Jazz Talking!!

Page featuring Dancer Maia Rose Roberts from ‘The Essential Guide to Jazz Dance’ written by Dollie Henry & Paul Jenkins - Published by Crowood Press

Overview for Diversity in Performing Arts Education

Written by Dollie Henry MBE – BOP Jazz Theatre Company (UK)

As educationalists in the Performing Arts Sector and due primarily to the evolving and fluid nature of Artistic industries, it is essential we continually improve our practice seeking to review, develop and consolidate our delivery.

To reflect, consider, develop and improve our arts curricula, historical, social and contextual legacies need to be understood and accurate. As educationalists we need to seek out excellence in arts practice and delivery so that we can refresh and renew our own understanding, shaping our curriculums, developing our dance techniques, alongside our creative practice so that our arts institutions develop programs fit for the 21st Century performing arts industry.

As Dance educationalists, before we consider the detail of our present practice in terms of curricula, creative practice and delivery, it is paramount that we delineate between dance artforms.

As we are all aware the technique needed to be a successful Ballet artist has a different atheistic focus and creative dance outcome for those of us who are, for example Jazz Artists. Therefore, it is essential that all dance teachers and PA educationalists are informed of current trends and developments within a particular dance genre, which when coupled and considered alongside legacy creative norms and practices enables a curriculum perfect for the 21st century Dance artists of all forms and genres.

We always need to have upper most a philosophy that we teach All our students. Each as individuals with their own personal technique creative and cultural understanding. We are all creative individuals, so part of our job is to mentor that creative spark within our students. Developing an excellent technique is fundamental to all students, but it must be placed in context within each student personal creative practice, aesthetic and cultural heritage. Otherwise, our students become copycat performers, regurgitating creative norms and practices that are neither inspired or relevant.

Which leads nicely to Diversity within Performing Arts Education and the Performing Arts Industry.

One of the positives of BLM is that it has given us all an opportunity to reassess our educational practices and inform ourselves more effectively, of diverse practice. One of the many frustrations of artists of colour both performers and educationalists is that the plethora of diversity and equally opportunities policies have simply been tick-box exercises.

However, if our own individual educational practices and the curricula remains static, and we do not address our own prejudices on an individual level, then we have failed.

In both the Ballet and Contemporary dance world it has been (often grudgingly) accepted that Black and Brown artistes can indeed become world class exponents both creatively and in performance, both from an aesthetic, creative and intellectual viewpoint. The opportunities afforded to artists of colour are still very scant, here in the UK, but none the less there is an ever-growing legacy of diverse work and practice, for example in the work of Ballet Black, Phoenix Dance company and others less known by the establishments.

That said, there is a major problem with Jazz Dance both in terms of its educational delivery and creative outcomes. Some of the issues regarding the creative identity of jazz dance is due to its inclusivity and ability to assume and accept all styles. Much of this is due to the lack of historical and cultural understanding. This has resulted in much of jazz education, jazz creation and jazz performance expressed and taught from a white understanding of jazz dance. Therefore, part of the conversation leaders of jazz curriculums need to consider, concerns the historical foundations that form their individual jazz dance programs.

What indeed is the legacy of jazz dance and who were the early pioneers and creatives of this great art form?

As we know throughout history those that were considered winners wrote the history and framed their own narrative, well in jazz dance those that shaped our distorted view of the jazz dance linage where those that had privileges and support to codify their work.

Jazz codification must also be considered alongside the creative approach and philosophy of jazz artists and the jazz artform. The fundamental creative reality of all jazz practitioners is that of improvisation. Therefore, and this was certainly the case with the early pioneers, the thought of annotating or codifying their creative work was simply an anathema. A true jazz artist always looks forward, the creative past is simply a previous step that you have walked upon as you develop your own creative stairway.

Jazz dance must also be considered through an understanding of its cultural legacy and the underlying philosophy that artforms spring from. Jazz has its legacy within the African Arts Tradition, which is, to simplify, celebratory, for and by the people. This means that its philosophical foundation is about connectivity, collectivity and community and therefore a daily experience, where the need to annotate and codify is not relevant or indeed part of the African culture.

