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I enjoyed seeing how far the Polish dancers have come into the world of Western contemporary dance. From their concert, I’d say they are now in various stages from the 60s to the 80s when contemporary dance first began to trickle into Poland. But you must eat all of the banquet if you are ever to digest its meaning. And these three have a good appetite for it.

Izabela-Chlewinska-Tralfamadoria-photo-Katarzyna-Madzia

My review of their Sept. 15 2012 concert:

Three Polish dancers made their American debuts Friday evening at the modest Mascher Space up on Cecil B. Moore Ave. Though their paths have crossed in Poland and two have worked with each other in the past, their movement esthetics diverge except for the fact that each uses sound/music very minimally, if at all.  Izabela Chlewińska lives and works in Warsaw, but has also performed in Germany, Mexico and Japan. In a doll-like little white dress, she writes out the story of her concept on an easel filled with large sheets of paper. She takes us to the land of Tralfamadoria, a riff on Kurt Vonnegut’s work (which was very popular in Poland) in that her work is non-linear, episodic and elliptical. It’s when she strips to her body stocking that we see what an original mover, even a contortionist, she is. In the Zoo section, she takes to the floor in an exquisitely high back-bend, head facing us and scuttles crab-like from side to side. She strikes sharply angled poses, bent-elbowed arms splayed out along her body while her chest and torso rise pointing to the ceiling or lies on her side like an odalisque or such as you might see when a leopard is in repose. Finally, she dedicates the dance to her father. But why? Did he introduce her to Tralfamadoria? Is this a remnant of a childhood memory lived just before the bizarre life lived under Communism dissolved? Maybe nothing of the sort, but I love works that raise more questions than they can answer.

Marysia Stokłosa’s Vacuum didn’t spare us from questions either. Wielding a vintage Electrolux canister vac (I had a similar one for many years), she literally swept the entire large space with it, criss-crossing from right to left, even insinuating it under the feet of the people in the front row. She re-covered the entire space from front to back running in reverse, so I thought, probably incongruously, of a warp and weft imaginary weaving of the space into one large fabric for her to dance upon. Lest you think this sounds too serious, Stokłosa disappears into a side restroom and runs the shower returning to us in a bathing suit the same vintage as the vacuum cleaner, and sopping wet, belly flops on the floor, flinging and flopping like a fish out of water. To Chopin, she dries her hair with the vacuum. Hah! Is she saying it’s time for Poland to wash that fusty romantic self-image away? I hope so, but that’s just me.

Each dance seemed born of a big idea realized with an economy of movement and a great take-it-or-leave-it confidence including the final work, Le Pas Jacques. By Magda Jędra, who is co-founder of Good Girl Killer in Gdansk, she starts with both feet planted on the floor while she scoops and swoops the air with her arms. She pulls a Babci shawl from a nearby paper bag and ties her ankles together with it, her wrists with another piece of clothing and then bruisingly jumps around, falling often until she loosens her bonds. I had to leave for another show so I regrettably couldn’t stay to see the rest. But I ran into her at the supermarket today and she had cabbages in her cart for tonight’s show. So, Kapusta anyone?

$15 Mascher Space, 155 Cecil B. Moore Ave. tonight and Sunday night, 8 p.m.

The #16 tooth came out Aug 10! By Dr. Daniel Taub who also debrided all the infection, fixed a hole in the sinus (blown by the extraction of the #15 tooth in front on May 10 — they make you sign a release because that can happen) and a biopsy and ten stitches, put me back on another course of Amox-clav. I was right, there was lingering infection throughout BUT BEC I DIDN’T HAVE A FEVER no one seemed to believe me. Arthur and I both like this guy Taub at Jeff. A shame I didn’t get to him in April when they messed up my appt. But I doubt he would have gone in this thoroughly without as good an understanding of my case he now has. even with the pain from the surgery I can tell its different. And my brain is working better. The stitches come out Friday and I am able to drive, work and think, I think. So that’s the mortal f–king pain I was living with. I’ll never know how I got through my poetry workshops in that condition.

And I want to know why neither Dr. Barry Rhome nor Dr. Allen Shaw could not have suggested I have this done. Both told me they couldn’t help me. When Dr. Taub said “Look, as long as I have you under for the extraction, I’m going in all the way from the #16 to the #12 to see what’s going on,” I nearly dropped to my knees to kiss his shoes. I said “What made you think of that?” He said, “Just seems like the logical thing to do.” Bless his heart and his family forever.

June 18, 1999|By Merilyn Jackson, FOR THE INQUIRER
Want to learn a new language in a week?

2000 Feet’s 25 or so troupes from abroad, and a few American companies with foreign roots, speak in many languages, both verbal and body. Just reading about these dancers could add a bunch of new phrases to anyone’s vocabulary. Seeing them perform can teach the universal language of dance.

Here are some that intrigued us:

Contemporary

With 50 works to her credit, 35- year-old Chinese-American choreographer Li Chiao-Ping, of Li Chiao-Ping Dance, has established herself as one of the young forces majeurs of modern dance in the United States today. Her video/dance works, often made in collaboration with noted video artist Douglas Rosenberg, are shown at film festivals around the world. The programmers surely made a mistake in not scheduling her pieces as one of the festival’s main attractions. But their mistake is your gain. Fin de Siecle, I and II, will be shown twice: 2:30 p.m. Monday at a free lecture/demonsration at the Arts Bank, Broad and South Streets, and in a public performance late Thursday night.

