Would you like to inspect the original subtitles? These are the user uploaded subtitles that are being translated:
1
00:00:16,916 --> 00:00:18,735
[Moncel Durden]
2
00:00:16,916 --> 00:00:20,553
to think about something.
3
00:00:18,736 --> 00:00:20,553
All right. So, I want y'all
4
00:00:20,653 --> 00:00:22,072
Think to yourself,
5
00:00:22,073 --> 00:00:23,490
what is the first sound,
6
00:00:23,556 --> 00:00:25,308
song, rhythmic structure
7
00:00:25,309 --> 00:00:27,060
that I can remember?
8
00:00:28,361 --> 00:00:31,197
[heartbeat pumping]
9
00:00:32,699 --> 00:00:33,734
You're hearing
10
00:00:33,735 --> 00:00:34,768
the heartbeat.
11
00:00:34,868 --> 00:00:36,703
You are getting rhythm.
12
00:00:38,038 --> 00:00:39,406
You get accustomed
13
00:00:39,407 --> 00:00:40,774
to sounds
14
00:00:40,874 --> 00:00:42,842
- and the rhythm patterns
- Of those sounds.
15
00:00:42,909 --> 00:00:45,278
- And so you are
- Passing down information.
16
00:00:45,378 --> 00:00:47,614
- Before you're even here,
- That memory
17
00:00:47,714 --> 00:00:48,915
is coming from
18
00:00:48,916 --> 00:00:50,116
mother to child.
19
00:00:50,216 --> 00:00:51,951
- So, we're getting
- This information
20
00:00:52,052 --> 00:00:53,420
and we're growing up with it
21
00:00:53,421 --> 00:00:54,788
and it just makes sense.
22
00:00:54,888 --> 00:00:56,923
- We might not
- Be able to explain it,
23
00:00:57,023 --> 00:00:58,241
but that way of
24
00:00:58,242 --> 00:00:59,459
moving a body,
25
00:00:59,559 --> 00:01:01,228
this is how the people
26
00:01:01,229 --> 00:01:02,896
in my community move.
27
00:01:02,962 --> 00:01:04,197
So when I start dancing,
28
00:01:04,198 --> 00:01:05,432
I'm right there with you.
29
00:01:05,532 --> 00:01:07,534
- You don't have to teach me
- How to do a dance.
30
00:01:07,600 --> 00:01:09,102
It's in my blood.
31
00:01:09,103 --> 00:01:10,603
It's in my community.
32
00:01:10,703 --> 00:01:11,703
I just do it.
33
00:01:11,738 --> 00:01:13,156
[upbeat drum
34
00:01:13,157 --> 00:01:14,574
[theme playing]
35
00:01:19,579 --> 00:01:21,948
[Debbie Allen] I view dance
36
00:01:21,949 --> 00:01:24,317
as the original art form.
37
00:01:24,417 --> 00:01:25,852
Man was standing his feet
38
00:01:25,853 --> 00:01:27,287
upon the planet,
39
00:01:27,387 --> 00:01:28,822
leaping, spinning.
40
00:01:28,922 --> 00:01:30,674
Before we could write,
41
00:01:30,675 --> 00:01:32,425
before we could even talk,
42
00:01:32,492 --> 00:01:34,627
we were dancing.
43
00:01:34,727 --> 00:01:36,529
[Saleemah Knight] Jazz dance,
44
00:01:36,530 --> 00:01:38,331
it's the way that we live,
45
00:01:38,431 --> 00:01:39,616
breathe, and speak
46
00:01:39,617 --> 00:01:40,800
on a daily basis.
47
00:01:40,900 --> 00:01:42,502
It's a conversation.
48
00:01:42,602 --> 00:01:44,280
- It's about seeing
- The people around you
49
00:01:44,304 --> 00:01:45,322
and really feeling,
50
00:01:45,323 --> 00:01:46,339
with empathy,
51
00:01:46,439 --> 00:01:47,457
who those people are
52
00:01:47,458 --> 00:01:48,475
and understanding
53
00:01:48,575 --> 00:01:49,659
how you relate to them
54
00:01:49,660 --> 00:01:50,743
through movement.
55
00:01:53,980 --> 00:01:55,498
[Melanie George] If jazz is
56
00:01:55,499 --> 00:01:57,016
about humanity, and it is,
57
00:01:57,117 --> 00:01:58,268
there are
58
00:01:58,269 --> 00:01:59,419
infinite ways of being,
59
00:01:59,486 --> 00:02:01,206
- and we should be allowed
- To move through
60
00:02:01,287 --> 00:02:02,305
all of those spaces
61
00:02:02,306 --> 00:02:03,323
and claim jazz.
62
00:02:03,423 --> 00:02:05,758
- The one thing that
- I ask of every single person
63
00:02:05,825 --> 00:02:06,926
when they're working
64
00:02:06,927 --> 00:02:08,027
with this material is,
65
00:02:08,127 --> 00:02:09,796
- say where you got
- This stuff from,
66
00:02:09,863 --> 00:02:11,030
and if you're not sure,
67
00:02:11,131 --> 00:02:12,966
- investigate
- And do the research.
68
00:02:13,032 --> 00:02:14,643
- In the same way
- That no one owns jazz,
69
00:02:14,667 --> 00:02:16,669
- no one's
- Really making up anything
70
00:02:16,769 --> 00:02:18,638
that didn't come from someplace.
71
00:02:20,473 --> 00:02:21,675
A part of why our history
72
00:02:21,676 --> 00:02:22,876
is not understood
73
00:02:22,976 --> 00:02:24,377
- is because we
- Don't attribute
74
00:02:24,477 --> 00:02:26,546
- and we don't call back
- To what came before.
75
00:02:26,646 --> 00:02:27,998
We are always steeped in,
76
00:02:27,999 --> 00:02:29,349
like, now and there.
77
00:02:29,449 --> 00:02:31,184
Like, what's beyond?
78
00:02:32,852 --> 00:02:34,487
The history allowed us
79
00:02:34,488 --> 00:02:36,122
to get to now,
80
00:02:36,189 --> 00:02:37,440
so it's our responsibility
81
00:02:37,441 --> 00:02:38,691
to the form
82
00:02:38,791 --> 00:02:40,693
- to attribute
- Where stuff comes from.
83
00:02:55,341 --> 00:02:59,179
[Julie Andrews' "Le Jazz Hot"]
84
00:03:06,486 --> 00:03:08,054
♪ About 20 years ago ♪
85
00:03:08,154 --> 00:03:09,939
♪ Way down in
86
00:03:09,940 --> 00:03:11,724
New Orleans ♪
87
00:03:14,327 --> 00:03:16,229
♪ A group of fellas ♪
88
00:03:16,329 --> 00:03:19,032
♪ Found a new
89
00:03:19,033 --> 00:03:21,734
kind of music ♪
90
00:03:21,834 --> 00:03:23,970
♪ And they decided
91
00:03:23,971 --> 00:03:26,105
To call it ♪
92
00:03:26,206 --> 00:03:28,341
♪ Jazz ♪
93
00:03:37,350 --> 00:03:39,185
♪ Oh, baby, won't
94
00:03:39,186 --> 00:03:41,020
you play me ♪
95
00:03:41,087 --> 00:03:43,289
♪ Le Jazz Hot maybe ♪
96
00:03:43,389 --> 00:03:45,158
♪ And don't ever
97
00:03:45,159 --> 00:03:46,926
let it end ♪
98
00:03:49,028 --> 00:03:50,463
♪ I tell you, friend ♪
99
00:03:50,563 --> 00:03:52,632
- ♪ It's really something
- To hear ♪
100
00:03:52,732 --> 00:03:54,767
- {\an8}People all over the world
- Love jazz dance.
