Dance’s representation on T.V. has helped make great strides for the world of dance in terms of recognition and respect, without a doubt. It has allowed young dancers to see dreams realized as well as the hard work, dedication and rejection which goes along with the territory. While it has opened up dance for the greater community, there is a troubling, double edged sword which leaves little to be desired.

 It seems this little part of the dance world has people believing that if you are not well versed in tricks, acro and gymnastics, there is little to no room for you in the professional dance world anymore. The bombardment of trick after trick, held extension after extension, flip after flip has some of us visually exhausted and asking, “When are you going to actually start dancing?”  Where are the seamless transitions, the storytelling, the continuous phrases of movement which flow and make choreographic sense? Do we not care about this anymore? Well some T.V. programs and dance competitions might leave you feeling that way with their praise over and again, but I disagree.

I believe MANY, albeit perhaps old school minded and talented teachers agree with me. We’re tired of seeing youngsters on T.V. and in competition being ripped apart in critique because they opted for a classic tap or theatre jazz solo number which demonstrated stylistic nuance, solid technique, musicality and clean lines without the addition of a side tilt or front flip to the floor. Not that there isn’t a time and place for that too, but it doesn’t have to be every time.

A lot of us teachers and choreographers are bored with this trend and having us say, “What else you got?” Yes, athleticism is desired and an absolutely wonderful asset to have as a dancer, along as it’s combined with a foundational technique and understanding of movement profile, transitions, performance, intent and artistry. I, myself have no interest in rewarding a dance student anymore who just because they did some fouettés into a tilt into a death defying dive to the floor thinks they are “better,” than their technically skilled peer who came out with less tricks yet demonstrated an entire performance which left me feeling joyful, fulfilled and confident this dancer understood exactly what their choreographic intent was.

As teachers and choreographers it is our job to differentiate these genres for dancers and help them understand where and when each is appropriate, so that we are developing well rounded artists, not one or two trick ponies. They need to be well rounded.

So, to answer my own question,yes, there is absolutely room for dancers who are not, “trick,” dancers. It may feel as though there is not have a place for them, but there is. It may feel as though this is all young dancers are being exposed to, so of course they believe this is what dance is, in its entirety. Show them it’s not. Expose them to artists and trailblazers who truly define(d) what dance is and how to incorporate everything into their own training. Explain that, yes, they should expose themselves to everything from ballet to African to acro to increase range and versatility and train accordingly, but not all dance is about tricks.

 Remember, if you can wow a crowd without them, (solely with solid technique, style, true emotion, thoughtfulness and performance,) well then I believe, though it may feel it takes longer these days to be acknowledged, they will be the dancer that artists, choreographers and teachers with a keen eye and sharp intuition will remember most when they leave the room.

Stay true to who you are. Same goes for your dancers.
Good luck,
See you in the dance studio!
Jess

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