What is Commercial dance? This is a question asked by both those involved and not involved in the dance world. Many people have different opinions and ideas as to the answer and, it could be that there is no single definitive answer. Perhaps the answer to this dilemma lies in that commercial dance is just too broad a term to define so many individuals dancing.
Dance is just dance; jazz, street, hip hop, ballet, ballroom, commercial and contemporary are all just ways of branding the choreographic style used within the technique and the work produced. Art is highly subjective meaning people all have their own opinion on what dance is and where the boundaries come between the classifications of styles. We all dance for different reasons and encounter differing experiences. Even within these categories individuals have a separate purpose, passion and reason for dancing. ‘What to some is splendid entertainment, to others merely tedium and fidgets; what to some seems barren, to others is the very essence of the heroic.’ (Cunningham, 1998, p91) Dance to each individual is something different. Art, as I believe most things in life are, is highly subjective. It seems to me that much of the dance that we class as commercial is trying to escape certain restraints and artists are searching for freedom of expression and movement. This means that there are so many different styles being created. It could be argued that if we were to be specific with the naming of styles, every piece of dance that is created would be a different style. Everybody who creates something is different. In fact the same could be said for the dancers who perform these pieces. Mary Wigman, ‘developed a new dance form that has often been called ‘’absolute dance.’’ It was a unique combination of her training, her personality, her Germanic heritage, and the atmosphere of pre-Nazi Europe.’ (Adshead-Lansdale & Layson, J1995, p33) Nobody else could have created what she did. It was individual to her and stemmed from her life experiences. Even those who performed her work would have been unable to access the true essence of its meaning because they were not her. A dancer will bring their own experiences and understanding of the world to a choreographers work and in turn each new dancer creates something new. Alternatively, it could be argued that commercial dance is simply any dance designed to make money. The dictionary definition of commercial describes it as ‘profitable’. If this is the case then does this mean that ballet can be classed as commercial? In fact, can we say that all dance that makes a profit is commercial? Due to its nature of making money, commercial dance is constantly changing and developing in order to be relevant and profitable. If we are to look at two examples of dance in music videos, one from the Steps music video for ‘5,6,7,8’ from 1997 and compare this with the Beyonce video, ‘Run the World’ from 2011 it is clear to see how the style has developed. The Steps video incorporates a simple, repetitive dance routine that can be easily replicated by fans. It is light hearted and innocent possibly appealing to a wide audience. In contrast to this, the Beyonce video uses movements which are much more sexualised. It is more serious and uses much more complex and varied movement vocabulary. This development reflects the development within society and the change in opinion of what is acceptable. In conclusion, it may be argued that commercial dance is simply all dance that is designed to make money. It will always develop and change and because of this it is difficult to create a more definite definition of the genre. In addition, due to the subjective nature of dance it would be difficult to discredit an individual’s views on weather their work was commercial or not. Arguably, dance cannot be put in to such broad categories. Everything new being created by every individual is its own separate style. Bibliography: steps VEVO, (1987). Steps - 5, 6, 7, 8. [video] Available at: https://www.youtube.com/watch?v=4NO-h9PFum4 [Accessed 8 Dec. 2014]. BeyonceVEVO, (2011). Beyoncé - Run the World (Girls). [video] Available at: https://www.youtube.com/watch?v=VBmMU_iwe6U [Accessed 8 Dec. 2014]. Adshead-Lansdale, J & Layson, J (1995). Dance History an Introduction. 2nd ed. London: Routledge.