(A brief digression about schedules: All public performances recommended here are listed on Page 26. Many other opportunities to see and hear about dance this week, including dozens of “lecture/demonstrations,” are mainly for conference registrants but are free and open to everyone, space permitting. A schedule of those is in the Festival Guide available at all events, and at the Inquirer’s site on the Internet: http://entertainment.philly.com/2000feet/)

Fin de Siecle is an amazing 22-minute dance. Li, a powerhouse dancer, is still recovering from an early-winter auto accident; her Part I solo will be danced by Walter Dundervill and Part II by the full company of four. Watching Fin de Siecle is a perfect way to learn what is meant by the term “postmodern dance.” Li’s costuming, for instance, is reminiscent of the Italian futurists and the Bauhaus – the things that started all this early in the century. The choreography moves robotically, athletically and even balletically through the styles of the century, yet all the while it is clearly influenced by Chinese dance training. The piece will represent the genre well into the next century.

Tuesday evening at the Drake, Dundervill performs Chi, Li’s signature dance. Before her accident, Li had been working on Satori (which the company premieres on the same Tuesday program), a piece to music by Japanese shakuhachi master Riley Lee. In it, she works on extreme uses of the body but shapes awkward movements into gracefulness. “Since I no longer could use my own body to investigate or demonstrate with, I relied on my visual sense to create this work – a different process for me,” she told me by phone from her home base in Madison, Wis.

Postmodern dance turns modern and classical dance inside out – rather like wearing a couturier ball gown with the inseams, boning, and zipper placket exposed so that you see its structure, how it was made. Practitioners often use technologies and text, anything that helps them pull together and make sense of the artistic forms and political events of our times. One of the beauties of these contemporary dance forms is their ability to enfold other cultures and traditions and reinterpret them.

The following companies are also steeped in these techniques and represent the way the genres are developing in their home countries. Their performances, like all the public performances in 2000 Feet, are parts of mixed bills with several other companies.

A not-to-be-missed performance will be Nai-Ni Chen Dance Company’s Dragons on the Wall, Wednesday evening at the Merriam. Featuring a live performance by the ethereal soprano Joan LaBarbara, who composed the music, Dragons is part of Chen’s ongoing series called “Calligraphy.

Chen, like Li, is Chinese American, having arrived from Taiwan in 1981 to study at New York University at the age of 22. She, too, works in postmodern idioms with some martial-arts influence, but even more clearly lets her early traditional Chinese dance training shine through. An exquisite dancer, she will perform in a longer version of Dragons at the lecture/demonstration at 2:30 p.m. Tuesday at the Arts Bank.

For Chen, dance is not just physical expression. It has visual elements, too. “Calligraphy is like painting,” she said by phone from her studio in Fort Lee, N.J. “Within it, you can find parallels to many artistic `isms’ – the lines get blurred today.”

France’s Companhia Ladainha blurs ethnic lines so much it is almost impossible to identify the soil from which their new “isms” spring. Laina Fischbeck – the daughter of German-born Manfred Fischbeck, who founded Group Motion here in 1968 – left for France more than a year ago and met up with a dancer from the Rennes-based company while studying in Normandy. After an audition, the company invited Fischbeck to join.

When pushed to name her top five picks, 2000 Feet codirector Susan Glazer included Ladainha: “They surely will be one of the big hits of the festival.” After seeing their preview at Kumquat last weekend, I agree. Brazilian Capoeira master and company cofounder Armando Pekeno delivers an adrenalin rush to movement junkies, and Fischbeck has never danced better. She trains six hours a day in Capoeira, an Angolan-style martial art disguised as dance, and Candomble, a danhe training has dispelled Fischbeck’s old South Street ennui and imbued her body with a mysterious new energy and intelligence. She and Michele Brown, the other cofounder of the French company, and three other beautiful dancers were tres formidable with their ataques and take-downs.

Like tai chi, the Capoeira disciplines that Pekeno and Brown base their choreography on can be forceful and sudden, but is rarely violent-looking. The most explosive movements are when the five women, lying on their backs, jerk their bodies upward, momentarily levitating a foot or so off the floor. The musicians who accompany them – and sometimes dance – in ORU: Heat, Vapor, Energy, make percussive musical dynamism that more than matches the title. They’ll perform on Tuesday afternoon, with a generous lecture/demonstration at 4 p.m. Thursday at the Arts Bank.

Australia’s Expressions, another highly physical troupe, created quite a buzz when they performed in the United Kingdom a couple of years ago. Here they bring extracts from Jigsaw, a later work. Company members are known for their hell-bent cleverness and hilarious takes on just about everything. By e-mail, they describe Jigsaw as “a hybrid of several disciplines, including ballet, that explores phobias.” They’ll perform Thursday evening at the Merriam, and give a lecture/demo at 10 a.m. next Friday at the Arts Bank.

Transitions is a London-based professional company that accepts only the top graduated dancers and gives them the opportunity to work with Europe’s award-winning choreographers. They’ll perform a 1999 work for four men and one woman that contrasts spiraling athleticism and still moments to music by Fred Frith. Another piece – to music by the Klezmatics – is a high-wired, high-velocity dance on the same Tuesday night program at the Merriam. A demonstration at 1 p.m. Thursday at the Arts Bank offers a chance to see the company’s hits from last year.

Transitions is a London-based professional company that accepts only the top graduated dancers and gives them the opportunity to work with Europe’s award-winning choreographers. They’ll perform a 1999 work for four men and one woman that contrasts spiraling athleticism and still moments to music by Fred Frith. Another piece – to music by the Klezmatics – is a high-wired, high-velocity dance on the same Tuesday night program at the Merriam. A demonstration at 1 p.m. Thursday at the Arts Bank offers a chance to see the company’s hits from last year.

