Season 1 Episode 5

Fawnda takes Omar Mouallem to his first dance show ever, butchers Robert Rauschenberg’s name, and covers the history of the term “interpretive dance,” all while covering Mile Zero Dance’s presentation of CAGE’D.


  1. Jen Mesch

    Wow! Guest Reviewer is great to have as someone who doesn’t get it.

    First, I think this is pretty good:

    I’m bummed out. Not because Guest Reviewer didn’t like the piece. Not because he didn’t get it, thought it too long or too insular. I’m bummed out because he didn’t like it because there wasn’t an obvious story.

    I think it’s a mistake to think that a performance, including rap, needs to be palatable to an entry level audience. Indeed, we would never get anywhere as artists, or as a society. I think it’s fantastic that there are choreographers here in Edmonton that are working deeply and taking risks rather than trying to appeal broadly.

    I’m bummed out that Guest Reviewer didn’t even do a quick Wikipedia skim about John Cage. For most people who care about western music made since 1900 or so, John Cage is most certainly a household name, and if anything, an overused one. If there are any criticisms of the references to Cage in this piece, it might be that it’s a year late, considering the globe was bombarded with Cage 100th birthday tribute concerts through all of 2012. Another might be that 4’33” is actually an entry level Cage reference. Still another might be that Cage himself was not into improv.

    There are few people in this world who have the knowledge and skill to prepare a piano (and to be allowed to prepare a piano) the way Lieurance did. It’s true that people don’t usually play all of the movements in a concert dedicated to this piece of music. The fact that they were all played, and by a Cage expert, was a special treat that Edmonton is likely never to see/hear again. Hearing Guest Reviewer say that it was too long makes me think Guest Reviewer should be forced to attend AS SLow aS Possible
    until it’s over!
    Ok, maybe a week. Bring a sleeping bag. Maybe other provisions.

    I didn’t get it either. Thank goodness! It was a mysterious piece, even to the dancers. They said it was very very different each night. That is so interesting!

    Still, thanks for trying to get it!
    Jen Mesch

  2. gerrydance

    Jen brought up some great points here.

    I do not think that it should be necessary to do research beforehand, read program notes, or have any idea about a performance (or film, or any work of art) beforehand- especially if one is open-minded enough to try to take it in on its own terms for what it is. But that can be challenging, and this work definitely was. Kudos for even showing up!

    In this case, since the work was an ode to John Cage (I like Nick Cave too…) and his legacy to the performing arts, a bit of minimal research would have greatly effected the experience. Apparently not enough people in the arts even know who Cage was- I found the audio text parts of the performance very informative in this regard.

    See Cage doing his thing to a TV audience a long time ago. He is so odd! He still provokes and makes people wonder.

    I personally only get to see Andrew Harwood dance like an epileptic having a seizure only a couple of times a decade, and I crave it in between! To me, he sheds light on what it means to be human, in ways that are overlooked in daily life and in popular culture. He is like a dancing shaman. So no, I do not need a storyline to follow. But belief does help.

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