101
00:03:54,867 --> 00:03:56,169
{\an8}They just don't realize
102
00:03:56,170 --> 00:03:57,470
{\an8}that they love jazz dance.
103
00:03:57,570 --> 00:03:59,639
- {\an8}It is very hard
- To define what jazz is.
104
00:03:59,739 --> 00:04:01,708
- {\an8}But then when you see it,
- You see it.
105
00:04:01,774 --> 00:04:03,142
{\an8}Liz Thompson used to say,
106
00:04:03,243 --> 00:04:04,861
{\an8}"Jazz dance
107
00:04:04,862 --> 00:04:06,479
{\an8}is dance's bastard child."
108
00:04:06,579 --> 00:04:07,897
{\an8}And if I can't say that
109
00:04:07,898 --> 00:04:09,215
{\an8}on camera,
110
00:04:09,282 --> 00:04:11,985
- jazz dance is the illegitimate
- Child of dance.
111
00:04:12,085 --> 00:04:13,987
♪ Oh, so baby ♪
112
00:04:14,087 --> 00:04:15,888
♪ Le Jazz Hot may be ♪
113
00:04:15,955 --> 00:04:18,057
[George] I don't know what's
114
00:04:18,058 --> 00:04:20,159
more American than jazz.
115
00:04:20,260 --> 00:04:22,045
{\an8}Enslaved culture,
116
00:04:22,046 --> 00:04:23,830
{\an8}migratory culture,
117
00:04:23,930 --> 00:04:25,298
{\an8}indigenous culture
118
00:04:25,299 --> 00:04:26,666
{\an8}can be found in jazz.
119
00:04:26,766 --> 00:04:28,901
{\an8}It's such a Hodge-podge,
120
00:04:28,968 --> 00:04:31,170
- {\an8}a ragout
- Of lots of different things
121
00:04:31,271 --> 00:04:32,505
{\an8}that came into the pot.
122
00:04:32,605 --> 00:04:34,140
And so,
123
00:04:34,141 --> 00:04:35,675
in that very American way,
124
00:04:35,775 --> 00:04:37,727
we sort of steal from
125
00:04:35,775 --> 00:04:39,679
new.
126
00:04:37,728 --> 00:04:39,679
everybody and find something
127
00:04:41,114 --> 00:04:42,766
{\an8}When people speak,
128
00:04:42,767 --> 00:04:44,417
{\an8}they tend to lie about things
129
00:04:44,484 --> 00:04:46,252
{\an8}and dance is honest.
130
00:04:46,319 --> 00:04:48,988
- {\an8}It's all
- The backgrounds of everybody
131
00:04:49,088 --> 00:04:50,139
{\an8}and it's really
132
00:04:50,140 --> 00:04:51,190
{\an8}what they feel
133
00:04:51,291 --> 00:04:52,601
- {\an8}in their heart
- And their soul.
134
00:04:52,625 --> 00:04:54,077
{\an8}Jazz has a heartbeat
135
00:04:54,078 --> 00:04:55,528
{\an8}and a rhythm
136
00:04:55,628 --> 00:04:56,929
{\an8}that makes people move
137
00:04:56,996 --> 00:04:59,048
{\an8}very differently
138
00:04:59,049 --> 00:05:01,100
{\an8}from any other dance form.
139
00:05:01,167 --> 00:05:03,002
{\an8}Jazz is inspired
140
00:05:03,003 --> 00:05:04,837
{\an8}by the rituals, the rhythms,
141
00:05:04,937 --> 00:05:06,556
{\an8}the sounds, the earth,
142
00:05:06,557 --> 00:05:08,174
{\an8}the community.
143
00:05:08,274 --> 00:05:09,943
{\an8}What was happening with
144
00:05:08,274 --> 00:05:11,611
music
145
00:05:09,944 --> 00:05:11,611
{\an8}dance, with jazz, dance, and
146
00:05:11,678 --> 00:05:13,230
{\an8}here in this country
147
00:05:11,678 --> 00:05:14,781
what was happening
148
00:05:13,231 --> 00:05:14,781
{\an8}was actually mirroring
149
00:05:14,847 --> 00:05:16,716
- {\an8}in the country
- Historically, politically.
150
00:05:16,816 --> 00:05:18,484
{\an8}Jazz is always political
151
00:05:18,551 --> 00:05:20,203
{\an8}because it's imagining
152
00:05:20,204 --> 00:05:21,854
{\an8}a future that we could share.
153
00:05:21,954 --> 00:05:23,523
- {\an8}And how great
- Could that be?
154
00:05:25,491 --> 00:05:29,896
♪ Oh, before ♪
155
00:05:29,996 --> 00:05:33,633
[men vocalizing]
156
00:05:33,700 --> 00:05:38,004
♪ It's time ♪
157
00:05:39,038 --> 00:05:41,874
♪ I got nothing ♪
158
00:05:41,974 --> 00:05:44,093
[Durden] The culture of dance
159
00:05:44,094 --> 00:05:46,212
is deeply embedded
160
00:05:46,312 --> 00:05:48,248
in Afro-diasporic people,
161
00:05:48,249 --> 00:05:50,183
deeply embedded.
162
00:05:52,518 --> 00:05:54,504
We dance even
163
00:05:54,505 --> 00:05:56,489
if there's no performance.
164
00:05:58,491 --> 00:06:00,760
{\an8}It's just in us to dance.
165
00:06:00,860 --> 00:06:02,395
{\an8}It's emotionally freeing.
166
00:06:02,495 --> 00:06:04,397
- {\an8}It's how we deal
- With day-to-day life.
167
00:06:04,497 --> 00:06:06,432
- {\an8}It's how we express
- Our self through joy,
168
00:06:06,532 --> 00:06:07,817
{\an8}through sorrow,
169
00:06:07,818 --> 00:06:09,102
{\an8}through pain.
170
00:06:09,202 --> 00:06:11,437
♪ I went ♪
171
00:06:13,373 --> 00:06:16,109
♪ Went in the valley ♪
172
00:06:16,209 --> 00:06:18,395
[Lindsay Guarino]
173
00:06:16,209 --> 00:06:20,580
the way that racism
174
00:06:18,396 --> 00:06:20,580
You can't dismiss
175
00:06:20,680 --> 00:06:23,516
has impacted jazz dance.
176
00:06:23,583 --> 00:06:24,917
The greatest misfortune
177
00:06:25,017 --> 00:06:26,753
- that I see today
- In jazz dance
178
00:06:26,853 --> 00:06:29,255
- {\an8}is that a lot of the times
- The roots aren't acknowledged,
179
00:06:29,355 --> 00:06:30,406
{\an8}and a lot of people
180
00:06:30,407 --> 00:06:31,457
{\an8}don't even know that
181
00:06:31,557 --> 00:06:33,376
{\an8}the movement they're doing
182
00:06:33,377 --> 00:06:35,194
{\an8}is stemming from that place.
183
00:06:38,564 --> 00:06:40,516
{\an8}The atrocities that a lot
184
00:06:40,517 --> 00:06:42,468
{\an8}of our ancestors had to face,
185
00:06:42,568 --> 00:06:44,003
{\an8}they put into their dance,
186
00:06:44,004 --> 00:06:45,438
{\an8}into their music.
187
00:06:45,538 --> 00:06:47,207
They expressed
188
00:06:45,538 --> 00:06:48,875
tension
189
00:06:47,208 --> 00:06:48,875
themselves and released their
190
00:06:48,941 --> 00:06:50,126
and their stress
191
00:06:50,127 --> 00:06:51,310
through their art.
