Mind the Gap(s)

Over the last few years I have realized that my role in dance is that of a mediator. This summer, however, I am realizing just how many realms in which this is true. In this, though, I am also more aware of my own biases and working on letting some of those go.

Here is a sample:

Academic – Studio Dance There seems to be a natural rift between those that have trained within the concert dance philosophy and those those training in the studio dance philosophy. Even as I type that I realize another- those that have trained and those currently training and perhaps that is part of the friction in academic and studio dance relationships. The process of evolution is different within those two worlds.

As I see it right now, dance academics have evolved away from their commercial or recreational dance roots and have forgotten how -or forgotten their interest- in connecting with the tan-tight, sequined, or booty shorted youth newly entering their space. Likewise, the evolution of the studio dancer seems to depend on the athleticism and current movement trends. It is an evolution of the body that sometimes excludes the mind and spirit other than adrenaline and satisfaction that comes with performance and all that comes with that- positive and negative.

I think some of the hesitation of getting theoretical with teen dancers has been an issue of wanting to engage through entertainment (keeping up with the Joneses) and not expecting them to be capable of thinking through big ideas.

It isn’t true.Even early elementary kids are capable if their educational guide is patient and most importantly, willing.

I think our best strategy would be to stop setting expectations and simply start from wherever we are- as people, dancers, citizens, thinkers, doers, beings.

Recently, I had the realization that most of what we view as being in poor taste is really just an inheritance of limited information. Take studio dance fashion, for instance, and the comparison to what is worn in an academic dance setting. Both are wearing “booty” shorts these days but because one might have some sequined detailing or tan tights underneath, the “evolved” feel the discomfort of the depth of conversations that have NOT been had with that student and the tendency is to joke. I am so guilty.

In reality, though, the wardrobe is just an extension of the intention of training and a reflection of the evolution to be expected. In my day, it was French-cut leotards. With a belt run under the leg holes in back and on the outside in front. Classy. But I was serious. I was committed. I evolved into a deep thinking dancer concerned about Dance as an art form, a way of being and knowing, a method to finding embodied learning and able to talk shop with the best of them.

Some of the other gaps:

Dance as Entertainment – Dance as an Intellectual Pursuit This one is particularly painful for me, I admit. I have been surprised at how often in recent years, I have had to defend why I teach dance the way I do. I have been met with great supporters but also a segment of families/students that don’t know why I “refuse” to use pop music, moves found in music videos, and so on.

Artists – Educators In some ways, this is the inspiration for my blog. This site started as a means to communicate with fellow “underdogs” and share my real world experiences as new graduates (or old) entered their own journeys. I was continually frustrated with artists not explaining their struggles experienced when they first started their professional paths.

Think about it- most biographies go from the family, upbringing, and early training of an artist- touch on their artistically formative years (beyond training)- and suddenly jump in to the history of their tours or projects. Little discussion is offered about the obstacles of becoming dance-makers and thinkers. We jump to when they were recognized as brilliant. Or so it seems to me. And the same seemed to happen when I was able to ask artists about this.

So, my mission became to chronicle one dancer’s journey- tangential and all- within and around the field of dance. Along the way, this has turned into a site that explores teaching experiences more than life experiences. Though, like everything else, those two things can’t be separated. I just choose to talk less about my children than my classroom- maintaining somewhat of a gap based on comfort level and respect for my home. 😉

There are more gaps than this but I will stop here for today.

Moral of the story: We are all just doing the best we can with what we have. My job is to meet people where they are and hope they have an interest in moving further along their path. If not, maybe we can have a good time moving.

Which gaps are you mindful of these days?

Further Pigeons and Their Holes

And then there is the question that follows the conundrum of what I do.

“So what kind of dance do you do?”

Well, shoot- how much time do you really have?

Okay, so I usually say, “mostly modern and jazz, but I have a strong background in ballet.” In truth, I create modern dance works. I was hired to do mostly jazz. Ballet is something that the other person is most likely to understand and have a frame of reference for. But even those labels don’t really fit. They don’t tell the whole story. And as I see it, and have been exploring in my teaching recently- nothing is pure anymore.

Because we, as a field, don’t even really know how to talk about movement neatly. Consider the whole “contemporary” controversy. We can’t decide who the title belongs to, if it is a credit or an insult, if it is concert or commercial. “Modern” to dancers offers one notion but to a non-dancer, it is completely different. And yet, people insist on labels and primly packaged descriptions of dance (and well, everything else). Creativity-centered instruction to boost critical-thinking is a whole other post waiting to be written…..

I equally dread this at Meet the Teacher night and Parent/Teacher conferences there but at least for those I have a line: “all of them and none of them”. To which, naturally, I get very odd looks but I go on to explain that I tend to teach in a stylistically neutral way but that I teach the principles of dance that can be applied in any movement situation.

When I can see they don’t believe me, or may just not really know what this means, I explain that I teach the tools and then we explore how they are used in styles such as modern, jazz, and ballet. I provide a few examples of what I mean.

For some families, this is very exciting. A whole new world and understanding open up. They start taking over the conversation with how these concepts could be applied to other subject areas. For others, they are frustrated at what seems to be a non-answer and eventually they walk away. I always end up wondering what else could be said to help them understand or rather, help them feel included.

But I am further struck by conversations with people that, in theory, should have some something to contribute to the conversation. If this week has taught me anything, we seem to have shared baggage about body image and about identity.

Here is an anecdote about another topic many dance educators haven’t quite figured out:

One day my husband was talking to an acquaintance who has described herself as a dancer (studio, non-professional) and mentioned Pina Bausch (I love that man). Her facial expression indicated she didn’t know the name and she asked what style of dance Pina choreographed. The Hub said she was a modern dance choreographer. This woman screwed up her face and said, “oh we don’t like modern. My teacher is classically trained.”

WOW. So we *still* can’t encourage dancers to watch and value all dance.

The exposure required goes beyond those that don’t dance, it must include those that do.