Let's Talk Dance
Let’s Talk Dance
By Kathryn Austin
Albert Schweitzer said, “There are two means of refuge from the miseries of life: music and cats.” If this is the case, I am the happiest person alive. Music fills my every day and unfortunately, although they are very cute, so do an array of feline friends. When you think of being involved in dance, as a student, choreographer or teacher, do you think of the added benefit of your daily interaction with beautiful, inspiring or powerful music? Isn’t this a blessing of what we do? How do you appreciate the music that inspires your movement? Is your music just the tool that supports your work, or is it an integral part of every movement?
New Orleans Jazz and Heritage Festival
I am carefully aware of the music that I choose for class and what it can bring to the exercises or choreography I have planned. I have the choice because I use pre-recorded music. What my dancers do not get the advantage of is having a live accompanist for class. There is just something so inspiring about the collaborative work of the musician and the dancer, even in the simplest of barre exercises. Live music connects to the heartbeat of the dancer and literally becomes part of the movement. I think this is why I find that students are drawn to cultural dance forms when we attend workshops. You can not help but be “moved” by the strong beat of an African drum or Latin Conga.
Last April, I attended the New Orleans Jazz and Heritage Festival, partly for selfish reasons and partly to observe the unrestricted movements of the people as they responded in movement to the live music. With 12 stages actively hosting bands of far-reaching musical variety, the “Jazz Fest,” for me, became the ultimate in “people watching.” Isn’t it curious that most people, trained or untrained, will be led to move in certain ways to certain music, whether it is “native” to their bodies or not? Where does this come from? Is it cultural? Is it through media? Is it innate? Is it the music itself that communicates the movement?
The festival provided ample opportunities to hone my keen observer skills. I watched the people not only with a curiosity, but with a choreographer's eye, looking for group dynamic and design in large masses of people. Some people were part of the musical group through their focus. Others were part of a small social group. Some were there but “not there,” and although moving in time to the music, their minds were clearly in another venue. I could not fault even the most awkward of movers for being responsive to the music. Age did not matter. Young children, babies on hips, teens, young marrieds, middle-agers, seniors, and even old folks would find comfortable ways to move to the music. And as they passed between the 12 venues, their movements would change to accommodate the style. From big bands to jazz trios, to Dixieland, to African drums or Afro-Cuban inspired pop: at this event music is music and preferences are irrelevant. Everyone appreciates every style. This is what we see on the dance floor in bars, dance clubs, wedding receptions and festivals. Wherever there is live music…people will dance! And when people dance…they are happy! And suddenly I became aware that I was in the ultimate research facility for music for choreography! Ah-ha, this had been a business trip all along!
As an added highlight, many cultural dance groups were there to perform. I especially enjoyed the Native American Indian group that gave a historical context to their performance, as well as geographic insight to the different styles of movement and costuming. It reminded me of the way we present our Scottish Highland dance heritage when we are asked to perform at events like this. I took time to speak with the director about the preservation of cultural dance, whatever the ethnic group, and the similar challenges we all face. I could appreciate the work these dancers and musicians put in to preserve their heritage and to bring it to the public eye. Such a small moment at such a huge festival, but important to them and certainly inspiring to me.
Personally, I am going to make the New Orleans Jazz and Heritage Festival an annual “business trip” for music research and choreographic observation. Last year’s line-up included names like: Van Morrison, Percy Sledge, Rod Stewart, Norah Jones, Ludacris, Johnny Rivers, Richie Havens, Tab Benoit, Neville Band, Brad Paisley, Bonnie Raitt, Jerry Lee Lewis, Pete Fountain, ZZ Top, George Benson, Counting Crows, John Mayer, Allman Brothers Band, Buckwheat Zydeco, Harry Connick Jr., Steely Dan, Joss Stone and Branford Marsalis - that only scrapes the surface! It is a music-lover’s, and mostly importantly, dance-lover’s, dream. Perhaps we should rephrase Schweitzer to read, “There are three means of refuge from the miseries of life: music, dancing and cats.” I just can’t seem to shake the cats.
Kathryn Austin, M.A., RDE welcomes comments, questions and topic suggestions from all readers. E-mail Kathryn at kaustin2@cfl.rr.com or by snail mail at PO BOX 771518, Winter Garden, FL 34777.