192
00:06:52,879 --> 00:06:54,180
If they didn't have
193
00:06:54,181 --> 00:06:55,481
these outlets, man,
194
00:06:55,581 --> 00:06:57,266
I don't know
195
00:06:57,267 --> 00:06:58,951
if they would've survived.
196
00:07:00,286 --> 00:07:03,990
♪ Yeah ♪
197
00:07:04,090 --> 00:07:08,461
♪ My soul... ♪
198
00:07:08,561 --> 00:07:10,096
[Knight] We never start
199
00:07:08,561 --> 00:07:11,631
slavery.
200
00:07:10,097 --> 00:07:11,631
African or Latin history at
201
00:07:11,731 --> 00:07:14,100
- We start before that. So we
- Look at what was going on
202
00:07:14,167 --> 00:07:15,251
in those countries
203
00:07:15,252 --> 00:07:16,335
or on those continents
204
00:07:16,436 --> 00:07:17,504
before it was
205
00:07:17,505 --> 00:07:18,571
interrupted.
206
00:07:18,638 --> 00:07:20,356
So, when we're looking at
207
00:07:20,357 --> 00:07:22,074
the lineage of jazz dance,
208
00:07:22,141 --> 00:07:24,844
- {\an8}we take the Juba and the Shika
- Dances of the Nigerian peoples
209
00:07:24,944 --> 00:07:26,913
- {\an8}and we bring that
- To the United States
210
00:07:26,979 --> 00:07:29,582
- {\an8}by way of
- The transatlantic slave trade.
211
00:07:38,758 --> 00:07:40,636
- [DeFrantz] That's part of- What the Middle Passage did
212
00:07:40,660 --> 00:07:42,695
- that's quite different
- Than how the dances
213
00:07:42,795 --> 00:07:44,697
- might have developed
- On the continent
214
00:07:44,797 --> 00:07:46,432
- because there's
- So tiny room
215
00:07:46,499 --> 00:07:48,251
for Black Americans
216
00:07:48,252 --> 00:07:50,002
to maneuver socially
217
00:07:50,102 --> 00:07:51,737
that the embodied movement
218
00:07:51,738 --> 00:07:53,372
that becomes jazz
219
00:07:53,473 --> 00:07:56,509
takes on that much more
220
00:07:53,473 --> 00:07:59,545
urgency.
221
00:07:56,510 --> 00:07:59,545
potential, possibility,
222
00:08:03,649 --> 00:08:04,884
- [Knight] So,- We arrive here
223
00:08:04,984 --> 00:08:06,953
- and we've got
- This automatic sense
224
00:08:07,019 --> 00:08:08,704
of percussiveness in the body
225
00:08:08,705 --> 00:08:10,389
and how important that became
226
00:08:10,490 --> 00:08:12,570
- when you're also
- Thinking about a group of people
227
00:08:12,625 --> 00:08:14,577
whose cultural practices
228
00:08:14,578 --> 00:08:16,529
were taken away from them.
229
00:08:16,629 --> 00:08:18,564
- Now you're just who you are
- As a person,
230
00:08:18,664 --> 00:08:20,032
devoid of what
231
00:08:20,033 --> 00:08:21,400
your once identity was
232
00:08:21,501 --> 00:08:23,469
in your original country.
233
00:08:28,508 --> 00:08:30,409
- [Michael Blake]
- For slaves,
234
00:08:30,510 --> 00:08:32,429
{\an8}their dance and their music
235
00:08:30,510 --> 00:08:34,347
for themselves.
236
00:08:32,430 --> 00:08:34,347
{\an8}was all they owned
237
00:08:39,719 --> 00:08:41,037
[Dr. George Faison] It
238
00:08:41,038 --> 00:08:42,355
could reach the hypnotic
239
00:08:42,421 --> 00:08:45,341
level of releasing them
240
00:08:45,342 --> 00:08:48,261
to that other place
241
00:08:48,361 --> 00:08:50,162
{\an8}where they weren't slaves,
242
00:08:50,229 --> 00:08:52,448
{\an8}where they...
243
00:08:52,449 --> 00:08:54,667
{\an8}they were free.
244
00:08:58,371 --> 00:09:00,439
[African music playing]
245
00:09:07,346 --> 00:09:08,598
[Jason Samuels Smith]
246
00:09:08,599 --> 00:09:09,849
The Slave Act of 1739
247
00:09:09,916 --> 00:09:11,351
wouldn't allow Africans
248
00:09:11,352 --> 00:09:12,785
to use drums
249
00:09:12,885 --> 00:09:14,821
and the reason was the revolt
250
00:09:14,822 --> 00:09:16,756
that was organized
251
00:09:16,856 --> 00:09:19,142
in this year was organized
252
00:09:19,143 --> 00:09:21,427
by playing drums.
253
00:09:21,527 --> 00:09:23,296
- They communicated
- With each other
254
00:09:23,396 --> 00:09:24,597
with different rhythms.
255
00:09:24,697 --> 00:09:26,198
And so, after that,
256
00:09:26,265 --> 00:09:27,517
if any African was caught
257
00:09:27,518 --> 00:09:28,768
playing drums,
258
00:09:28,868 --> 00:09:30,202
their hands were cut off.
259
00:09:30,269 --> 00:09:32,138
So, this rhythm and this music,
260
00:09:32,238 --> 00:09:34,190
this spirit
261
00:09:34,191 --> 00:09:36,142
was then redistributed
262
00:09:36,242 --> 00:09:38,277
throughout the body.
263
00:09:42,582 --> 00:09:44,901
{\an8}Juba is a social dance
264
00:09:44,902 --> 00:09:47,219
{\an8}that started on the plantation.
265
00:09:47,286 --> 00:09:48,971
What they did was use
266
00:09:48,972 --> 00:09:50,656
their bodies to make the sounds
267
00:09:50,756 --> 00:09:52,992
- and to still communicate with
- Each other
268
00:09:53,092 --> 00:09:54,444
and really continue
269
00:09:54,445 --> 00:09:55,795
that community.
270
00:10:03,102 --> 00:10:05,071
- [DeFrantz] So, Patting Juba- Almost immediately
271
00:10:05,137 --> 00:10:07,707
sets a standard for jazz as
272
00:10:07,708 --> 00:10:10,276
this exploration of rhythm
273
00:10:10,343 --> 00:10:12,378
and playful fun but also
274
00:10:12,379 --> 00:10:14,413
a political possibility.
275
00:10:14,480 --> 00:10:15,998
So, information can be shared
276
00:10:15,999 --> 00:10:17,516
through how the rhythm
277
00:10:17,617 --> 00:10:19,452
is disrupted or arranged.
278
00:10:21,621 --> 00:10:22,806
[Smith] And that grew
279
00:10:22,807 --> 00:10:23,990
into more social dances
280
00:10:24,090 --> 00:10:25,975
where you entertain the idea
281
00:10:25,976 --> 00:10:27,860
of being elevated,
282
00:10:27,960 --> 00:10:30,630
of being white, of mimicking
283
00:10:30,631 --> 00:10:33,299
European court dances.
284
00:10:33,366 --> 00:10:35,652
So, that's where the cakewalk
285
00:10:35,653 --> 00:10:37,937
evolved from.
286
00:10:39,605 --> 00:10:41,440
The cakewalk was a dance
287
00:10:41,441 --> 00:10:43,275
done on plantations
288
00:10:43,342 --> 00:10:45,061
where the Africans
289
00:10:45,062 --> 00:10:46,779
who were enslaved at the time
290
00:10:46,846 --> 00:10:48,681
would literally make fun
291
00:10:48,682 --> 00:10:50,516
of their masters.
292
00:10:50,616 --> 00:10:53,352
- They would present themselves
- And their partner,
293
00:10:53,452 --> 00:10:55,554
- and they would be dressed
- In a certain way.