Latin

Spain, Mexico and Venezuela are represented by large troupes at the festival. Of these, the Madrid natives who form Noche Flamenca, now based in New York, already have a slew of fans here. From their first Jaleo – the Andalucian term for the shouting and clapping that encourages the dancers to jest and make merry – to the setting of their last, lonely Solea, they’ll once again please their crowd. Noche Flamenca, which sold out the Wilma Theater for 10 days in January, is appearing at Saturday night’s opening gala as a prelude to a second run at the Wilma beginning Wednesday.

Even those who find bourrees (those teensy on-pointe steps) boring will be intrigued by Venezuela’s Ballet Metropolitano de Caracas. This is classical ballet infused with Latin zing. Wednesday evening at the Merriam, 10 of their dancers will perform a salute to Venezuelan dance, to music by Latin-American composers.

Mexico’s Delfos fuses Latin and western modern dance and is another of festival codirector Glazer’s picks. She says to watch for the delicately traced choreography, defined by impeccable body work. Sunday night’s program at the Merriam will offer an unusual opportunity to see a neighbor nation’s contemporary work.

In a burst of joyful brilliance, the programmers have engaged the Philadelphia-based Samba Nosso drum and dance group to lead the audience in and out of the Merriam at Saturday’s gala. Samba Nosso plays African-influenced styles of authentic Brazilian music with musicians and dancers from around the world.

Asia-Pacific

After watching anorexic Western ballerinas with their hinged elbows and knees, most Asian dancers appear boneless. Their limbs are breathtakingly fluid, with no awkward joints. Because of their rigorous training, it is unlikely that audiences will see even one mediocre dancer out of the eight contemporary troupes from China, Hong Kong, Korea, Kuala-Lumpur, Taiwan and Singapore.

When pressed for her favorites, Pearl Schaeffer, director of the Philadelphia Dance Alliance and Glazer’s partner in 2000 Feet, blurted out China’s Guangdong Modern Dance Company first. “I’m interested in seeing modern dance with roots in the U.S. being reinterpreted by a Chinese company,” she said. The members of Guangdong Modern Dance, founded by the Chinese government in 1992, “use elements of contact improvisation, they’re highly gestural, and use partnering well. Their costuming is very western – the men bare-breasted with baggy white pants and the women often have minimal costuming with long sleeves or fabric trailing behind.” The company will be on a Thursday night bill at the Merriam.

 http://articles.philly.com/1999-06-18/entertainment/25500834_1_postmodern-dance-dance-works-classical-dance#.UB70tK5fnB4.email

July 9, 2012

For seven years I have lived in almost constant and often unbearable pain, undergone 7 root canals by four different dentists, had three teeth removed and two subsequent minor surgeries to grind down the jawbone when it dropped. The ordeal is still not over. I am in severe pain as I write and in the deepest debt of my life. Among the things that my Delta Dental PPO/Premier plan does not pay for is the anesthesia for tooth removal. They will only pay for anesthesia if two or more teeth are being extracted at once. Of course, you cannot do that without being extremely sure which teeth are infected. So I have put some $3,000 on my credit cards. Last week, a digital radiography showed some sort of irregularity in the form of two horizontal lines on the remaining back molar. Neither the doctor who took it nor the surgeon I went to could tell me what it could mean. I was told I would have to find a dentist and am trying to find one who will accept my insurance plan. This is the first part of the story. The rest will come later along with photos of the 36 different bottles of prescriptions I had filled. I need to be on an antibiotic right now. If I am and I feel better in a few days, then we may surmise that this is in fact still an infection.

I am in touch with another woman in Manayunk who has been suffering in the same way. Neither of us knows what to do.

1. Oct 4, 2005 Dr. Thomas Nordone, Dental Surgeon  207 N. Broad St seen Oct 4, 2005 for the pain. Takes Panorama. He says its neuralgia not dental. I had already been suffering for some time with a sinus infection. I insist it is dental and tell him about the time 30 years ago it took 2 years to find the two abscesses that were root canalled on the other side. He allowed as how that could be the case, but that he did not believe it and that all my symptoms pointed to neuralgia. I left reluctantly, asserting that all the symptoms could also point to abscess.

2. Oct. 12, 05 Dr. Kitai at Mazotti’s ofc, S. 9th Street, 215 334 4049 — puts me on Cipro in October, for sinus infection. As usual, I feel a bit better and have less pain when I am on antibiotic and fight to get on it long-term, but neither he nor any of the doctors will do that.

3. 11/22/05 Dr. Thomas Stern, DMD S. 833 2nd St, 215 336-3066  11/22 Stern takes full head x-ray – Panorama—he can see no dental problems. Confers with Nordone by phone. They are buddies and agree its neuralgia. Stern puts me on 100 mg Neurontin (gabapentin) to begin with and ups the dose a couple of weeks later when efficacy seems wearing off. I go onto 3,300 mg neurontin daily. Helps some, but makes me forgetful and unable to focus. Meanwhile, Stern has referred me to a neurologist, Dr. David Cook at Penna Hosp. Cook refuses to see me because he does not take United Healthcare and calls personally to tell me so. When I tell him I have just been on the phone for two hours getting an exemption that they will fax to him, he says, “I don’t care. I don’t know them and I won’t use it.” He does not offer to send me anywhere else or make any other suggestions. Later, Kitai also recommends him, but I tell Kitai what he said. By now the holidays are upon us, I am working and I am spending my spare time trying to find the right kind of neurologist that takes United.

