Let’s Get Weird. A Dada Experience With ‘Entr’Acte’

Duane Andrews with the Earheart Ensemble (Photo: Sean Jessome Photography)

It’s 1924. You have tickets to the Ballets Suédois production of Relâche at the Théâtre des Champs-Élysées in Paris. It’s a new ballet by avant-garde artist Francis Picabia, with choreography by Jean Börlin. It’s shocking and bawdy. Erik Satie’s musical score adds to the irreverence, pulling from popular tunes and “raunchy army songs.”

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The Pedal Steel Guitar Became A Sentient Being

By Annie Corrigan

It’s been two days since I saw Susan Alcorn and Amy Brandon perform at D.F. Cook Recital Hall. The music was still in my bones, but I had no words to describe it. That’s not exactly right. I had a whole slew of words, but none of them did the performance justice. The music was unsettling, but that wasn’t a bad thing. It was anxiety-inducing at times, but a full-body reaction to music is usually the sign of something worth hearing. Amy Brandon played a standard guitar with, what was that, a scrub brush? And suddenly she transported us to an icy, barren, electro-alien planet.

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Electro-Knitting With Rokkur

Sarah Albu of Rokkur (upper left) with local knitters (clockwise from top): Christine, Theresa, Sheila, and Heather.

There were five mugs of tea and a plate with two types of cookies. Each knitter had her skein of yarn — pink for Heather, green for Sarah, khaki for Christine, and eggplant for Theresa. Sheila brought an in-progress blanket made with beautiful multicolored yarn. They grabbed their needles… and plugged them into the amplifier.

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