294
00:10:55,655 --> 00:10:56,773
And so, Africans would
295
00:10:56,774 --> 00:10:57,890
create these dances
296
00:10:57,990 --> 00:10:59,692
to mimic and
297
00:10:59,693 --> 00:11:01,394
imitate them.
298
00:11:01,494 --> 00:11:02,862
[Camille Brown] It was
299
00:11:01,494 --> 00:11:04,230
Africans
300
00:11:02,863 --> 00:11:04,230
a way for the enslaved
301
00:11:04,330 --> 00:11:05,948
to resist and in the moment
302
00:11:05,949 --> 00:11:07,566
of oppression,
303
00:11:07,667 --> 00:11:08,852
they found a
304
00:11:08,853 --> 00:11:10,036
way to release
305
00:11:10,136 --> 00:11:13,472
and to find humor and joy.
306
00:11:14,974 --> 00:11:17,076
- [DeFrantz] The cakewalk- Is the foundation
307
00:11:17,176 --> 00:11:18,544
- for all of
- Broadway dancing
308
00:11:18,644 --> 00:11:20,212
- and thus, the foundation
- For jazz.
309
00:11:20,312 --> 00:11:21,864
The cakewalk
310
00:11:21,865 --> 00:11:23,416
is the originary moment
311
00:11:23,516 --> 00:11:25,317
- where something
- New is produced
312
00:11:25,384 --> 00:11:26,819
by this American experiment,
313
00:11:26,820 --> 00:11:28,254
if you will.
314
00:11:28,354 --> 00:11:30,056
But also this way that
315
00:11:30,057 --> 00:11:31,757
Black Americans are disavowed
316
00:11:31,857 --> 00:11:33,042
and pushed to this place
317
00:11:33,043 --> 00:11:34,226
where creativity
318
00:11:34,326 --> 00:11:35,661
is aligned with
319
00:11:35,662 --> 00:11:36,996
political possibility.
320
00:11:59,351 --> 00:12:00,986
{\an8}Black Americans
321
00:12:00,987 --> 00:12:02,621
{\an8}had zero possibilities
322
00:12:02,722 --> 00:12:04,223
{\an8}for professional life.
323
00:12:04,290 --> 00:12:05,958
{\an8}We have our first forms
324
00:12:05,959 --> 00:12:07,626
{\an8}of occupations
325
00:12:07,727 --> 00:12:09,195
around minstrel shows.
326
00:12:09,261 --> 00:12:11,113
So, the foundational avenues
327
00:12:11,114 --> 00:12:12,965
of employment
328
00:12:13,065 --> 00:12:14,250
that lead to jazz
329
00:12:14,251 --> 00:12:15,434
dance are tied
330
00:12:15,534 --> 00:12:17,486
up in this history
331
00:12:17,487 --> 00:12:19,438
of denigration
332
00:12:19,538 --> 00:12:21,073
and of flattening
333
00:12:21,074 --> 00:12:22,608
the complex social
334
00:12:22,708 --> 00:12:24,677
and political lives of a
335
00:12:22,708 --> 00:12:26,645
people
336
00:12:24,678 --> 00:12:26,645
really diverse group of
337
00:12:26,746 --> 00:12:28,097
into two-dimensional
338
00:12:28,098 --> 00:12:29,448
stereotypes.
339
00:12:46,465 --> 00:12:48,234
{\an8}The traits of
340
00:12:48,235 --> 00:12:50,002
{\an8}jazz dance are
341
00:12:50,102 --> 00:12:51,253
{\an8}variations and rhythmic
342
00:12:51,254 --> 00:12:52,404
{\an8}patterns,
343
00:12:52,471 --> 00:12:54,156
{\an8}because when you think
344
00:12:54,157 --> 00:12:55,841
{\an8}of jazz, jazz moves.
345
00:12:55,941 --> 00:12:57,843
It speeds up, it slows down,
346
00:12:57,844 --> 00:12:59,745
it has a variation.
347
00:12:59,812 --> 00:13:01,514
So, it's not just one thing.
348
00:13:01,614 --> 00:13:03,816
{\an8}And what jazz is, is
349
00:13:03,817 --> 00:13:06,018
{\an8}it took this African
350
00:13:06,118 --> 00:13:07,637
{\an8}predisposition to
351
00:13:07,638 --> 00:13:09,155
{\an8}syncopate, if you will,
352
00:13:09,255 --> 00:13:11,140
{\an8}to overlay a rhythm
353
00:13:09,255 --> 00:13:13,025
rhythm.
354
00:13:11,141 --> 00:13:13,025
{\an8}different from this ground
355
00:13:13,125 --> 00:13:15,661
And it made the rhythmic life
356
00:13:15,662 --> 00:13:18,197
of jazz dancing
357
00:13:18,297 --> 00:13:20,299
filled with surprises.
358
00:13:23,002 --> 00:13:25,354
{\an8}I think one of the key
359
00:13:25,355 --> 00:13:27,706
{\an8}tenets of jazz is improvisation.
360
00:13:27,807 --> 00:13:29,375
{\an8}Without you bringing
361
00:13:29,376 --> 00:13:30,943
{\an8}your own interpretation of it,
362
00:13:31,010 --> 00:13:33,345
{\an8}it's not jazz.
363
00:13:33,445 --> 00:13:35,781
- [Graciela Danielle] You are- Not up here like in ballet.
364
00:13:35,848 --> 00:13:38,768
{\an8}You are down there.
365
00:13:38,769 --> 00:13:41,687
{\an8}You are digging on the ground.
366
00:13:43,289 --> 00:13:44,590
That power, that passion,
367
00:13:44,591 --> 00:13:45,891
that sex.
368
00:13:45,991 --> 00:13:47,093
What else is
369
00:13:47,094 --> 00:13:48,194
there in life?
370
00:13:50,129 --> 00:13:51,981
[Siegenfeld] The great
371
00:13:50,129 --> 00:13:53,833
polyrhythm.
372
00:13:51,982 --> 00:13:53,833
significant trait is
373
00:13:54,834 --> 00:13:56,114
Meaning there's a beat going on,
374
00:13:56,168 --> 00:13:57,536
the boom, boom, boom,
375
00:13:57,537 --> 00:13:58,904
boom, boom,
376
00:13:59,004 --> 00:14:00,806
boom, boom, boom, boom.
377
00:14:00,873 --> 00:14:02,625
You know, if that just keeps
378
00:14:02,626 --> 00:14:04,376
going on and keeps going on,
379
00:14:04,476 --> 00:14:06,011
we're gonna fall asleep.
380
00:14:06,078 --> 00:14:08,331
But what the jazz people
381
00:14:08,332 --> 00:14:10,583
did was individuated against it.
382
00:14:10,683 --> 00:14:11,817
Come on.
383
00:14:11,884 --> 00:14:13,686
Come on. Come on.
384
00:14:23,729 --> 00:14:25,507
- {\an8}[Knight] The Harlem
- Renaissance, we look at it
385
00:14:25,531 --> 00:14:27,600
- as the African-American
- Enlightenment movement
386
00:14:27,700 --> 00:14:29,235
in the United States.
387
00:14:29,335 --> 00:14:30,703
Circa the 1920s,
388
00:14:30,704 --> 00:14:32,071
you've got music,
389
00:14:32,171 --> 00:14:33,222
{\an8}dance, philosophers,
390
00:14:33,223 --> 00:14:34,273
{\an8}writers.
391
00:14:34,373 --> 00:14:36,142
{\an8}All doing great things
392
00:14:36,143 --> 00:14:37,910
{\an8}at the same time.