Dec. 05 Stern confers with an internist friend and they put me on 30 mg prednisone daily on the hunch that I have a lingering inflammation from the sinusitis, and raise my neurontin levels to 2400 per day. I can only manage to get myself up to 1800 per day. Stomach bloats, dhiarrhea, eating like crazy to try to absorb meds, face is swollen and shifting, have to fight to drive, to work, to live. My editor at MetroKids is impatient with my medical calls and needs. Tells me to do that on my time.

4. Jan. 06/06  Stern insists this is neuralgia and says he understands my pain, that it is called the “suicide” disease because of that. I tell him that, indeed, at 4 in the morning I am often suicidal from the pain. I get up and walk with an icepack until I am exhausted enough to fall into sleep for a few hours.

5. 1/13/06  Finally, Dr. Stern gets me in to the neurology dept at Jeff. It turns out to be the wrong kind of neurologist (there are at least 15 kinds of sub-specialties) Tsao-Wei Liang, MD Asst Prof Movement disorders, I meet Tsao-Wei Liang, MD Asst Prof Movement disorders Neurology Jeff Hosp. 215-955-1234 & 215-955-1041.

First neurologist I have seen, at Jeff, since being on the Neurontin for 2 months. He sees me anyway because of all the trouble I’ve had and is very nice and seems thorough. He ordered MRI and it was done later that month. Shows nothing but some swelling on the right gland. He has been trying to get me into the headache center at Jeff to see Dr Wm Young. He did not know that the Headache Ctr has a blanket policy that each patient must be seen by their psychiatrist first. Their psychiatrist does not take health insurance and patients must pay $480 out of pocket up front. Liang requested an override from Dr. Young who agreed, but did not pass the info on to his secretary, Miriam Reigel, who insisted I would need to see the psychiatrist. When I informed her of the Doctors’ override, she said “Oh they withdrew that.” I said “Why, because I am angry?” she said “No, because as I told you it is our policy.” I told her the policy was outrageous and that it was up to the doctors and not her and hung up on her.

Dr. Liang adamantly denies that and said he would track it down. He did argue for me to be seen by a resident there and on Tues, 2/14 Miriam Reigel, the Headache secretary said I could go in on Thurs morning, 2/16 but that she would call back and tell me who I was to see. I called 3 times on Wed to find out who and where and Reigel never got back to me. Liang is trying to get that up for me again on Mon or Tues morning.

5. 2/16/06 Dr. Stern is very angry when he hears of what Jefferson Headache Ctr did. He calls all over the city until he gets me in to see Daniel Feinberg, Penna Hosp Neurologist Seen Friday, 2/17

6. 2/17/06 215 829 6500: Feinberg says it is not neurological but could be Trigeminal neuralgia and Sinusitis, but thinks it is still just sinus-involved.  Feinberg took me off the Prednisone and recommended I stay on 1800 mg Neuronton until I see Maria Mazzotti, DO, for the sinusitis. I told him Mazotti is not competent enough to handle all these complications and that I would also arrange to see my ENT man, Dr. James Kearney, at Pa Hosp. Feinberg agreed, then, that that would be a good idea. I arranged appointment with Kearney on March 8, 9:15 am

7. 2/17/06  Since Kearney’s appt. was so far away, I also called and spoke to Maria Mazzotti on 2/17. She set me an appt for 2/20, 11:45 and said she would call in a 7-day course of antibiotic for me to start over the weekend. I argued that would not be long enough but she would not budge. Either she did not call it in or the pharmacy lied because when I went to pick it up they did not have. It was a Friday and I have a total meltdown right there in the store. I finally reached Dr. Bralow, Mazzotti’s wknd sub and Bralow called in a scrip for me. Walgreen’s says they will call when it is ready. By then I have fever, feeling weak and the stuff is traveling down into my chest. Pain in face very bad. Taking Oxycodone a lot. Feeling a bit better, as usual when I finally get on antibiotic. Telling them all I have some sort of systemic infection.

Fly out to Phoenix 2/23 back to Philly March 7 for my March 8 Appt. with Kearney

Mar 7, Pain severe as usual. Go to Mazotti. Insist on blood test. Have lab results on that. She says they show nothing.

Mar 8, 06 Kearney goes into my sinuses, sees what he interprets as a cyst on my left maxillary sinus. Says that alone would not cause the kind of pain I am having. Puts me on another antibiotic.

Mar. 28 06  Back to Kearney, with my friend Malgosia as my patient advocate and witness and also, I am unable to drive. I ask him to take out the cyst.

Mar 31,06 7 am surgery to remove the “cyst” It turns out not to be a cyst, but a POLYP, which they remove and biopsy. Biopsy OK.

Three followup checkups until April when I leave again for Phoenix.

Apr 24, 06 Pain is relieved quite a bit but still strong enough to warrant painkillers. I go first around May 5 to the Scottsdale Pain Center and for a cursory, ten minute, hands-off exam with the director @ $600.00!  I am directed to Dr. Joseph Cohen at Southwest Pain Management Associates. 602-992-1486  Cohen’s x-ray machine is out-of-order but he diagnosis TMJ and fits me for mouth guard. Does a Tomography at a later date – cannot see dental problem. Says it is classic low-grade TMJ and does not understand why the other doctors I saw diagnosed neuralgia.

