From her audiences, Meunier has discovered two main misconceptions about modern dance: that it’s inaccessible and hard to “get” and that it’s serious and heavy. Meunier compares the abstraction of modern dance to that of music. She points out that it’s not always somber by citing dance pioneers other than Martha Graham who brought in elements of comedy, Afro-Cuban dances, and jazz. She proves this point by including something upbeat or wacky in her programs. In her unwrapped discussions, Meunier tells a bit about how she came to create a particular piece or about other choreographers whom she might be showcasing. She explains the way that lighting, props and costumes enhance each dance. And once she has “unwrapped” each work, she and the company put it all back together in the performance of that piece. Meunier is always intent on presenting new dances along with reprising others. For this spring concert, titled Wait Till You See My Moves!, she has invited two guest groups: the junior company called Fusionworks II, headed up by Stephanie Stanford; and Arabella, a group of female dancers who will perform the José Limón etude from the American Dance Legacy Institute’s repertoire. Featured will be the mother/daughter duos of Julie Strandberg and Laura Bennett and Catherine and Tovah Bodner. (The guest troupes will perform only at the March 30 evening show and the April 1 matinee.) The two pieces from current repertory are Iron Man Meets Scuttle and Static and Slow Run Back. Iron Man was choreographed to music by the Bad Plus, with Iron Man himself based on the Marvel Comics character. As seen last fall, Iron Man is all braggadocio and brawn until the irritating Scuttle and the intriguing Static throw him off-kilter. He swings out a few kung-fu kicks and tries a headlock on Scuttle, but he is eventually robbed of his belt, which gives him strength. He lies, powerless, until Static takes pity on him and gives it back. Meunier dances Slow Run Back with one of her long-time Fusionworks dancers Donna McGuire, and the two of them create memorable images from small gestures — hands pulling words away from their mouths or feet restlessly shifting weight back and forth — and from unusual partnering — Meunier jumps three times toward McGuire in an almost fetal position, clinging to her midsection, and being caught by her. Set to a minimalist score by Scott Killian and also seen in November, Slow Run Back grabs the viewer and doesn’t let go. “Donna and I have danced together for so many years and this piece is so close to us,” Meunier noted, “it feels like it’s gained a depth of maturity, especially since we took time and rehearsed again with Dorfman in the fall.” One of three new pieces is by New York choreographer (and former Bill T. Jones dancer) Andrea Woods, to the music of Philip Hamilton. Titled Morning Song, it is described by Meunier as “modern dance meets Afro/Cuban movement.” Another piece is a collaboration and work-in-progress with composer Michael DeQuattro that deals with layering, be that rhythmically, visually, or mathematically (counting out unusual Indian beats). The last piece, Avoidance 2: New Rules, is an improvisational dance set to a soundscape created by Ron Schmitt. The number refers to an earlier improv titled Avoidance, done two years ago. A set of very specific rules is established for the dancers that restrict the movement they can do at certain times and in designated spaces. A bit of comedy, a dash of drama, a spectrum of rhythms and an anything-goes improv. Wait till you see these moves! Fusionworks | March 3-April 1 | Brown University’s Ashamu Dance Theatre, 77 Waterman Street, Providence | 401.946.0607 |www.fusionworksdance.org
 Related:
Higher calling, A look back, The human condition, More 
- Higher calling
Although the annual fall concert by Fusionworks Dance Company has not been given a title that ties the dances together, director/choreographer Deb Meunier has noticed a theme emerging from the repertory pieces and premiere works that will be presented.
- A look back
Fusionworks Dance Company finishes its 20th season with four pieces that draw on repertory and a fifth that is a brand-new improvisation.
- The human condition
In the ambitious program they will perform this weekend (November 20 and 21 at Rhode Island College), members of Fusionworks Dance Company will premiere three pieces that look at the human condition from several perspectives.
- Keeping it fresh
The ’80s were a fertile time for dance in Rhode Island, spawning the still-thriving Island Moving Co., Everett Dance Theatre, and Fusionworks.
- Youth movement
In the current Fusionworks production, Locally Grown , artistic director Deb Meunier and her company are welcoming two dance groups from local high schools.
- Finding a voice
Closer inspection, however, shows a choreographer making a series of perplexing musical choices that don’t always serve him well.
- Two tales retold
The big ballet companies are shackled tighter than ever to the idea of the story ballet.
- Dancing across the city
The ICA’s Barbara Lee Family Foundation Theater, with its sprung wood dance floor and wrap-around windows framing the harbor, is positioned to become Boston dance’s most significant venue.
- Armenian moves
Mark Harootian wanted to create a piece that would celebrate that music and his own Armenian heritage.
- Mood swings
“All Feet Left” includes dance, theater, live music, and visual art, and the centerpiece of it all is DoubleShift Dance Theatre’s presentation of Walk Away.
- Trailing Ailey
Neither the Ailey company nor The Groove ’s choreographer, Camille A. Brown, acknowledged these roots.
- Less
Topics: Dance
, Entertainment, Dance, Performing Arts, More
, Entertainment, Dance, Performing Arts, Modern Dance, Bill Jones, Jose Limon, Martha Graham, The Bad Plus, Scott Killian, Deb Meunier, Less
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REVIEW: MILL'S TAVERN | February 08, 2012
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Armed with an idea, a hastily written manifesto, a press release, and some software to disguise my computer's IP address, I was able to raise the question, "How do you know that what you're illegally downloading is the actual music it claims to be?" This is a story about how my pop-music infatuation led me to fabricating a web of lies I called the Overdub Tampering Committee.
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