Let us not forget that the early African citizens expressed their own history and legacy through creative means, it was the African Griot, who for centuries have been the dictionary, the academic tomes, the Magna Carta.

This expression of community and collectivity in African art is the great legacy that jazz sprang from. Therefore jazz, as the only original art form of the 20th century, welcomes all and amalgamates all, forever changing and shaping and evolving. The social construct of the jazz aesthetic and practice can be seen throughout the history of jazz, from the early days of the jazz age and the Charleston and Lindy-Hop to the present social dance from of Hip-Hop, because that is part of the jazz tradition as well.

Which leads me back to Codification and Legacy and Appropriation. Although today we have a myriad of dance styles and expressions within the jazz dance artform, it is still possible to trace back the legacy of jazz dance expression. One difficulty all jazz dance educators face is the lack of learned text regarding the art form of jazz dance. There are numerous books on practitioners especially in the second half of the 20th century, but few that engendered an effective overview of jazz dance.

We do have the Stern’s American Vernacular tome, however understandably it concerns itself with the American Jazz dance journey with little reference to the international explosion of jazz dance forms over the last 60 years. Hence why we published our own book The Essential Guide to Jazz Dance (Published by Crowood Press) to give educationalists and practitioners, dancers and students an overview of the jazz dance tradition from its inception to the present day. That said as educationalist we should all be aware of the legacy and the creative detail of the art form we practice.

Another difficulty with the history of jazz dance is that film media was still in its infancy when the explosion of jazz dance took place. Coupled with the racist attitudes towards black American performers at the time, it is not surprising that much of early jazz dance on film is expressed through white practitioners, Fred Astaire, for example. Certainly, great work that was created as part of the Vaudeville circuit and latterly for Theatre which was rarely captured on film.

If you ask most jazz dance students to name a jazz choreographer inevitably Bob Fosse’s name is often cited. Often in total isolation with little knowledge of those who went before him. It is as though Fosse’s choreography was fully formed at birth, the only dance artist that has had no influences on his legacy! Clearly this is far from the truth, as much of his early work as a performer in Vaudeville, where the black dance aesthetic and influence was well established. The movements the plies, the stylized strutting can all be seen in practitioners throughout the late 19th and first half of the 20th century. That is not to say that Fosse is not an important artist in the cannon of jazz dance as he clearly is, but it is important to identify the jazz dance legacy that he built upon to formalize and further refine his style.

Following on from our initial question if we went onto ask who the ‘father of jazz dance’ was inevitably Jack Cole’s name is always cited, once again a white practitioner. Importantly he was one of the first jazz dance practitioners to organize his own dance studio and teach his own individual style, which began the idea of codification in jazz dance. This was further supported by his work in film where he established a particular jazz dance approach and aesthetic.

However, like Fosse his work was greatly influenced by the dance evident throughout Vaudeville, which was always danced to jazz music. He championed the piles as an important technique for the jazz dancer, which is a fundamental technique of the African Tradition of dance and movement. His understanding of the theatrical elements of dance was clearly derived from populist theatre and stage culture, in both Vaudeville, latterly Broadway and the White touring circuits in America.

Cole is often cited as the ‘inventor’ of Theatrical Jazz Dance. However, the truth is that theatricality in the jazz dance arena had been developed over many years throughout all the myriads of shows that played throughout America. Certainly, you cannot get more theatrical than the Nicholas Brothers performing Stormy Weather or all the dance theatrics throughout the Cotton Club era, accompanied by the music of the great Duke Ellington.

Clearly, Jack Cole had a fundamental effect on the development of jazz dance theatre, which eventually became part of the Music Theatre tradition. However, those that are cited as being influenced by him are all White Jazz Practitioners, Jerome Roberts, Bob Fosse, Michael Bennet et al, which leaves us to the assumption that Jazz Dance whether irrespective of its performance venue is very much a white dance form.

We clearly know that is not the truth as the influence of black artists throughout the genre of jazz and all its artistic derivatives is without riposte. The difficulty lies in the monumental lack of visibility afforded to black performers in any artistic genre, but particularly Jazz.