6/12/06  Today saw Cohen’s Physical Therapist Robin Bedingfield (602-494-1548) for first time.  She checks with my insurance to be sure they will cover me. (Remember this as the punch line comes later.) Says I have a lot of capsular inflammation (every joint is surrounded by a capsule of fluid and the fluid swollen and affecting the cheek muscles. She says I must clench, and that the mouth piece I get on Friday will help a lot. She did electric stim and ultrasound. I’ll see her about 5 times before I leave.  She teaches me some mouth exercises

July 2.06 last session with Robin. Things are somewhat better, but still taking lots of Oxy.

Jul 5.06 I leave for Philly

8/30/06 I go to Dr Stiles, 909 Walnut Street. 3rd Floor (he is Dr. Joseph Cohen’s “protégé” in Philadelphia) for a checkup and adjustment for my mouthguard. He recommends continuing the mouth exercises, otherwise he will give me an injection in the Trigeminal nerve.

Sept 30 to Oct 15 06 to Phoenix using mouth guard, doing excercises, pain is bearable on two to three Aleve per day and hydrocodone at night. The mouth guard is unbearable.

Late Oct, 06 pain ramps up – go to see Stiles.

Oct 31 Tell him it’s an abcessed tooth. I’ve had a dozen of them and I know the pain when I feel it!!!! and insist on another xray. He says no, and suggests I go on Flexeril so as not to clamp at night. He says I can take it with Oxycodone which I am taking at night. Use it for two weeks. There is minor improvement.

Insist on xray, this time he does it but says he does not see anything. I am having low-grade fever. My normal temp is 97.5, its hovering around 99.

Nov. 17, 06 Scheduled to meet my husband in Chicago for the weekend where he is giving a paper, but have to cancel — don’t trust myself to travel.

Nov. 21, 06 My husband Arthur, flies home to Philly. I have to ask a friend to get him at airport, too drugged to drive. We cancel Thanksgiving at our house because I’m too sick.

Dec. 14  Arthur flew back to Philly last night for the holiday and took me back to Kearney to see if I have a sinus infection. Kearney can’t see me but his partner Newman does and does the camera thing in my sinuses. Says he sees mucous and puts me on a two week course of Avelox and recommends a daily sinus rinse which clears out a lot of guck. Pluera all through my back behind lungs, kidneys, very painful. I am so sick I cannot even get up to go out for Christmas and New Year’s but the pain in my mouth is lessened. Christmas week throwing out/giving away hundreds of dollars worth of food for the parties I usually give. Freezing my cookie doughs because I cannot standup to bake them. Arthur and my daughter take over and somehow we put together our Wigilia supper for 12 people – don’t know how – all a drugged blur. I cry a lot over missing my second Christmas in a row. Who knows how much energy I will have in years to come to get my Christmases back. So much work that I love, so many people that I missed, so many invitations declined, parties canceled, could not even send out a single card, could not play with my grandson or babysit. Somehow managed to get out a lot of dazed writing – all hack work, but I’ll get paid and I performed a service to the community. Something.

Dec. 26 See Newman again – sinuses are clear he gave me a scrip for 40 oxycodone for the pain and shrugs it off “I don’t know anything about teeth.”

Dec 27, 06 Pain very bad. go to Stiles again, with Arthur. He gives us an hour and his THEORY that this is a Migraine that has migrated to my mouth. Draws diagrams, etc He’s writing a paper on new findings and treatment for migraine pain.

Dec 29 06 – call Stiles in agony. He puts me on Nortriptiline. Says it will take a few weeks to work!!!

Dec 30 06 Dinner with friends Dr. Gil and Elaine at Pif. I order what seems soft to eat – snails and duck breast on pureed parsnips. Only able to eat the snails and parsnips, duck too hard to chew. Gil tells me the nortriptiline is to raise my threshold for pain. At home I freeze the leg of lamb I had planned to make for them but was was too sick to do and cry bitterly. Poor Arthur has taken such good care of me all this time. But its been a difficult return home for him. We haven’t even been able to sleep together all these weeks.

Jan 2 07 – call Stiles “I do not want to have my pain threshold raised. Pain is there for a reason: to tell you something is wrong. You had mentioned a dentist you would send me to if you thought it necessary. Who is that? I want to be sent there now.” He tells me he’ll give me Patrice Ierrardi’s number at the Bourse. But I say, “Oh no, you’ve been treating me unsuccessfully for three months and I’m in too much pain to call her. You get me in there and my husband will take me. I go to her.

Jan 3 07 She has something called digital radiography and insists that if there is something to be found, she will find it. I wait 5 minutes in tears. She finds the two abcesses in the third molar RIGHT WHERE I LOCATED THE PAIN ALL ALONG!!!! and explains how the silver tips on the tooth (treated 30 yrs ago) deteriorated. She says the only place I could have this retreated in Philadelphia is up at Einstein where they have a hospital setting and can work with the ENT Dept should that be necessary. I agree to go there though I know nothing about it and cannot find out much through the girls at the desk who make me feel like I’m going to some sort of clinic.

Jan 5 07 treated by Dr. Michael Trudeau. He does not use any sort of IV Valium, laughing gas or other sedative that I am used to having with major procedures like root canals or extractions but on my insistence he prescribes two Xanax to take before I come in. I undergo a 3 1/2 hour surgery with doctors coming in from all over to observe. Expecting that I will feel better within a few days, I do not.