0 Comments
Choose one of the themes that you discussed earlier in class and consider it in greater depth. Find examples of Commercial dance that expresses this theme and explain how they relate in detail. Many dance styles have their origins in social or political events throughout history. The Slave Trade was just one of these events that brought about the development of dance styles still used today. Europeans went to West Africa and kidnapped Africans taking them to The New World (America and the Carrabin) to be sold as slaves. Carob-Indians already lived in the Carrabin and were also forced into slavery. Slaves were sold as a commodity and by law were not seen as people but instead viewed as property. ‘By the 1750’s, 5,000 Africans a year were taken to America.’ ‘With New York having the 2nd largest slave population’ (Slavery and the Making of America: Vol. II Liberty in the Air, 2005) Slavery was a great way for owners to increase their income. They had free labour and owned slaves children as soon as they were born at no extra cost. As a result of this families and loved ones were separated as children were sold to other plantations once they were old enough to be of use. Slaves were not permitted to go to visit removed loved ones. Any attempt to leave would result in punishment. These punishments could include’… cart whipping, beating with a stick, sometimes too the breaking of bones, the chain, an iron crook about the neck... a ring about the ankle, and confinement in the dungeon. There have been instances of slitting of ears, breaking of limbs, so as to make amputation necessary, beating out of eyes, and castration...’ (Simkin, 1997) Slaves were having their identities removed and were being reduced to less than human beings. The only thing they had left was the preservation of African values and beliefs. This arguably became their way of rebellion. One African tradition was that of dancing. As Africa is such a massive country inevitably, each colony and tribe from across this vast continent had their own slightly different individual way of dancing. Slaves were given Sundays off because their Master were Christian and Sunday was seen as Gods day. This was another way for masters to strip slaves of their identity and force their own beliefs and ideologies onto them. Slaves would often use these Sundays as a day of celebration. They would dance and this is where the different styles of dance began to merge. As these styles merged new ideas began to mix with existing traditions. Slaves would comically mimic there masters sniffing Tabaco and a dance known as the Cake Walk emerged. ‘These Slave's would have some fun with such a dignified walking, flirting, prancing, strutting, bowing low, waving canes, doffing hats, done in a high kicking grand promenade.’ ‘For their 'Sunday entertainment', the plantation owners started having contests to prove to the other who had the best slave walker which would give the evolution of the Cake being given as a prize.’ (Watson, 2014) This is where the name cake walk came from. Slaves often had chains placed around there ankles to prevent them from attempting to escape and were not permitted to talk to one another whilst working. This meant they needed to create a new way of communicating. Gradually they began to develop a way of communication through slaps and shuffles using only the small amount of movement possible with their feet. As time went on and the Slave Trade ended this way of communicating lived on in the form of tap dancing. These stamps and shuffles along with the rhythmical patterns used became more complex becoming a form of expressive entertainment. The movements and rhythms slowly began to become more structured as a set vocabulary of movement began to emerge. Events in history and the struggles and experiences of individuals are often influential in the development of dance styles. Dance is used as a way of expression and during times of hardship it is often used in new ways to help make situations bearable. This is evident in the events of the slave trade and the dance that came out of this horrifying event. Bibliography: Davidson, B. (1980). The African slave trade. Boston: Little, Brown. Du Bois, W. (1965). The suppression of the African slave-trade to the United States of America, 1638-1870. New York: Russell & Russell. Slavery and the Making of America: Vol. II Liberty in the Air. (2005). [DVD] Ambrose video publishing incorporated: Ambrose DVD. Watson, S. (2012). Comedy Cakewalk (1903) Americus Quartet as perform.. [video] Available at: https://www.youtube.com/watch?v=WP2bVd_x0Ig [Accessed 14 Dec. 2014]. Spartacus Educational, (2014). Slave Punishments. [online] Available at: http://spartacus-educational.com/USASpunishments.htm [Accessed 14 Dec. 2014]. Innercity.org, (2014). Chronology on the History of Slavery 1619 to 1789. [online] Available at: http://www.innercity.org/holt/slavechron.html [Accessed 14 Dec. 2014]. Britishandamericanslavery1500-2000.blogspot.co.uk, (2007). British and American Slavery 1500 -2000: Britain The Slaving Pioneers 1500 -. [online] Available at: http://britishandamericanslavery1500-2000.blogspot.co.uk/2007/01/britain-and-slave-trade-slaving.html [Accessed 14 Dec. 2014]. Watson, S. (2014). Cakewalk Dance |Chalk Line Walk|Walk Around|Origin. [online] Streetswing.com. Available at: http://www.streetswing.com/histmain/z3cake1.htm [Accessed 14 Dec. 2014]. Here is a short clip to demonstrate what the Cake Walk would have looked like. Look at Commercial music and find examples of Contemporary dance techniques used within them. Analyse the effectiveness of this and comment on the purpose. Often, Commercial musicians make use of contemporary dance techniques within their videos. Often this is done through movement which provides a narrative. However, in some cases the movement used is abstract drawing on themes within the lyrics to enable the viewer to question the notions presented and draw their own conclusions. This can be highly effective in creating an intriguing piece of art.