This has been further compounded by LEGACY left behind in recorded media which further highlights the development of White choreographers and artistes. (Coles - Kismet, Man of la Mancha, Fosses Chicago, Cabaret, Bennett’s Chorus Line)

For example, as groundbreaking as Jerome Robbins Choreography was in West Side Story an equally important work was Talley Beatty’s - Road to Phoebe Snow, which has received none of the platitudes showered upon West Side Story and not know outside artistic circles in America.

The music to Phoebe Snow was composed by two geniuses of Jazz, Duke Ellington and Billie Strayhorn, yet outside the jazz fraternities there is muted recognition. Compare this to the music of West Side by Bernstein (all based on the rhythms and harmonies of the jazz tradition) who is championed internationally throughout all sectors of the arts industry, as a genius of jazz music in Musical Theatre. If you ask the majority of student of dance who Duke Ellington and Billy Strayhorn are, many would not even have heard one piece of music they composed.

With all that in mind, there is an urgent need for all educators of the jazz dance tradition to reassess their own practice and understanding of the art form of jazz. Due to codification and recorded media the artistic practice of many white choreographers operating within the boundaries of jazz dance are extremely well documented. It is incumbent on jazz dance and music theatre educationalist to refresh their individual knowledge and practical understanding to give a complete and more diverse picture of the development and legacy of jazz dance.

There are examples and reference to many black creators and performers you just need to search a bit harder and ‘fill in the gaps’ and not detract the facts regarding the impact of black practitioners in the continued development of this art form.

The importance of jazz dance from its beginnings at Congo Square to its present-day creations is the single most influential dance form for the last 100 plus years. Jazz is artistically exploited not only within its own genre, but also within all other major artforms. In fact, the black artistic experience has influenced all populist and artistic creative outcomes. Through the work of black artist there is a unique energy and creative approach that in many ways is the antithesis of White creative output.

This critique of black v white art has been raging for centuries, but in order for it to be understood it must be placed under the clock of racism and racist behaviors in many arts practices and institutions.

The micro aggression and often outright racism are a social and cultural phenomena often past down by generations, unchecked and unchallenged. This does influence our attitudes and practices within the arts sector, especially in education.

Awareness is the key to moving forward. Challenge the pre-conceptions and creative contextualism in your practice, be conscious of the often transparent but crucial legacy of black creative artist and their work throughout the jazz dance tradition. Make a conscious undertaken to address the issues of appropriation both in an historical context as well as creative aesthetic.

PA Jazz Curriculums.

Once we have considered the issue of codification and cultural appropriation within the jazz idiom it follows that we need to address those resulting issues in our curriculum’s.

Clearly there is a wealth of information regarding many white practitioners from the 1940’s to the present day and it is important that students are aware of their work and indeed their individual technique. You certainly could not organize a jazz curriculum without those important Practitioners such as Fred Astaire, Jack Cole, Bob Fosse, Gene Kelly, but this must be balanced with black artist such as William Henry-Lane, Williams and Walker, Bill ‘Bojangles’ Robinson, Pearl Primus, Katherine Dunham, The Nicholas Bothers, Tally Beatty, Donald McKayle, George Faison, Sammy Davies Jr, Gregory Hines, Savion Glover.

It is essential that the jazz aesthetic and technique is clearly understood and expressed. The initial style and technique are from the African Tradition. Students need to be aware of the original movements and syncopation of the African Dance Tradition and how that translated in America with the amalgamation of traditional and folkloric dance. Much of the early jazz style was the antithesis of the prominent dance artform of the day Ballet, which is on pointe and elevated, where jazz is grounded and through the Plie.

These aesthetic principles and techniques must therefore inform both our theoretical and creative practice and resulting curriculum. Consider want aspects of your training effectivity equips your students for a career in the PA industry. An effective jazz dance technique should enable students to be prepared to execute many of the more commercial styles. We need to develop an exercise and technique program that builds on the student’s skill set and develops their bodies appropriate for a successful career in the industry. I still witness many PA colleges insisting that jazz dancers follow a Ballet warm up and technique. This mystifies me as these programs need to reflect the physicality and techniques that are utilized in dance theatre and musical theater today.

©BOPJazzUK 2020 - Written by Dollie Henry MBE