of the “Americana” interlude, these visitors display . a physical vim and spirit of hilarious gaiety that is most exhilarating. One set piece of curious character which captures the imagination was “Shango." which represents the sacrifice of a white cock to the Yoruba god Shango, a ritual interlude which has its origin in Trinidad. This was vividly enacted with Francisco Aguabella. Dorothy Speights and Ural Wilson.

Another striking ballet was “Beracruzana,” in which Katherine Dunham enacts in a manner that is irresistible the role of a woman who betrays her husband. This talented dancer also displayed her versatility in “Barrelhouse.” described in the programme as “Saturday Night at Jacksonville.” The full strength of the company joined in the cakewalk which brought down the curtain amidst clamorous applause.

A competent orchestra provided music in character with the dances. ’ —P.B.A.