Trudeau has inserted anti-microbial material and says my infections are so bad, it could take up to two weeks to work. The pain will be bad — QUELLE understatement! But begs me to persevere. Finally after 14 days of agony, the pain just drains away on Jan 20. I stop taking Oxy or anything else and have not taken a pain killer since. Trudeau did the second treatment Mar 8 and I have been completely healthy – no fevers, no sinus infections, no pain ever since! The only thing lagging is my energy and losing all the weight I gained on the Neurontin and Prednisone.

Until…

But we pause here for a brief informational message on a road not pursued in this case:

Osteonecrosis can affect any bone, but the hips, knees and jaws are most often involved. Pain can often be severe, especially if teeth and/or a branch of the trigeminal nerve is involved, but many patients do not experience pain, at least in the earlier stages. When severe facial pain is involved, the term NICO, for Neuralgia-inducing cavitational osteonecrosis, is frequently used.

ONJ, even in its mild or minor forms, creates a marrow environment that is conducive to bacterial growth. Since many individuals have low-grade infections of the teeth and gums, this probably is one of the major mechanisms by which the marrow blood flow problem can worsen; any local infection / inflammation will cause increased pressures and clotting in the area involved. No other bones have this mechanism as a major risk factor for osteonecrosis. A wide variety of bacteria have been cultured from ONJ lesions. Typically, they are the same microorganisms as those found in periodontitis or devitalized teeth. However, according to special staining of biopsied tissues, bacterial elements are rarely found in large numbers. So while ONJ is not primarily an infection, many cases have a secondary, very low-level of bacterial infection and chronic non-suppurative osteomyelitis can be associated with ONJ.

Friday, June 1, 2012
By Merilyn Jackson
FOR THE INQUIRER

Dance of the lower-case companies! Kate Watson-Wallacer, and Jaamil Kosoko are dancer/choreographers who recently formed anonymous bodies, and Megan Bridge and Peter Price, who make up a team they call fidget, have paired up this weekend at Christ Church Neighborhood House. Both partnerships engage in dance theater, live music, on-site installation, multi-media, social justice and political themes, and audience involvement. In a trend that’s been growing, if diminutively, they titled their show “us.”

Another trend that’s been around for awhile has the performers on stage in costume and going through their paces before the show actually starts. Watson-Wallace, in a red jumpsuit, and Kosoko, in crimson-sequined crinolines around his neck instead of his waist, wore tinselly wigs that made them look, appropriately enough, like July 4th sparklers. The program notes said they were attending a funeral for the United States. But although they looked solemn, danced with flags, and Watson-Wallace took a series of violent death drops, there was little to suggest a funeral.

They better reached their intention to defy genre, gender and identity when, Kosoko changed to a white suit, Watson-Wallace returned to the stage in a black suit, and both rolled their T-shirts up over their heads. Hiding their faces made them anonymous. Exposing their chests — black male skin in white and white female skin in black — made quite a nice statement, but not enough to flesh out this unfinished piece. Prior to the show they invited the audience to check out the scant “installation” on stage, but it piqued no one’s curiosity.

In Kosoko’s solo, other.explicit.body, he wore a cut-up sweatsuit graffitied with slogans: “Black Power” across his bottom. To live music by Brandon Shockley with a voice-over NPR interview of novelist and essayist Touré, Kosoko shadow boxes, drags a netted basketball around chained to his ankle, and writhes on the floor. Whether in defiance of or compliance with all these stereotyping props, he picks up books on black dance and the black body from a stack and reads their titles before slamming them to the floor.

Fidget’s Subject in Two Parts was reprised from four years ago, when I reviewed it at Community Education Center. Bridge, as ever, is a riveting dancer, whether deconstructing Jack Cole’s choreography for Marilyn Monroe in Gentlemen Prefer Blondes, projected and distorted behind her by Price, or standing naked pulling ticker tape from her mouth. In the second part, the electric presence of Annie Wilson joined John Luna, Lorin Lyle and Rebecca Sloan, recharging the group dynamics and the piece. And so the show was about the body, anonymous or seen.

http://www.philly.com/philly/blogs/entertainment/theater/Dance-review-anonymous-bodies–fidget.html

 

Posted: Sat, May. 19, 2012, 3:00 AM
By Merilyn Jackson
FOR THE INQUIRER

You could sum up the work of the genius stagecrafter and choreographer Moses Pendleton by saying he exceeds the influence of such peers as Alwin Nikolais, Elizabeth Streb, Mummenschanz, and Pilobolus, the now-41-year-old company he cofounded, then left in 1983 to form MOMIX. His inventiveness and artistry far surpass the popular Cirque du Soleil.

A Dance Celebration favorite, MOMIX opened at the Annenberg Center on Thursday night to a nearly full house with its show “reMIX.” Instead of one of his evening-length works, Pendleton offered an exotic caravan of pieces — some new, some familiar — that drew oohs, aahs, and scatterings of applause throughout.

I’d love to be able to see into Pendleton’s dreams just one night, but dreams alone don’t make theater like this. It needs imagination, an understanding of the laws of physics — inertia, centrifugal force, gravity, weight, velocity — and the grit to work out the precision timing that keeps his dancers safe, all of which someone like Streb employs with ease. But like Nikolais, Pendleton brings beauty, mystery, emotion, and uproarious fun to the table, too.

In his and Karl Baumann’s piece TableTalk, Steven Marshall, a phenomenal gymnastic dancer who performed in many of the works, splays his arms out and, with head below the rim of the table, draws us in with a powerful rippling of his shoulder muscles. He proceeds through every possible permutation of stance until finally he twirls the table on his back and carries it off.