393
00:14:38,010 --> 00:14:39,862
{\an8}And during this time
394
00:14:38,010 --> 00:14:41,714
divide.
395
00:14:39,863 --> 00:14:41,714
{\an8}there was a very big racial
396
00:14:41,780 --> 00:14:43,782
- {\an8}But in New York,
- There were white bodies
397
00:14:43,883 --> 00:14:45,501
{\an8}that were really
398
00:14:43,883 --> 00:14:47,119
the movement.
399
00:14:45,502 --> 00:14:47,119
{\an8}interested in being a part of
400
00:14:47,219 --> 00:14:48,504
{\an8}[Allen] Black America
401
00:14:48,505 --> 00:14:49,788
{\an8}was setting the trend,
402
00:14:49,889 --> 00:14:50,923
{\an8}then like
403
00:14:50,924 --> 00:14:51,957
{\an8}we are now.
404
00:14:52,057 --> 00:14:53,092
{\an8}The Savoy Ballroom
405
00:14:53,093 --> 00:14:54,126
{\an8}in New York
406
00:14:54,226 --> 00:14:56,579
was one of the first places
407
00:14:56,580 --> 00:14:58,931
where they could not stop whites
408
00:14:59,031 --> 00:15:01,400
from coming and having
409
00:15:01,401 --> 00:15:03,769
this wonderful socialization
410
00:15:03,869 --> 00:15:05,704
with Blacks over dance.
411
00:15:05,771 --> 00:15:07,273
It was unheard of,
412
00:15:07,274 --> 00:15:08,774
but you couldn't stop it,
413
00:15:08,874 --> 00:15:10,092
it was just so hot up
414
00:15:10,093 --> 00:15:11,310
in that ballroom.
415
00:15:11,410 --> 00:15:13,279
[jazz music playing]
416
00:15:17,616 --> 00:15:19,151
- {\an8}[Siegenfeld] The
- Savoy Ballroom,
417
00:15:19,251 --> 00:15:20,369
it was the very first
418
00:15:20,370 --> 00:15:21,487
integrated public space
419
00:15:21,587 --> 00:15:22,955
in the United States.
420
00:15:23,055 --> 00:15:24,723
- The dancing
- Was so extreme
421
00:15:24,790 --> 00:15:26,592
that they had to replace
422
00:15:26,593 --> 00:15:28,394
the floor every three years.
423
00:15:28,460 --> 00:15:30,396
- [Knight] And it would just be- People dancing
424
00:15:30,462 --> 00:15:32,164
to classical jazz music,
425
00:15:32,264 --> 00:15:33,466
doing swing dances,
426
00:15:33,467 --> 00:15:34,667
jitterbug, Lindy Hop,
427
00:15:34,767 --> 00:15:37,069
- all the dances that you imagine
- When you think about
428
00:15:37,136 --> 00:15:39,004
the origins of jazz dance.
429
00:15:46,111 --> 00:15:48,056
- [Brown] There is a dance,- There is a social dance
430
00:15:48,080 --> 00:15:49,749
that comes from the
431
00:15:48,080 --> 00:15:51,417
heart.
432
00:15:49,750 --> 00:15:51,417
community, that lives in the
433
00:15:51,483 --> 00:15:53,352
- It's in your blood,
- It's in your spirit.
434
00:15:53,452 --> 00:15:55,587
- {\an8}It's that vernacular dance
- That was homegrown
435
00:15:55,654 --> 00:15:57,456
- that comes right
- Out of the streets
436
00:15:57,523 --> 00:15:58,858
and it's infectious,
437
00:15:58,859 --> 00:16:00,192
it's joyful,
438
00:16:00,292 --> 00:16:02,228
and it relates and connects
439
00:16:00,292 --> 00:16:04,163
socially,
440
00:16:02,229 --> 00:16:04,163
to what's happening
441
00:16:04,263 --> 00:16:05,798
politically,
442
00:16:04,263 --> 00:16:07,333
period.
443
00:16:05,799 --> 00:16:07,333
culturally, at any given time
444
00:16:09,468 --> 00:16:11,370
- [Karen Hubbard] These- Social dances evolved
445
00:16:11,470 --> 00:16:13,205
- from the
- Plantation dances
446
00:16:13,305 --> 00:16:15,040
of the enslaved
447
00:16:13,305 --> 00:16:16,775
embellished
448
00:16:15,041 --> 00:16:16,775
Africans and then were
449
00:16:16,842 --> 00:16:18,043
and performed on stage,
450
00:16:18,143 --> 00:16:19,495
{\an8}and national dance
451
00:16:19,496 --> 00:16:20,846
{\an8}crazes evolved,
452
00:16:20,946 --> 00:16:22,148
{\an8}like the Charleston
453
00:16:22,149 --> 00:16:23,349
{\an8}and the Lindy Hop.
454
00:16:25,684 --> 00:16:27,386
- {\an8}The Lindy Hop is
- Social dancing.
455
00:16:27,486 --> 00:16:29,422
{\an8}The dance movements
456
00:16:29,423 --> 00:16:31,357
{\an8}come from the community.
457
00:16:32,791 --> 00:16:34,009
Lindy was, everybody come
458
00:16:34,010 --> 00:16:35,227
to the club,
459
00:16:35,327 --> 00:16:36,529
learn what it is,
460
00:16:36,530 --> 00:16:37,730
and you can add
461
00:16:37,830 --> 00:16:39,732
- your own signature
- Thing to it
462
00:16:39,832 --> 00:16:42,201
- that influences everybody
- Else to be as creative
463
00:16:42,301 --> 00:16:43,686
as you are being,
464
00:16:43,687 --> 00:16:45,070
and you're all dancing.
465
00:16:47,339 --> 00:16:50,142
- [George] We're disenfranchised- In most parts of this city
466
00:16:50,209 --> 00:16:51,377
but we get to go
467
00:16:51,378 --> 00:16:52,544
to this ballroom
468
00:16:52,644 --> 00:16:54,580
- {\an8}and we get to compete
- Against each other,
469
00:16:54,680 --> 00:16:56,081
{\an8}and it's about pride,
470
00:16:56,181 --> 00:16:57,826
- {\an8}and it's about reputation.
- It's about self-esteem
471
00:16:57,850 --> 00:16:59,718
- {\an8}and we're expressing it
- Through movement.
472
00:16:59,818 --> 00:17:02,388
- This was really the time
- When Black and white bodies
473
00:17:02,488 --> 00:17:04,089
- were in conversation
- With each other,
474
00:17:04,189 --> 00:17:05,708
kind of became okay for a girl
475
00:17:05,709 --> 00:17:07,226
from Upstate New York
476
00:17:07,326 --> 00:17:08,703
- to start moving her hips
- In that way.
477
00:17:08,727 --> 00:17:10,396
- And the Harlem
- Renaissance
478
00:17:10,496 --> 00:17:11,948
was really the beginnings of
479
00:17:11,949 --> 00:17:13,399
those conversations.
480
00:17:17,736 --> 00:17:19,622
[DeFrantz] We get to the
481
00:17:17,736 --> 00:17:21,507
whites
482
00:17:19,623 --> 00:17:21,507
1930s and there are progressive
483
00:17:21,573 --> 00:17:22,841
who were curious
484
00:17:22,842 --> 00:17:24,109
about Black culture,
485
00:17:24,209 --> 00:17:25,911
not only the parts
486
00:17:25,912 --> 00:17:27,613
that they're allowed to see
487
00:17:27,713 --> 00:17:28,998
but something closer
488
00:17:28,999 --> 00:17:30,282
to how Black Americans
489
00:17:30,382 --> 00:17:31,951
imagine themselves
490
00:17:31,952 --> 00:17:33,519
among themselves.
