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RULAN TANGEN & DANCING EARTH Launch Edison's Ovations Series 10/1

RULAN_TANGEN_and_DANCING_EARTH_launch_Edison_Theatres_Ovations_and_Ovations_for_young_people_series_101102_20010101

Rulan Tangen and Dancing Earth launch Edison Theatre's Ovations and Ovations for young people series 10/1-10/2.

In the beginning, people came from the sky, descending to the earth that would thereafter sustain them.

It's a theme found in the "constellation" creation myths of the Iroquoian, Mayan, Algonquin and other First Nation peoples. It is also a theme reinforced by modern science. Carbon, the basic element for all life on earth, is only formed in the heart of a star.

In October, the Edison at Washington University will launch its 2010-11 Ovations Series with Of Bodies of Elements, a new evening-length concert by Dancing Earth, the premier indigenous contemporary dance ensemble working today.

Led by choreographer Rulan Tangen, this acclaimed troupe is poised at the intersection of ritual, culture and ecology, employing Native American traditions and perspectives to explore contemporary - particularly environmental - issues and concerns.

Performances, which are co-sponsored by the Kathryn M. Buder Center for American Indian Studies at WUSTL's George Warren Brown School of Social Work, will begin at 8 p.m. Friday and Saturday, Oct. 1 and 2.

Tickets are $35; $30 seniors; $25 for Washington University faculty and staff; and $20 for students and children.

In addition, at 11 a.m. Saturday, the company will present a special all-ages matinee, titled Elements of Dancing Earth, as part of the ovations for young people series. Tickets are $12.

Tickets are available at the Edison Box Office and through all MetroTix outlets. Edison Theatre is located in the Mallinckrodt Center, 6445 Forsyth Blvd. For more information, call (314) 935-6543 or e-mail edison@wustl.edu.

Of Bodies of Elements

Of Bodies of Elements opens with a suite of dances illustrating constellation creation myths as well as the native belief that all life forms are in some way related.

Elegantly summarized by the Lakota prayer "Mitakuye Oyasin" - an expression of harmony with nature that literally translates as "all of my relations" - this belief also finds a corollary in modern science, which has shown that many strands of DNA are shared by both humans and animals.

The program continues with dances exploring native agriculture and diet, the staples of which were corn, beans and squash, also known as the "Three Sisters."

In some regions a "Fourth Sister," the sunflower, was planted to protect corn from being eaten by birds. In recent years, the sunflower has taken on additional resonance as the symbol of the anti-nuclear movement: its roots have a unique ability to leech heavy metals and radiation from soil and water.

Subsequent dances explore the European colonization of "Turtle Island," a native term for the North American continent, as well as the early reservation period and the legacy of forced assimilation.

Symbolizing renewal are the whirling "Thunderstomp," which captures the spirited energies of fire, water, wind and lightening; and the concluding "Resurging Wilderness," which speaks to the constant change and evolution of life throughout the earth's many ages.

Rulan Tangen and Dancing Earth

Tangen made her professional debut at age 17 and has since performed with ballet and modern companies in New York, Santa Fe and California.

A champion powwow dancer, she has created lead roles for a number of native dance projects, including Kaha:Wi Dance Theatre in Toronto, TRIBE at the Ordway Theater in St. Paul, MN; Minigoowezewin at the Banff Centre, Canada; No Home But The Heart with the DAYSTAR Company; Here On Earth for the Smithsonian's National Museum of the American Indian; and the PBS-televised Music From a Painted Cave.

Dancing Earth, which Tangen founded in 2004, reflects both the cultural heritage and the contemporary identity of native peoples. The company boasts an entirely indigenous creative team of nine dancers and more than a dozen composers, costumers, filmmakers, visual artists and stage crew.

Between them, members represent the First Nations of Blackfoot, Hawaiian, Tarasco, Pueblo, Pima/Maricopa, Seneca/Cayuga Seminole/Pawnee, Yaqui, Apache, Juaneno, Coushatta, Chamorro, Metis, Cherokee, Choctaw, Shoshone, Aotearoa, Dene, Papanga, Shoshone, Tarahuamara, Lummi, Jenizaro, Naragansett, Pima and Taino.

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Chris has been active in the local theatre scene for over 30 years. In addition to his acting work, he's also contributed as a director, writer and composer. Though, initially a film buff, he grew tired of the sanitized, PG-13 rated blockbusters that were being continually shoved down his throat by the studios. An opportunity to review theatre in St. Louis has grown exponentially with the sudden explosion of venues and talent in the region. He now finds himself obsessed with witnessing those precious, electric moments that can only happen live, on stage.
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