BAC stands for Bad Ass Confidence

When I asked her about the theme of the upcoming "Swag Flu" show from the Black Arts Company (BAC), Jessica Gray '10, BAC's artistic director, simply said, "It shows that BAC has the most swag on campus." I'm not about to argue. The beat is ... well, contagious. Not a single piece in "Swag Flu" stood out as poorly put-together. And by the end of the show I was dancing to Michael Jackson in my seat - but more about that later.

Hip-hopping nurses and docs getting crunk in brightly colored scrubs introduce the show and the "swag flu" theme. So what is "swag," exactly? Based on this show, I would define it as confidence, poise and a certain amount of fierceness.

Hip-hop dominates this show, but in "Village Ecstasy" by Ariel Lawrence '12, the audience gets a taste of traditional African dance as well. The piece is tangibly earthy and grounded. One male wears only black pants and a gold necklace, and three females wear red and black, with beautiful, patterned gold, black and red cloths. The company's commitment to clean and strong technique is especially apparent in this piece, and, though it exhibits more traditional choreography, it also provides an innovative addition to the show.

"Garden of Eve," choreographed by Alexis Morgan '10, opens with eight female dancers crouching in a circle on the stage in red leggings, white shirts and long, hooded black cloaks. In addition to its use of symmetry and a variety of interesting beats, the piece successfully alludes to fundamental questions of human nature without detracting from technique or flow. Some Garden of Eden motifs are explored in the storyline, like a praying gesture occasionally incorporated into the steps, and at one point a dancer mimes eating the "forbidden fruit." After this, the dancers shed their cloaks, and their movement becomes markedly more sensual. The lights fade as the eight women grapple on the floor.

At the end of "Follow the Leader?" by Gray and Grace Cineas '10, I had one thought: badass. This mafia-themed piece shines in its sheer intensity. The costumes are kept simple - white and black, tanktops and sweatpants - allowing the audience to focus on the music and the choreography, which is focused, intense and fierce.

For the finale, Carlo Frem '12 choreographed a Michael Jackson tribute, but exceptional dancing makes "Television Special: The King of Pop" more than just another M.J. cliche. A filler video sets the piece up as though two girls are flipping through channels on TV. It starts with a detective show, set to "Smooth Criminal," followed by three possible baby-daddies dancing to "Billie Jean" on the "Maury" show. The tribute also includes segments from "Dangerous," "Heartbreaker," "Scream" and "The Way You Make Me Feel," a duet in which Frem and Morgan are just plain hot.

BAC's most evident strengths are the choreography and the synchronization of its dancers, who looked well-rehearsed, confident and proficient. The costumes are straightforward - always a plus - and they make sense within the context of each piece. Overall, the performance is clean and confident, with excellent technique and, of course, a lot of swag.

5 PAWS