491
00:17:33,585 --> 00:17:35,187
And these ballrooms
492
00:17:35,188 --> 00:17:36,789
make this possible.
493
00:17:36,889 --> 00:17:38,407
And then we start
494
00:17:38,408 --> 00:17:39,925
to get towards jazz dance.
495
00:17:40,025 --> 00:17:41,593
Broadway changes.
496
00:17:41,693 --> 00:17:43,245
The dances on Broadway start
497
00:17:43,246 --> 00:17:44,797
to look more like the dances
498
00:17:44,897 --> 00:17:46,182
that African Americans
499
00:17:46,183 --> 00:17:47,466
do at home.
500
00:17:47,566 --> 00:17:49,635
They get more
501
00:17:49,636 --> 00:17:51,703
rhythmically sophisticated,
502
00:17:51,770 --> 00:17:53,622
they get less knowable
503
00:17:53,623 --> 00:17:55,474
and more open.
504
00:17:55,574 --> 00:17:57,443
And then we really see
505
00:17:57,444 --> 00:17:59,311
a shift and this happens
506
00:17:59,411 --> 00:18:01,213
up until the second World War.
507
00:18:05,417 --> 00:18:08,120
[upbeat jazz music]
508
00:18:12,758 --> 00:18:14,678
- [Smith] You can't talk- About American success
509
00:18:14,726 --> 00:18:16,061
without tap dance
510
00:18:16,062 --> 00:18:17,396
being a part of that story.
511
00:18:21,266 --> 00:18:22,968
- It's important for people
- To know that
512
00:18:23,068 --> 00:18:24,703
it came out of a place of
513
00:18:24,704 --> 00:18:26,338
struggle and oppression.
514
00:18:26,438 --> 00:18:27,706
It wasn't just
515
00:18:27,707 --> 00:18:28,974
this happy dance
516
00:18:29,074 --> 00:18:30,509
that was made for
517
00:18:30,510 --> 00:18:31,944
other people's enjoyment.
518
00:18:32,010 --> 00:18:33,545
It was made to express
519
00:18:33,546 --> 00:18:35,080
and to communicate
520
00:18:35,147 --> 00:18:36,782
a certain feeling.
521
00:18:38,617 --> 00:18:40,152
- {\an8}There's always been
- A big argument
522
00:18:40,252 --> 00:18:41,420
{\an8}whether it was tap
523
00:18:41,421 --> 00:18:42,588
{\an8}dance that created jazz
524
00:18:42,654 --> 00:18:43,806
{\an8}or jazz that
525
00:18:43,807 --> 00:18:44,957
{\an8}created tap dance.
526
00:18:47,693 --> 00:18:48,778
{\an8}[Smith] Tap dance
527
00:18:48,779 --> 00:18:49,862
{\an8}is older than jazz
528
00:18:49,962 --> 00:18:51,330
and it led to certain social
529
00:18:51,331 --> 00:18:52,698
dance forms
530
00:18:52,798 --> 00:18:55,401
like Lindy Hop and swing
531
00:18:52,798 --> 00:18:58,003
dance.
532
00:18:55,402 --> 00:18:58,003
dance which then led to jazz
533
00:18:59,605 --> 00:19:01,206
- [Knight] There's- Also a relationship
534
00:19:01,306 --> 00:19:03,041
- between African
- And Irish culture
535
00:19:03,142 --> 00:19:05,286
- where we see this -
Percussiveness coming into - play,
536
00:19:05,310 --> 00:19:06,462
with Irish traditional
537
00:19:06,463 --> 00:19:07,613
jig dances
538
00:19:07,679 --> 00:19:09,565
and also African Juba
539
00:19:09,566 --> 00:19:11,450
interplaying with each other.
540
00:19:11,517 --> 00:19:12,685
[Smith] The roots of tap
541
00:19:12,686 --> 00:19:13,852
are African dance,
542
00:19:13,952 --> 00:19:15,320
{\an8}West African
543
00:19:15,321 --> 00:19:16,688
{\an8}dance 2.0.
544
00:19:16,788 --> 00:19:18,307
{\an8}It's what happens when
545
00:19:16,788 --> 00:19:19,825
style
546
00:19:18,308 --> 00:19:19,825
{\an8}you take a culture and a
547
00:19:19,892 --> 00:19:21,644
and you put it in a different
548
00:19:21,645 --> 00:19:23,395
part of the world
549
00:19:23,495 --> 00:19:25,447
{\an8}and you put the people
550
00:19:25,448 --> 00:19:27,399
{\an8}that experience that art
551
00:19:27,499 --> 00:19:29,234
- {\an8}under extreme
- Pressure
552
00:19:29,334 --> 00:19:31,703
{\an8}and under the worst
553
00:19:31,704 --> 00:19:34,072
{\an8}conditions humanly possible.
554
00:19:34,173 --> 00:19:35,675
{\an8}Most Black people
555
00:19:35,676 --> 00:19:37,176
{\an8}in America can tap.
556
00:19:38,310 --> 00:19:39,311
{\an8}I don't know.
557
00:19:39,312 --> 00:19:40,312
{\an8}It's just a thing.
558
00:19:40,379 --> 00:19:41,781
You're born, you're Black,
559
00:19:41,782 --> 00:19:43,182
you can tap.
560
00:19:49,721 --> 00:19:51,423
Don't get me wrong.
561
00:19:51,523 --> 00:19:52,925
I love to dance.
562
00:19:53,025 --> 00:19:54,993
I love to dance and I got work.
563
00:19:55,060 --> 00:19:56,495
I was cute.
564
00:19:57,863 --> 00:19:59,398
Cute little colored kid.
565
00:19:59,498 --> 00:20:00,950
They called us colored
566
00:20:00,951 --> 00:20:02,401
in those days.
567
00:20:02,501 --> 00:20:04,286
Cute little colored kid
568
00:20:04,287 --> 00:20:06,071
tapping away.
569
00:20:09,708 --> 00:20:11,944
Oh, I was a real novelty.
570
00:20:12,044 --> 00:20:13,779
Of course, by the time
571
00:20:13,780 --> 00:20:15,514
I grew up,
572
00:20:15,581 --> 00:20:17,416
it's a different story here.
573
00:20:17,516 --> 00:20:19,151
He's an adult Black man now,
574
00:20:19,152 --> 00:20:20,786
he's not so cute.
575
00:20:20,886 --> 00:20:22,154
-Give him a broom.
576
00:20:22,155 --> 00:20:23,422
-Raymond.
577
00:20:24,523 --> 00:20:26,792
The rich don't patronize tap.
578
00:20:33,298 --> 00:20:35,367
- [Smith] There's a little bit- Of a fear still
579
00:20:35,434 --> 00:20:37,603
to embrace tap dance
580
00:20:37,604 --> 00:20:39,771
culture entirely
581
00:20:39,871 --> 00:20:41,590
because of the ugly history
582
00:20:41,591 --> 00:20:43,308
that it's attached to,
583
00:20:43,408 --> 00:20:44,610
which is
584
00:20:44,611 --> 00:20:45,811
American history.
585
00:20:45,911 --> 00:20:48,313
- And unfortunately,
- I don't think a lot of people
586
00:20:48,413 --> 00:20:50,115
are willing to face the truth
587
00:20:50,215 --> 00:20:53,235
of what happened or is
588
00:20:50,215 --> 00:20:56,255
country.
589
00:20:53,236 --> 00:20:56,255
happening right now in this
590
00:20:56,321 --> 00:20:57,890
And we're always going
591
00:20:57,891 --> 00:20:59,458
to reflect those truths,
592
00:20:59,558 --> 00:21:00,776
whether or not
593
00:21:00,777 --> 00:21:01,994
they can handle them.
