Rudy Perez Finds a New Reason to Dance Again : Arts: For the first time since 1983, the choreographer will appear on stage, performing a premiere work with his company at LACE. ‘I wanted to do this to raise our spirits and regenerate.’

The Persian Gulf War has meant many things to many people, but to choreographer Rudy Perez it’s meant a second performing wind. For the first time since 1983, Perez will appear on stage, performing a premiere work with his company, Rudy Perez Performance Ensemble, today through Sunday at LACE at 8 p.m.

“Because of the war and recession, my company’s morale is down,” he says. “For a long time I didn’t want to dance because I didn’t need to. For me, the creative process--choreography and teaching--is the most exciting part. I don’t have that thing about having to be in front of an audience. But I wanted to do this to raise our spirits and regenerate. I feel like the ship is sinking and I’ve decided to jump into the water and save it. Now that I’m into it, I have a reserve of extra energy and suddenly I feel alive again.”

The three-part work he created for this performance, “Made in L.A.,” consists of two ensemble segments, “Loop I, Spiritual Quest,” with an intercultural theme, and “Loop II, Altered-visions,” an abstract, Merce Cunningham-inspired piece. A 10-minute Perez solo, “Remain in Light, or Take Back Your Yellow Ribbon,” links the two pieces.

Perez, 61, who began dancing in New York 40 years ago, admits to feeling some tension about his decision to dance again: “Seeing myself grow older has made me doubtful about doing this, but it’s not about energy, because I have plenty of that. It’s about not performing unless I have something to say, and right now I do. The war is bringing a lot of stuff to the surface that’s been dormant in me and in the world.

“This solo piece conveys sorrow, fear and caring, and I’ll be performing rather than dancing, so it’s a matter of stamina and emotional strength. My performance will go from minimal to frantic, back and forth. I won’t be doing any arabesques or jumps--my body can’t take that. I find there’s always doubt, and you need it to keep that edge.”

He says he feels much support from his four-member company, which he trains in tri-weekly classes and rehearsals. “In my profession you’re around younger people all the time and you forget that you’re older,” he says. “They’re like my alter ego--we connect and, almost like a vampire, I become revitalized by their energy.”

Perez, who has always managed to maintain his own dance company, usually on a shoestring, says he is concerned about the future of dance for his company and for Los Angeles. “I’ve worked here for 12 years and I’ve seen the dance climate go from good to bad. Money is tight. It started a few years ago when I didn’t get an NEA grant. There’s little opportunity for modern dancers to perform and there’s not enough continuity and recognition.

“I don’t see the community doing the kind of supportive work that’s going to bring attention to this city as a dance center. People don’t care for each other anymore and maybe a war will bring them back to that, although it’s unfortunate that it takes a war to do it.

“I am excited about performing and hopefully the audience will connect to what I have to say. I want people left with a positive experience.”