‘Seduction of Cools’: Evolution of Jazz Dance Through Research and Choreography
Constantly evolving and redefining itself
I.
Pre History -The African Tradition & Diaspora
the initial blend – racial survival.
II.
Dance from 1900 - 1940 – The Vernacular,
evolved into show dance.
III.
Dance from 1940’s the Cole influence into show/concert dance.
IV.
New Hybrids (1980 to present) Hip Hop Phenomena
Marilyn Monroe
(“Diamonds are a
Girl’s Best
Friend)
Creation of Theatrical
Jazz Dance
Jack Cole
Blue Lake Fine Arts Camp, a summer school of the arts located on a 1,300 acre
campus in Michigan’s Manistee National Forest, offers fine arts education for all
ages. Each summer, the principal camp program annually serves more than 5,400
gifted elementary, junior high, and high school students with diverse programs in
music, art, dance, and drama while offering more than 175 performances during its
Summer Arts Festival.
Gwen Verdon
Father of American
Jazz Dance
Creation of Icons and
images
Rita Hayworth
Socially
Fusion of world
Entering the Golden Age in Hollywood
dance styles
Creation of Theatrical Jazz Dance
Setting a new standard in dance
Betty Grable
“There is no such thing as a bad Jack Cole Dancer” (Billman, 3:30)
Betty Grable was known in Hollywood for simply being beautiful and not
working too hard, Cole changed her work ethic because he was so
demanding. (Walker, 4:00)
“In seven years he taught us much more than dance…Working with him
was a college education” – Gwen Verdon
Anne Miller
Columbia Pictures
Designated dance Director at Columbia Pictures, Cole had very specific
needs:
Troupe of dancers under contract
Culturally
Rehearsal space
Coupling of authentic ethnic dance with jazz accompaniment (Cole used these
Historically
Learning space
influences to heighten and theatricalize the dances)
Great Depression
First and only Contract Dance Company (Billman, 3:55)
East Indian
Beginning developing towards the end of the Depression
Balinese
Summer of 1933 – Left Dennishawn (and the shelter of the Berkshire
Afro-American
mountains) to “write his own chapter in the story of American Dance” (Loney,
Comedia del Arte
57)
st
“Popo the Puppet” (Billman, 8:20)
1933- Prohibition ended (21 amendment)
Fusion –“Blending of World Dance Forms” (Ralabate, 1)
After Prohibition, new clubs were opening there was a “need for flash, glitter, for
Known as the father of American jazz dance, by combining all of these worldly
entertainment that dazzled, but which didn’t discourage drinking” (Loney, 70)
influences with what he already knew of modern dance with Dennishawn.
The Rainbow Room (Loney, 75)
In history, America was formed with the influence of many cultures and
Upscale restaurant and nightclub started in the 1930s, showcasing acts
traditions and still holds as a free country, where Jack Cole has done the same
and new innovations of the time
for dance by mimicking the historical structure of America through dance and
Cole performed at the Rainbow Room, and how other artists initially saw
movement.
his work, later to be influenced
Prohibition ending
World War II 1939-1945
More sexual influence in culture
Continued to work in musical theater and commercial dance.
Jack Cole was known as a sexually driven man, often having nude dance
classes (Ralabate, 16)
Music
Early inspirations
Benny Goodman
Duke Ellington
As an extension of Blue Lake Fine Arts Camp’s summer camp program, the Blue Lake International
Program continues the organization’s philosophy of encouraging creativity and motivating young people to
achieve in the arts. The Blue Lake International Exchange Program couples this philosophy with the
mission of creating international understanding through the arts. Like the contagious feeling of enthusiasm
at summer camp, international students soon become anxious to meet their host families, and begin
sharing this truly unique experience of international ambassadorship
Touring Countries:
• Belgium
• Denmark
• Germany
• France
• Michigan, USA
Through an extensive application process I was chosen to be an International Ballet Ensemble
Counselor at Blue Lake Fine Arts Camp. This position required performance of a selfchoreographed work to be performed in a concert throughout Europe, as well as managing 30
high school ballet students who also performed abroad.
• The company is a pre-professional education/training/performance programs. Their range of
performance includes modern, contemporary, jazz, tap, traditional, classical, experimental, popular,
abstract, and dramatic dance etc.