In Tuu, with Rebecca Rasmussen, he holds and lifts her, with every press of the feet, lean of the body, fall, timed to perfection. In Dream Catcher with Cara Seymour, he commands a giant elliptically designed gyroscope, which the two pivot and swing around on in dangerous-looking variations.

Two dances by the company’s women endeared with sensuality and wit: In Marigolds, Phoebe Katzin’s fabulous orange frills enfolded the women and allowed them to shimmy the dresses down their bodies till they were rumba-like sheaths. Baths of Caracalla, by the same five women, now in white by Katzin, harked all the way back to Loie Fuller, with the women rippling their white skirts like bath towels, flags, or clouds.

Sputnik and Pole Dance were magnificent spectacles, using poles for balancing, vaulting, and flying, that Philadelphia choreographer Brian Sanders had a hand in contriving.

By the concert’s end the ethereal, Asian-inspired ambient sound and lounge music grew tedious — my only complaint — so it was a great relief in the last piece, If You Need Some Body, to hear Bach, which I normally hate for dance. It made a perfect foil for the ebullient silliness of the company of 10 partnered by floppy dummies that ended up flying joyfully from dancer to dancer.

Posted: Sun, May. 6, 2012, 4:56 PM
By Merilyn Jackson
FOR THE INQUIRER

The threesome who compose the Headlong Dance Theater brought tales of their early, communal living arrangement as well as baskets full of onions to the Performance Garage. The artists have a knack for finding meaning in small things.J.J. TIZIOUR / jjtiziou.net

After years of making more conceptual work and implementing teaching projects, the triumvirate that makes up Headlong Dance Theater — Amy Smith, David Brick, and Andrew Simonet — came together again over the weekend at the Performance Garage to dance. Their new work, directed by Swarthmore College professor K. Elizabeth Stevens, is called Desire. For what, it doesn’t say. But all it made me want to do was cry.

It was all about onions, you see. There were four huge laundry hampers full of big, juicy golden onions that pretty soon got dumped, rolling all over the stage for these actor/dancers to mash pell-mell with their bare feet — and bodies, too, once the juices started oozing and they slipped on them.

There was a microphone to one side of the stage where Smith recounted anecdotes about their early, idealistic days together. Brick and Simonet also took turns at the mic, and it was as though three siblings were telling versions of their cildhood.

They lived communally, two of them as vegans envying Brick his coffees’ real half-and-half over their soy version. They shared clothes — three pairs of shorts among them — as they sprinkled onion seeds down the rows Brick had sown. Once they graduated from Wesleyan, they migrated to Philly. Here, they sowed seeds for new kinds of dance.

What endears the Headlongers to everyone is how they take small bits of life and turn them into something meaningful, familiar, sometimes a little sinister. Masters at juxtaposing melancholy texts with nostalgic music and goofy dancing, they jut out their legs and wiggle their arms in opposite directions in simpleminded steps. They drop behind one another, gently aping the other until the one who’s being aped peels away.

In one part, a song relays that it’s a “custom to dance after funerals. We like to waltz,” and the three take turns waltzing among the crushed onions, managing to sidestep each one. They know how to lead an audience to focus on several aspects of their theater-making all at once.

The set and lighting were by Thom Weaver — three boxes sided with fabric that represent tents. Each of the dancers emerges from his or her individual spaces or retreats to them. Simonet comes out on all fours in an animal head, and later so does Brick as a unicorn. We all know they’re mythical, so is he telling us not to believe what we’ve heard and seen?

Each of them (literally or figuratively) peeled away an onion at various times throughout the show — a kind of search to find the center of meaning, the kernel of truth in who we are. Of course, an onion has no center, so it makes a good metaphor for life and all the things we do as we journey through it.

And that could make you smile through your tears.

Read more: http://www.philly.com/philly/entertainment/20120506_Headlongers_make_small_bits_meaningful.html#ixzz1uWnp7RgV
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Posted: Fri, May. 4, 2012, 9:37 PM
By Merilyn Jackson
FOR THE INQUIRER

In J.M. Barrie’s Peter Pan, the boy was dressed in leaves, as perhaps was Pan, the Greek god of nature whom Barrie had in mind. When Pennsylvania Ballet gave the ballet Peter Pan its Philadelphia premiere Thursday night at the Academy of Music with Alexander Peters as the boy from Neverland, his sprightly body was not clad in leaves, but scantily enough in shorts and straps around his chest to suggest a ruffian from the wilds.

The Oregon Ballet originally commissioned choreographer Trey McIntyre to create this Peter Pan, his first full-length ballet, but funding problems caused him to set the work on the Houston Ballet in 2002. Though he came to Philadelphia to polish his gem on this company, there were still some rough edges opening night.

The flying sequences, in which Wendy (Evelyn Kocak), John (Jonathan Stiles), and Michael (Abigail Mentzer) take off with Peter, had to be rehearsed in another theater until two days before the first performance. Pan was also the god of theater criticism, so I think he might have forgiven the slight scenery malfunctions and occasional missteps when dancers could not always find their places.

As delightful as he was aerially, the young Alexander Peters was not up to par partnering a taller Kocak. In one horizontal slide, he thudded rather than slid her; later, Kocak, with Zachary Hench as Hook, performed the slide perfectly.

With her striking, sophisticated looks, Amy Aldridge — who rose from apprentice in 1994 to principal in 2001 and is a senior company member — struck me as poor casting for Tinkerbell. However, she appeared only once, briefly, and then was represented by a flickering light. (McIntyre did not include one of the most endearing sections for young audiences — for many their first audience-participation experience — when Tink is poisoned and they have to clap her back to life.)

