The Fate of Dance

I was diagnosed with Myasthenia Gravis July 2019. By that time it had generalized throughout my body, greatly limiting all that I do physically. As a way of coping with this change, I joined a Facebook group devoted to people coping with this illness. Quickly, I realized that I was one of the lucky ones that was diagnosed through bloodwork. Many others on the site have gone through the mill trying to get diagnosed only to be told that their symptoms are in their head or its something else. It seems to me that there are some medical professionals that prefer to pass the buck rather that help with solving the problem…failure of imagination.

When I taught dance to the 5th graders at The Paul Robeson School in Brooklyn, my objective was less about teaching them how to dance and more about teaching them how  to solve problems as a group. I did this by using the scientific method to solve problems to questions by the use of movement…MOVEMENT, not DANCE. If a form of dance was required through discovery to solve a problem, then it was up to me to provide what was necessary for my students to learn the dance form in order to solve the problem. It was a living, breathing unit plan that ebbed and flowed based on creativity and imagination.

I’ve learned that with dance in the public school system, there is nothing that states that we as dance educators should meet every person where they are. meaning that we should step into the dance studio with the assumption that our students already know how to dance. Our responsibility is to use what they know, provide them with what they don’t know and guide them on how to use this knowledge for the betterment of their future. Right now, we are just teaching them forms and they are repeating these forms on stage for the parents to be happy, the teacher to get a highly effective rating, and for the bureaucracy to say that dance is working. When the children graduate…where do they go…what do they do?

Going back to the beginning of this posting, some medical professionals suffer the same fate. They are forced fed information without the ability to take the patients knowledge into account, synthesizing it with what they know and taking it a bit further to see what the cause of illness may be even if it falls outside of the prevue of their expertise…failure of imagination.

Dance needs to be viable, meaning that it needs to be, “capable of surviving or living successfully, especially under particular environmental conditions.” If this doesn’t happen, it will always be as it is becoming today…entertainment and those with the money to leave the stables to make it to the gate, do so while the rest are left in the stable to be put down.

Why Ballet?

The central question of Zachary Whittenburg’s article in Dance Magazine, “Why Do Mixed-Rep Companies Still Rely on Ballet for Company Class,” has been an ongoing question since time immemorial. 

Ok…that’s a bit dramatic.

Personally, it’s a question that I find, as a professional dancer, a no brainer and has no need to be raised unless to continue the division it has caused in the dance community.

Ballet is the perfect form for both strength and alignment. As a former member of Twyla Tharp Dance, we all took ballet from various ballet masters only to get into the studio to rehearse anything but ballet. 

Twyla herself, was adamant about us all taking ballet before rehearsals and we did so religiously. We took classes at Howard Studios, Maggie Black, Finus Jung, The Corvinos, in addition to several others. After the Tharp/ABT merger, I took company classes mostly because they were free, and I didn’t have to commute because we all rehearsed under the same roof.

Why Ballet?

Ballet is consistent, methodical and systematic. Ballet begins and ends the same every class, if it’s taught correctly. The teacher doesn’t indulge in experimental movement exercises that are counterproductive to preparing a dancer’s body for a day of hard physical work. Each exercise focuses on specific parts of the body, especially the tiny muscles and ligaments. The exercises are also designed to align the body in order to protect the joints from injury. A good Ballet class begins at the barre with pliés and ends with grand allegro – it starts small and ends big.

What’s the problem?

I don’t think that Ballet is the problem. I believe that the problem lies within us. I’m sure that many of us, especially in the beginning of our training, have had the ballet teacher from hell…I did. As a matter of fact, I’ve had several. These experiences tainted my understanding of ballet and left me with the question, is ballet even necessary because I knew that I would never be a ballet dancer…stupid question. 

After I dropped out of Juilliard, I began to audition for other schools and companies – each audition began with a ballet barre. This was when I was introduced to Finus Jung. He was the first ballet teacher that helped me to understand that Ballet did not have to be a performance medium, but a steppingstone to other forms of dance. Every dancer in his class expressed Ballet in their own way not like cookie cutter dancers and he cultivated individuality with all of his students.

Before I was invited to dance with Twyla Tharp Dance, her and I met a few days a week in the studio to “workout” and create dance phrases. I didn’t take class beforehand in which case she invited a former company member to lead an aerobics class and yoga. When the company came back from tour, I was invited to perform with the company in which case it was imperative that I took a class beforehand…it was always ballet and mostly with Finus. However, once we were in the studio rehearsing and creating phrases, it was all Twyla. 

It always began with improvisation where she started an improvisational study and we didn’t follow but assimilate…big difference. We were to absorb her weight shifts, rhythm, arm movements, gestures and after a time she would turn off the music and we would go over the phrase in detail in order to get the style and phrasing into our bodies – Twyla was always coaching us and teaching us her style even though we all took Ballet class and were trained in ballet.

Today’s dance companies need to do this and not assume that dancers are going to walk into an audition knowing their style of dance. An audition for a contemporary dance company needs to incorporate a class on their style into their auditions to see if a dancer has the ability to adapt to other forms of dance. This is where it is the dancer’s responsibility to remain active in learning as many different forms of movement as possible. Jez…I breakdanced, studied Eagle Claw Kung Fu, roller blade through NY, soccer…you name it – it all helped me in the end.

Ballet is and should always be imperative for all dancers but should be taught by competent ballet teachers and not teenagers that just graduated from high school and are senior members of their local dance studio. Also, if your goal is to perform ballet, then taking class from a competent Ballet master from conservatory ballet or reputable ballet company is just fine. But, if your goal is to dance for a contemporary dance company specializing in mixed movement forms, then you need to build yourself up so that you can bend and mold to the style that you are confronted with and it begins with Ballet.