• Company’s mission statement: Rooted in a tradition of dance excellence founded by Linda Swiniuch in
1973, and comprised with artistic diversity of faculty and student backgrounds, talent and experiences,
we seek to share valuable educational knowledge and professional experiences - to develop intelligent
resourceful working artists that promote the fullest understanding of dance and its respectful place in
art and culture.
• As a second company to the Dance Department’s Zodiaque Dance Company, the Zodiaque Dance
Ensemble gives underclassmen the opportunity to experience involvement in a professional company
setting, working with student choreographers, faculty and guest artists.
My proposal submission:
PART I (Personal Statement): Discuss your interest in choreography and/or in the development of your
choreographic skills. (Why do you want to choreograph for ZDE?)
PART II: Discuss your proposed idea/concept for your work
“I would like to further develop the solo that I performed across Europe this past summer. ‘MI Dispiace
Ma’ is the name of the piece that I performed through France, Germany, Denmark and Belgium. I really
enjoyed this piece and I feel that it has potential for further development on ZDE.
The initial theme in creating this work was working to create concert dance out of a style that is
influential in today’s world of dance. My challenge in creating this piece, at least as a solo, was to
differentiate maturity in choreography of concert dance and to not get stuck in the present. I think what
categorized my piece, as concert dance was a high level of performance. The piece is about strength of
being your own person, and not taking crap from anyone. It is about overcoming obstacles, and
showing that you can rise above. I want to display a high level of technique for the dancers, as well as a
high level of performance. The style of this piece is more of a hard-hitting jazz/ borderline hip-hop.
I am interested in gaining the experience of setting a solo on a group and I would love the experience of
setting this on the Zodiaque Dance Ensemble.”
PART III: Please submit a sample of your work—no more than 5 minutes.
Matt Mattox, a protégé of Jack Cole, trained with him for 7 years.
Mattox had a strong background in ballet and through Jack Cole
became interested in developing jazz dance. Because of his
balletic background, he brought more technical aspects to the
form. His technique emphasizes the coordination of multiple body
parts with polyrhythmic music. In the Matt Mattox technique the
most well known step is entitled the Mattox lunge. As Jack Cole
was responsible for more of the theatrical aspects of jazz dance,
Mattox put more emphasis on the solidification of the technical
aspects and creating exercises to further jazz dance. In efforts to
transform and solidify the jazz dance form, Mattox made great
strides in creating a system of exercises to train jazz dancers
during the embryonic stage of theatrical jazz dance. Although he
was not the only teacher to do so, it is evident that his technique
method was intricate and it most clearly integrated the jazz dance
concepts of isolation and propulsive rhythm. Through my research
I have found a series of 47 videos entitled “Matt Mattox jazz dance
technique”, that show the entirety of the Mattox technique. These
videos are a great resource for jazz dance and for its future
development.
•
•
•
Luigi, in his twenties faced a detrimental car accident in which
he was told he would never be able to walk again, let alone
dance. Luigi developed his warm up exercises as a method of
therapy for his body and mind to heal. The phrase that carried
him through was “never stop moving,” which is now vital to what
his teaching has become. Luigi was able to use his physical
handicaps to further his passion for jazz and learned how to
“feel from the inside out.” Opposition is an important component
to what Luigi teaches. This is evident in his exercises such as
the oppositional rib stretches, as well as his simple yet very
complex “Luigi walks”.
Selected choreographers need to expand upon and develop their original choreographic concept into an official
dance work in progress.
For this choreographic project , I was provided with a Faculty Mentor, Joyce Lichtenberger, who acted as my advisor.
Works in Progress Showcase (WIPS)
•
February 28, 2013
•
March 28, 2013
•
Once the piece has become a more substantial project, choreographers are required to present their
choreographic work to a panel of professionals in the field. Here choreographers receive constructive
criticism on their work in preparation for the final showing in the April concert.
Choreography: Ashley Peters
Dancers: Kaitlyn Bontrager, Maria
Cwiklinski, Naomi Pitts and EvanMatthew
Stewart
Music: “To Forgive not Forget” – Outside
Lighting and Costume Design: Andrew Garvis
The final presentation of this work with be
shown in the Zodiaque Dance Ensemble
Concert.
April 19th -21st , Center For the Arts, Black Box
Theater
www.buffalo.edu