594
00:21:13,138 --> 00:21:15,741
{\an8}[Allen] It's kind of
595
00:21:13,138 --> 00:21:18,343
dancing
596
00:21:15,742 --> 00:21:18,343
{\an8}impossible to talk about jazz
597
00:21:18,443 --> 00:21:21,146
{\an8}independent of the music,
598
00:21:21,246 --> 00:21:23,415
{\an8}because the music truly
599
00:21:23,482 --> 00:21:25,000
{\an8}through the ages,
600
00:21:25,001 --> 00:21:26,518
{\an8}defined how the dance would go.
601
00:21:26,618 --> 00:21:28,186
- {\an8}This to me could also
- Come through
602
00:21:28,287 --> 00:21:29,605
{\an8}as how important is oxygen
603
00:21:29,606 --> 00:21:30,922
{\an8}and nourishment?
604
00:21:30,989 --> 00:21:32,508
{\an8}Every person in my family
605
00:21:32,509 --> 00:21:34,026
{\an8}was a classical musician
606
00:21:34,126 --> 00:21:36,645
{\an8}and to hear that jazz
607
00:21:34,126 --> 00:21:39,164
deep in my soul.
608
00:21:36,646 --> 00:21:39,164
{\an8}music, something shifted really
609
00:21:39,264 --> 00:21:41,183
There is an emotionality
610
00:21:41,184 --> 00:21:43,101
and a depth
611
00:21:43,168 --> 00:21:45,137
- that is in that
- Music for me
612
00:21:45,203 --> 00:21:46,521
that I'm always trying
613
00:21:45,203 --> 00:21:47,839
describe
614
00:21:46,522 --> 00:21:47,839
to get to and to be able to
615
00:21:47,939 --> 00:21:49,391
with movement because
616
00:21:49,392 --> 00:21:50,842
there's such honesty,
617
00:21:50,942 --> 00:21:52,944
such heart honesty.
618
00:21:55,480 --> 00:21:56,715
[Kimberley Cooper] When I
619
00:21:55,480 --> 00:21:57,949
choreographer,
620
00:21:56,716 --> 00:21:57,949
hear that sound as a
621
00:21:58,016 --> 00:22:00,202
that springs images and
622
00:21:58,016 --> 00:22:02,387
and makes my body...
623
00:22:00,203 --> 00:22:02,387
movement in my head
624
00:22:02,487 --> 00:22:04,556
{\an8}It gives me that
625
00:22:02,487 --> 00:22:06,625
music does.
626
00:22:04,557 --> 00:22:06,625
{\an8}invitation, that I feel jazz
627
00:22:11,229 --> 00:22:12,230
{\an8}Jazz music has
628
00:22:12,231 --> 00:22:13,231
{\an8}all the accents
629
00:22:13,332 --> 00:22:14,366
{\an8}and the moments that
630
00:22:14,367 --> 00:22:15,400
{\an8}happen in between
631
00:22:15,500 --> 00:22:16,635
{\an8}that you don't expect,
632
00:22:16,702 --> 00:22:17,887
{\an8}and being off the beat
633
00:22:17,888 --> 00:22:19,071
{\an8}and being pushed
634
00:22:19,171 --> 00:22:21,273
{\an8}and just all the
635
00:22:19,171 --> 00:22:23,375
percussive nature
636
00:22:21,274 --> 00:22:23,375
{\an8}variation of styles and
637
00:22:23,475 --> 00:22:24,610
{\an8}and elongated notes,
638
00:22:24,611 --> 00:22:25,744
{\an8}it's all in there,
639
00:22:25,844 --> 00:22:27,079
{\an8}which, physically,
640
00:22:27,080 --> 00:22:28,313
{\an8}as a dancer,
641
00:22:28,380 --> 00:22:29,681
you can relate to
642
00:22:29,682 --> 00:22:30,982
and connect to.
643
00:22:33,185 --> 00:22:34,386
At one time, the music,
644
00:22:34,486 --> 00:22:35,904
{\an8}jazz dance and jazz music,
645
00:22:35,905 --> 00:22:37,322
{\an8}went together.
646
00:22:37,389 --> 00:22:39,925
- {\an8}And the dancers
- Were performing to live music
647
00:22:40,025 --> 00:22:43,145
{\an8}and it was an exchange
648
00:22:40,025 --> 00:22:46,264
dancers.
649
00:22:43,146 --> 00:22:46,264
{\an8}between the musicians and the
650
00:22:46,365 --> 00:22:48,267
[Parker Esse] It is
651
00:22:48,268 --> 00:22:50,168
so overwhelmingly fulfilling
652
00:22:50,235 --> 00:22:51,587
to dance with
653
00:22:51,588 --> 00:22:52,938
a jazz orchestra live.
654
00:22:53,038 --> 00:22:54,490
I don't think there's anything
655
00:22:54,491 --> 00:22:55,941
like it, because you...
656
00:22:56,041 --> 00:22:57,993
you're an extension of that...
657
00:22:57,994 --> 00:22:59,945
of that music, it's powerful.
658
00:23:00,045 --> 00:23:02,247
- Years and years ago,
- Jazz music was to move to,
659
00:23:02,347 --> 00:23:03,515
it was to dance to.
660
00:23:03,582 --> 00:23:04,683
{\an8}And then as people
661
00:23:04,684 --> 00:23:05,784
{\an8}doing improvisations
662
00:23:05,884 --> 00:23:07,853
- {\an8}got more and more adept,
- Then it became about
663
00:23:07,919 --> 00:23:09,621
- {\an8}"Look at my skill
- In improvising."
664
00:23:09,721 --> 00:23:11,256
- And maybe not quite
- So danceable.
665
00:23:11,356 --> 00:23:13,692
- {\an8}-And then bebop...
- -And then bebop messed it up.
666
00:23:13,759 --> 00:23:15,560
{\an8}For jazz dance.
667
00:23:15,627 --> 00:23:16,762
{\an8}The musicians of
668
00:23:16,763 --> 00:23:17,896
{\an8}bebop messed it up.
669
00:23:22,234 --> 00:23:24,586
{\an8}And as the music
670
00:23:22,234 --> 00:23:26,938
as the styles change,
671
00:23:24,587 --> 00:23:26,938
{\an8}changes over time,
672
00:23:27,038 --> 00:23:29,474
- {\an8}then the dancing that's
- Done to the popular music,
673
00:23:29,574 --> 00:23:31,426
{\an8}popular styles,
674
00:23:31,427 --> 00:23:33,278
{\an8}also changes.
675
00:23:33,378 --> 00:23:34,830
{\an8}The music got too crazy
676
00:23:34,831 --> 00:23:36,281
{\an8}to dance to, really.
677
00:23:36,381 --> 00:23:38,267
{\an8}So, music and dance
678
00:23:38,268 --> 00:23:40,152
{\an8}went their separate ways.
679
00:23:46,725 --> 00:23:48,177
♪ Forget your troubles
680
00:23:48,178 --> 00:23:49,628
Come on, get happy ♪
681
00:23:49,728 --> 00:23:51,847
[Francis Roach] The jazz
682
00:23:49,728 --> 00:23:53,965
know
683
00:23:51,848 --> 00:23:53,965
dance that we all iconically
684
00:23:54,065 --> 00:23:55,634
{\an8}from the Hollywood days,
685
00:23:55,734 --> 00:23:56,785
{\an8}that's different than
686
00:23:55,734 --> 00:23:57,836
of the Roaring '20s.
