Strictly
Come Dancing has made an enormous impact on the way mainstream society views
dance. It has partly been responsible for dance class fitness such as “Zumba”
and the new “FitSteps”: (http://fan.fitsteps.co.uk). Thus
making the Great British public to “Keeeep Dancing” this is done through a mode
of entertainment. It also shows how accessible dance is for everyone and how
much amateur contestants develop and accelerate through their learning. Like it
or not it has changed peoples perceptions.
American
guest judge Donny Osmond commented on contestant Steve Backshall and his
partner should take him clubbing to “find his body” My opinions and Donny’s was
that his upper body though built and muscular was to rigid and stiff and I
agree with Donny! Some stuff in the Jazz aesthetic can’t be taught in a studio
or classroom!
Ideas
on this was that it strikes a chord on my research in Jazz Dance and how a lot
is passed on in communities at the nightclub and how it takes a less formal
person to thoroughly study Jazz practically because theirs a feeling from the
music
“New Orleans jazz
music is contrived to make the listener move, gyrate and wiggle, and this kind
of music seemed to fit naturally into my body and flow through my bloodstream.”
Giordano (1975:V)
These feelings unlike ballet that is cranium
lead it comes from the stomach in Jazz (Giordano: 1975). From your gut that’s
where you feel the music, that’s where you can feel soul and that’s where the
magic happens.
There
are a lot of theories presented on why Jazz Dance can be studied through
academia and at BA level, (Dr Kym Vaccaro). However I now feel a lot of energy
can be wasted on the fight, which could be channeled into creating something
and finding the right way in channeling your theories.
In
my research of Jazz Dance It has been hard tracking down specialist literature
and African practice. My class in Liverpool was cancelled, so I am definitely
looking forward to the term ahead practically and theoretically.
What
are your perceptions on Jazz Dance? Mine have changed significantly so far and
can’t wait to share more.
Lastly
please view this video below on my new favorite choreographers [Friedman B
& Marshall Y] their work is stellar and pushes peoples perceptions of
commercial dance through barriers of gender. It definitely reminds me of how
bizarre and surreal my life was as a Funny Girl in Blackpool two years ago and
how much my life has changed now. And how perceptions shouldn’t be built with
walls. What are your perceptions?
Jamie,
ReplyDeleteI think the most prominent thing here you have said is that "a lot of energy can be wasted on the fight"
The process of the MA for you is grounding your belief in the place for Jazz dance in The Dance canon and education.
Jazz dance does come from your gut In some instances it is raw and bold. The evolution with which I know you are delving into (which I can't wait to hear) It Is an important history For the genre..of the African diaspora, the musical influences, communication, politics, segregation and human rights.
All which comes through and is expressed in the Jazz Dance Form.
For students to have an understanding of this.... And for it not to be taught just and only practically, would be is kind of robbery?
Or a reflection to the modern world in its form "commercially". You will have an understanding to its roots not just aesthetic representation of the now!
You are on the edge of building bridges.
Mary
Dancers in jazz land in my experience don't ask many questions. They watch vividly, I think it's very important for teachers to know past historical movements and choreography.Then slipping this information vocally into a lesson hoping that the student might research the history deeper to enrich their experience in tern, nourishing young teachers and choreographers.
ReplyDeleteI don't know if I call it robbery because of a limited time frame, but I agree vital snippets must be shared it depends where and whom you are teaching.
I think it's great the ISTD have recognised the importance of street jazz and have implemented their own syllabi in this area of dance starting new foundations for the next generations of dancers.
Jazz Dance is in a forever changing state (Giordano 1975). Like fashion though we must pay homage to the past and like the musical 'The Boy From Oz' we must remember that 'Everything Old is New Again' (Allen 2003) Everything is "rejigged", "remixed" and "revisited" with a new spin. At present it's the 1980's so aesthetic representations of the now are important but it's probably been done before so don't forget the originals! The point i'm making is best summed up by Andre Gide
"Everything that needs to be said has already been said. But, since no one was listening, everything must be said again" - Gide cited in Kleon 2012:LOC 58
I feel globalisation has a lot to answer for their isn't a 'here' or a
'there' any more its just one wide web but we must not forget the world of dance and the advantages of online research as well as practical research in setting or in a master class.
So lets build bridges as teachers ensuring their made of adaptable pedagogical material and not set in stone.
Thank you for your reply Mary
Jamie
Hi Jamie,
ReplyDeleteFor me there is something about the sexuality present in jazz that makes it unique in its expression, and how this kind of cultural expression and physicality has evolved and changed through time.
I was interested in your observation that dancers in jazz land tend to watch and not ask questions. Does this have to be the case? Why not teach jazz dancers to find their voices, as well. Dance traditions and historical knowledge can be taught and learnt purely practically as you suggest regularly "slipping it in" and hoping that dancers are curious and will develop their own knowledge, but depending on the teaching setting, perhaps this leaves a little bit to chance and deserves a stronger focus? If a teacher has conviction that this is important part of the teaching of jazz? Does more overt teaching of jazz tradition and history become necessary if this is something already being taught in other dance styles and techniques? Really interesting. Amanda is talking about teaching dance history isn't she? I'm asking these questions with very limited knowledge of jazz, practically or theoretically, but quite a bit about the origins of modern dance in America. A fair bit of cross over there of course. Thanks for your post.
I absolutely agree with you Rose, about jazz dancers finding their voices and my research is all about finding an authentic way to lecture jazz dance as well as to iron out my local colloquialisms in my teaching practise!
ReplyDeleteYou have raised many good points, and I'm hoping by visiting the past it will map out my own future and my own voice in creating my own jazz dance syllabi. I'm hoping this can work alongside students dance education as a enrichment activity in higher education. Thus making the dancer as versatile and employable as can be. A key figure to research in jazz dance is Murah Dehn I think you would find it interesting:
http://en.wikipedia.org/wiki/Mura_Dehn
Hi Jamie,
DeleteThis is the third time trying to write this comment, once it disappeared from my iPad before I posted and just now from my desktop so here is a condensed version because I'm seeing the red mist but am determined to do it now! Your focus on jazz highlights the fact that I've had little exposure to it, whether by choice or through circumstance. It made me wonder whether dancers who are more introverted might find themselves at odds with the big emotions and exuberance of jazz, as I perceive it. I'm generalising I'm sure. In terms of circumstance, we can't make choices about what we like or dislike in dance if we have no experience of it obviously and this is something I've come across in Contemporary dance when people don't try it because they don't know what it is. Fear of the unknown! I enjoyed watching Friedman and Marshall and that obviously prompted my comment about sexuality, but their bodies and performance speak about so many things. I also hadn't heard of Mura Dehn. Thanks!