Will Young often makes use of Contemporary dance techniques in his music videos. A particular example of this is his ‘Losing Myself’ video. The song seems to take a solemn look at the struggle faced when trying to avoid following the status quo and becoming what society expects rather than staying true to one’s self. The video utilises a quartet consisting of four men including Will Young himself. They seem to switch from representing four men to one single individual which is where the contemporary technique becomes effective. To begin the four men perform pedestrian like movement in front of a mirror. They perform everyday tasks such as brushing their teeth and shaving in a choreographed and almost robotic manner. This reflects the words used in the lyrics portraying the ease at which one can easily slip in to following the norm and becoming almost a clone. As the piece continues this style is similarly used in a kitchen pouring and drinking coffee, further reflecting and enhancing the significance of the song. This later develops as the four dances seem to become one. They stand one behind the other and perform actions to varying degrees. The action of sitting is broken down into several stages with each dancer stopping at a different point. This enforces the notion that as humans we all appear to be doing the same things in the same manner in order to be accepted. By incorporating Contemporary dance into his video Young enables a deeper meaning to become clear. His use of movement is abstract meaning rather than providing a narrative it simply enhances purpose and meaning. According to Will Young himself the album ‘Echoes’ from which this song is taken portrays, in parts, ‘the solemn heartbreak of an Outsider’. (Young, 2014) This is evident within this track and particularly through the choreography. The desire that exists to be one’s self is being shadowed by the necessity of being ‘normal’ in order to fit in with society. In contrast, the Policia video ‘Wandering Star’ makes use of narrative within its use of Contemporary dance. The video depicts an elderly woman, presumably an ex-artist, aiming to regain her sense of purpose in a world that views her as outdated. One by one pictures come ‘alive’ and attempt to assist her in regaining her excitement for creating art until finally she seems to find peace and contentment within herself. The video culminates in a large ensemble section with many ‘blank canvases’ moving together and gradually becoming covered in paint until finally only the artist is left lying in a crucifix covered in paint and seemingly content within herself and her life. Each dancer portraying a painting moves with an individual dynamic. The first, a male dancers seeming to depict some sort of tribal warrior like character moves with a strong controlled quality whilst moving around the woman. In contrast to this, whilst in contact with her he seems to be sensitive as he delicately strokes her face and places his head in her hands. Following this, a female dancer emerges. She seems more aggressive in her actions both in her contact with the women and her movement around her. She makes extensive use of isolated movement with each action she makes being particularly sharp and a lot of the shapes angular. A male dancer wearing feathered shorts is next to emerge. His actions are slow and fluid with moments of stillness between movements. As he approaches the women she seems almost fearful of his screwing up her face as he attempts to place his hands on her face. Finally, a women dressed in an Edwardian esc manner appears. Her actions are almost seductive. It seems as if she is trying to persuade the elderly artist to be free as she raises her arms and encourages her to look to the skies. By making use of these different dynamics and qualities not only does this make the piece more interesting but it may also be perceived to show different qualities within the elderly women both as a person and within her work. Using contemporary dance techniques within commercial music videos is a great way of enhancing what the lyrics are trying to communicate. It also creates a more interesting piece that captures audiences' imagination and ultimately, hopefully enhances record sales. Bibliography Young, W. (2014). About Will Young. Available: http://www.willyoung.co.uk/global/biography. Last accessed 15th Nov 2014. POLICA, (2012). POLICA - Wandering Star (Official Music Video). [video] Available