The great story ballets — Firebird, Spartacus, Swan Lake, Romeo and Juliet — link generations across time with upswept melodic themes that weave throughout, signaling plot changes. The humorless hodgepodge score of Sir Edward Elgar’s music, arranged by Niel DePonte, was the slightest, most unmagical element of the ballet.

Nevertheless, there was plenty of magic inside the gorgeous “Grand Old Lady of Locust Street” Thursday night. Hench as Hook was commanding, the huge crocodile grouchily hungry. And wonderful group dances among the Shadows, Redskins, Pirates, Lost Boys, and Mermaids — where soon-to-retire Arantxa Ochoa does a comic turn — save this darkly imagined Peter Pan. You’ll live forever in our hearts, Peter.

Posted: Sun, Apr. 29, 2012, 10:21 PM
By Merilyn Jackson
FOR THE INQUIRER

The  fidget space is on North Mascher Street just above Cecil B. Moore Avenue, in a little niche of the arts neighborhood around the corner from Mascher Space and between Crane Arts on American Street and Pig Iron’s school on North Second Street.

Dancer/choreographer Megan Bridge and composer/videographer Peter Price opened the walk-up loft at the top of the building in 2009 as a research laboratory for dance, and many local and out-of-town artists have worked in the space. On Thursday, Bridge, Zornitsa Stoyanova, and Annie Wilson danced while performance artist Mauri Walton sketched and drew words backward on the freshly painted white walls. It was called situation: becoming and was as much an art installation as a performance.

At the Friday evening show, I waited outside the curtained-off space with a dozen or so other audience members (only 20 are admitted each night) until we were led inside together. We were asked to remove our shoes and invited to lounge on a white futon surrounded by pillows. This was theater-in-the-round flipped, with the audience in the center of the space and all the action revolving around us.

White Roman shades completely covered the huge factory windows on two sides of the space, blocking the magnificent city views. They act as screens for Price’s geometric video treatments that play around the room kaleidoscopically, dizzyingly, making me glad to be already on the floor.

Stoyanova saunters around us faintly smiling, then stops and leans into us, telling us one by one the secret message, which we must pass on. Wilson rocks sideways on a child’s toy. Then they gather, with Bridge on a couch, looking like beautiful mannequins in their white architecturally constructed costumes (by Heidi Barr). Soon they are prancing or skipping around us, stopping to isolate body parts, with even some subtle popping and locking. Wilson disappears into the living quarters to change into a black jumpsuit number with pops of color, and Walton helps her to roll up the shades to the cityscape.

Price sits behind a paper cutout globe like a wizard calmly orchestrating the nuttiness. Wilson sits chopping long-stemmed carrots, Bridge appears in her bunny suit, Stoyanova dresses in hot pink, dancing with a skull, or digs in a pile of soil, Walton lays objects out around the floor until we are each invited over to the bar for a beverage, and the piece just fizzles out in whispering fun.

Posted: Fri, Apr. 27, 2012, 2:08 PM
By Merilyn Jackson
FOR THE INQUIRER

What modern choreographer doesn’t want to sink his teeth into making a new Bolero? Sure, everybody’s done it. But Roni Koresh really made a quirky new one for Koresh Dance Company’s spring opener Thursday night at its home base, the Suzanne Roberts Theatre. Koresh titled the evening’s four works “Out/Line,” which also was the name of the first of three world premieres on the bill.

But it was his fresh take on Bolero that outshone all the other works. Bronislawa Nijinska choreographed the first Bolero, which was commissioned by Ida Rubenstein in 1928. Nijinska set it in a tavern, where Rubenstein danced on tabletop. But composer Maurice Ravel had envisioned the work in a factorylike setting, because its rhythms sounded mechanically driven. Koresh boldly strayed from the usual sensual, even erotic renditions, taking his cue from Ravel’s original vision and adding lots of humorous notes. His sensational dancers even smiled while dancing it, and I don’t think I’ve ever seen a smiling Bolero before.

There were some signature Koresh gestures throughout: splayed fingers, shaky hands, elbows up, clasped hands, and eyes raised to heaven. But they seemed there as a grounding sign, a cheeky reminder that, hey, this is fun, seriously.

Mechanistically, sometimes even militaristically, the dancers emerge from the black background to the harshly lit (by Robb Anderson) foreground in solos, pairs, and trios, with, eventually, the full company, and then disappear in groups back into the black. Their chic black costumes were by Bela Shehu.

Koresh varies several simple step combinations, mostly walking-based, using them like the music, to build the sensation of the dance. Joe Cotler, Micah Geyer, and Eric Bean are the current male lineup in the now-21-year-old company and, as usual, they carry the load of partnering, though there is no heavy lifting. Here they bend forward, hands on the floor, swinging their legs behind them from side to side. They make wide-open giant steps and when the charming social dancing begins, the women partner and lead each other. Everyone waits for the final falling crescendo of the music, but Koresh adds a teensy coda note with one dancer in a spot, just for laughs.

Out/Line was the evening’s weakest piece, not only for its loud, pointlessly boring music, but also for its relentlessly pugilistic, martial-arts look and length.

The Heart had many moments of sweet appeal, but these long, episodic works are really wearing thin. Who wants to nibble at a gallimaufry of cold scraps when you can feast at a fully conceived and realized banquet like Koresh’s Bolero?

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