Yogi Bear is smarter than the Haveri Bear.

Yogi bear is always in the ranger's hand.

At a picnic table you will find him there.

Stuffing down more goodies than the Havary Bear.

He will sleep till noon but before it's time.

He'll have every picnic basket that's in jail.

Contemporary dance is relatively unknown by most people, as many modern art forms tend to be shunned or feared or at least avoided by many, many people.

Van Pelt Dance Ensemble was formed in September of 85, so we're going into our fourth season now, and each year we've done two or three concerts, self-produced concerts here in Columbus.

We've participated in the Artists of Schools program, which is funded by, or assisted by, Greater Columbus Arts Council.

And we've been to three different universities on tour in Ohio and also in Indiana.

And we got numerous informal situations, such as performances in the Short North Gallery Hots.

Throw it to the head.

Down, down, back.

Towards the foot, towards the foot.

Towards the leg.

Foot, foot.

Touch, touch, touch.

We're presently working on a new dance called clock to the music of Baroque composer Hans Richter, the wonderful trumpet concerto.

It's in three movements and the first movement is taking place in the medieval ages when the clock, a mechanical clock, first became into being and was really quite a revolution.

So you'll see the dancers in awe of the clock.

I myself dance the part of the clock.

So I'm a thing, not a person.

In the second movement, I'm working on a duet with Keith Saunders, who is a dancer with Ballet Mette.

In that section, he portrays a character who resists clocks and calendars, and the clock tries to hem him in to clock time.

The third section is placed in contemporary time, where the dancers portray people today obsessed with clock, trying to beat the clock, trying to get as much done as they possibly can in a minute or an hour or a day, trying manipulate time, going faster than the speed of time.

So you see a real contrast in the last section.

It is tremendous work, it's tremendous long hours.

I am the artistic director, which means I not only am choreographing all the time, but I'm involved in the training of the dancers.

We actually have company class two or three times a week.

And if I'm not training them, then the work's not going to look good.

So we're working together technically as well as artistically.

And the reason we call it ensemble is that we have a sense of ensemble.

That's very important.

That we work as a group, almost a family sense to it, and that we hope and we have experience that that goes out to the audience and that goes down to the community, and there's a sense of us working together.

There tends to be almost something for everybody in each performance that we do.

Very enjoyable, very stimulating, sometimes very challenging, sometimes easy to understand, sometimes more difficult.

That's the nature of the beast.

What's Up, Doc?

Was inspired by my childhood memories, as we all have, of watching cartoons on Saturday mornings.

And this particular dance, I commissioned a set designer to build pieces that would be reminiscent of a cartoon.

So it is as if I am a child placing myself inside a cartoon, at the same time commenting on the act of watching cartoons and becoming so obsessed with cartoons that I actually become a cartoon character.

So it's a kind of inside-out look at TV and cartoons.

Dancing is wonderful and I love to move and that's what keeps us going first and foremost and I think that's why it keeps audiences coming back is that we all inside us have a joy of movement.

As kids we all love to moves and we maybe lose that as we get older so audiences at least I hope can empathize with that joy.