at: https://www.youtube.com/watch?v=yX4iIPlwS5c [Accessed 22 Oct. 2014]. Will Young - Losing Myself. (2012). [video] Available at: https://www.youtube.com/watch?v=c19BbGGJU5E [Accessed 22 Nov. 2014]. For several years I have been inspired by the work of American dancer, Kate Jablonski. I am fascinated by the way she connects with the lyrics within the musical accompaniment she selects. It is clear that music is important to her. It effects and inspires the development of her choreography greatly. Her dances focus on relatable topics. Rather than taking large overly dramatic subject matter, she often concentrates on smaller everyday topics. I have enjoyed a lot of Jablonski’s work and find her use of characterisation both interesting and entertaining. ‘Falling’ (Kate Jablonski), is a piece which I find particularly inspiring. For me ‘Falling’, is a piece about fear. It’s the fear of failure that affects us all at some point. This fear is greater when attempting something that really matters to us, something we really care about. The ambiguity within the piece about what this fear is allows audience member to construct individual connections with the meaning. The fear for me surrounds my own desire to choreograph. Opening myself up to judgment and expressing deeply personal emotion and feelings. To be successful we must open ourselves up and jump in wholeheartedly holding nothing back. We must accept that whilst we may fail and ‘fall’, we might also succeed. This possibility of success is what keeps us motivated to move forward whilst the fear keeps us alive. Each movement within Jablonski’s work seems to have an extra quality which makes her choreography more interesting. Each movement seems to constantly grow and the dancers constantly retain a presence within the space. Even in stillness they are able to retain the audience’s attention. Jablonski pays careful attention to the lyrics within the musical accompany she selects. The words become a part of the dancers’ ‘voice’. This is done without being too literal. For example, ‘fallen on my face’; whilst the dancers do fall on their face it is done in a more imaginative way which, whilst making it clear what is happening, does leave room for imagination amongst the audience. Jablonski’s incorporation of face is what makes her work stand out in what is a very competitive industry. Through this, she adds an element of comedy and in my opinion, more importantly, breaks the fourth wall. Her dancers interact with the audience humanising themselves. Dancers are often too distant and ‘too perfect’ making it difficult for an audience to relate to certain pieces. Jablonski on the other hand, creates something which is both entertaining and relatable. Her pieces exude both positive and negative emotion. Each emotion is believable. What is presented often seems real rather than a theatrical performance. Everything the dancers are expressing can be felt by the audience. Much of the movement within the choreography adds to the dancers’ persona. Rather than focusing too heavily on technique she encourages her dancers to enhance each movement by adding individual flare to create a sense of character. Slight alterations in position of heads and use of gate enable a sense of individuality to be expressed. This again adds to the feeling of reality. In addition, her incorporation of individual character enhances the audiences’ ability to connect with and relate to the ‘alien’ world of dance. As well as creating an excellent sense of performance, Jablonski also ensures that the technical ability of her dancers is showcased. She incorporates technically demanding work and intricate combinations neatly with excellent characterisation. Individual dancers are highlighted seamlessly. One dancer rises as the ensemble falls and vice versa before virtually unnoticeably slipping back in with the rest of the group. Basically, for me dance is about expression. It takes both its audience and dancers on an emotional journey which can often be cleansing and therapeutic. It should also entertain and give an opportunity to take a breath and put one’s life into prospective. Kate Jablonski allows for all of this within her pieces. She poses questions and allows individuals to query their beliefs whilst also creating an enjoyable and entertaining environment. Bibliography: Jablonski, K. (2012). Falling. [video] Available at: https://www.youtube.com/watch?v=5G4kH30f7no [Accessed 24 Oct. 2014]. |