687
00:23:56,786 --> 00:23:57,836
{\an8}the jazz dance
688
00:23:57,936 --> 00:23:59,388
♪ The sun is shining,
689
00:23:59,389 --> 00:24:00,839
come on, get happy ♪
690
00:24:00,939 --> 00:24:02,591
During that time, when
691
00:24:00,939 --> 00:24:04,242
Age,
692
00:24:02,592 --> 00:24:04,242
Hollywood was doing its Golden
693
00:24:04,309 --> 00:24:06,011
- that was after
- World War II.
694
00:24:06,111 --> 00:24:07,813
- The whole world
- Was in turmoil
695
00:24:07,913 --> 00:24:09,682
and needed some uplifting
696
00:24:09,683 --> 00:24:11,450
and some joy.
697
00:24:11,516 --> 00:24:12,934
♪ Across the river,
698
00:24:11,516 --> 00:24:14,352
in the tide ♪
699
00:24:12,935 --> 00:24:14,352
wash your sins away
700
00:24:14,453 --> 00:24:16,372
{\an8}The idea of male role
701
00:24:14,453 --> 00:24:18,290
far between.
702
00:24:16,373 --> 00:24:18,290
{\an8}models for dancers is few and
703
00:24:18,356 --> 00:24:20,091
- {\an8}I didn't know
- Any professional dancers,
704
00:24:20,158 --> 00:24:21,927
- {\an8}I didn't know
- Any male dancers,
705
00:24:21,993 --> 00:24:24,863
- {\an8}I was the only boy in my - School
but I knew who Gene Kelly - was,
706
00:24:24,963 --> 00:24:26,097
{\an8}I knew who Fred Astaire was.
707
00:24:26,164 --> 00:24:27,499
{\an8}It's just those
708
00:24:27,500 --> 00:24:28,834
{\an8}character men and women
709
00:24:28,934 --> 00:24:30,302
{\an8}that I really...
710
00:24:30,303 --> 00:24:31,670
{\an8}that's what I wanted to do.
711
00:24:31,770 --> 00:24:33,472
{\an8}My mother would watch old
712
00:24:31,770 --> 00:24:35,173
movie
713
00:24:33,473 --> 00:24:35,173
{\an8}movies and I fell in love with a
714
00:24:35,273 --> 00:24:37,142
- {\an8}uh, I didn't know the name
- Of at the time,
715
00:24:37,209 --> 00:24:39,787
- {\an8}but of course everybody - Knows
it, which is Singing in - the Rain.
716
00:24:39,811 --> 00:24:40,879
{\an8}And I liked Gene
717
00:24:40,880 --> 00:24:41,947
{\an8}Kelly a lot.
718
00:24:42,013 --> 00:24:43,281
{\an8}The way he was...
719
00:24:43,282 --> 00:24:44,549
{\an8}I guess his articulation,
720
00:24:44,649 --> 00:24:47,118
- {\an8}the way he was accentuating
- The music
721
00:24:47,185 --> 00:24:48,954
- but then also
- His character
722
00:24:49,020 --> 00:24:51,890
- and the way
- He was telling the story always
723
00:24:51,990 --> 00:24:53,642
and how the dance was kind
724
00:24:53,643 --> 00:24:55,293
of infused into the storyline
725
00:24:55,360 --> 00:24:58,230
{\an8}and I got kind of drawn to that.
726
00:24:58,330 --> 00:25:00,398
- {\an8}[Warren Carlyle] Gene
- Is athletic and masculine
727
00:25:00,499 --> 00:25:01,817
{\an8}and it always felt like
728
00:25:00,499 --> 00:25:03,134
watching him dance.
729
00:25:01,818 --> 00:25:03,134
{\an8}watching the Olympics,
730
00:25:03,201 --> 00:25:05,620
{\an8}And Fred is just... is
731
00:25:03,201 --> 00:25:08,039
nonthreatening.
732
00:25:05,621 --> 00:25:08,039
{\an8}beautiful and elegant and
733
00:25:08,139 --> 00:25:10,075
- {\an8}You know, he's romantic
- And, yeah.
734
00:25:10,175 --> 00:25:11,775
- {\an8}They were
- The two different qualities
735
00:25:11,810 --> 00:25:13,411
- {\an8}and the two different
- Male dancers
736
00:25:13,512 --> 00:25:14,746
{\an8}that I grew up watching.
737
00:25:14,846 --> 00:25:16,214
{\an8}And then I also grew up
738
00:25:16,215 --> 00:25:17,582
{\an8}watching movie musicals.
739
00:25:17,682 --> 00:25:19,751
- {\an8}So, you know,
- I'm seeing Fred Astaire,
740
00:25:19,851 --> 00:25:21,419
- {\an8}I'm seeing
- The Nicholas Brothers,
741
00:25:21,520 --> 00:25:22,721
{\an8}I'm seeing Bill Robinson,
742
00:25:22,821 --> 00:25:24,689
- I'm seeing
- All these famous dancers,
743
00:25:24,756 --> 00:25:26,758
and I'm seeing very vivid colors
744
00:25:26,759 --> 00:25:28,760
and sets, and costume,
745
00:25:28,860 --> 00:25:31,396
- and as a kid, it's just,
- It's like watching cartoons,
746
00:25:31,496 --> 00:25:33,064
{\an8}it just grabbed you.
747
00:25:43,341 --> 00:25:44,943
I would kill
748
00:25:44,944 --> 00:25:46,545
to be Cyd Charisse's partner.
749
00:25:48,213 --> 00:25:49,848
I would kill for that.
750
00:25:51,049 --> 00:25:53,351
[laughter]
751
00:25:58,056 --> 00:25:59,708
{\an8}[DeFrantz] What
752
00:25:58,056 --> 00:26:01,359
'50s
753
00:25:59,709 --> 00:26:01,359
{\an8}happened in the 1940s and
754
00:26:01,426 --> 00:26:02,728
that is a turning
755
00:26:02,729 --> 00:26:04,029
point for jazz
756
00:26:04,095 --> 00:26:05,280
is it started
757
00:26:05,281 --> 00:26:06,464
to be codified.
758
00:26:06,565 --> 00:26:08,433
- And what's interesting
- About this
759
00:26:08,533 --> 00:26:09,584
is it could almost
760
00:26:09,585 --> 00:26:10,635
never be codified
761
00:26:10,735 --> 00:26:12,103
by Black Americans
762
00:26:12,203 --> 00:26:13,221
because we still
763
00:26:13,222 --> 00:26:14,239
didn't have access
764
00:26:14,306 --> 00:26:16,225
to courts of law
765
00:26:16,226 --> 00:26:18,143
or legal systems of support.
766
00:26:18,243 --> 00:26:20,028
So, almost all
767
00:26:20,029 --> 00:26:21,813
the jazz dance techniques
768
00:26:21,913 --> 00:26:23,198
are initiated
769
00:26:23,199 --> 00:26:24,482
by white men.
770
00:26:26,251 --> 00:26:28,453
- {\an8}[Hubbard] There are
- Like two different worlds.
771
00:26:28,553 --> 00:26:30,222
{\an8}The worlds where ballet
772
00:26:30,223 --> 00:26:31,890
{\an8}and extensions
773
00:26:31,957 --> 00:26:33,892
and turns,
774
00:26:33,893 --> 00:26:35,827
battements are valued.
775
00:26:35,927 --> 00:26:37,562
{\an8}Training is valued.
776
00:26:37,629 --> 00:26:39,231
{\an8}And then, there is the
777
00:26:39,232 --> 00:26:40,832
{\an8}social swing dance world.
778
00:26:40,932 --> 00:26:42,050
And it's, like,
779
00:26:42,051 --> 00:26:43,168
two different worlds
780
00:26:43,268 --> 00:26:45,170
but the swing dancers understand
781
00:26:45,270 --> 00:26:47,639
the vernacular vocabulary
782
00:26:47,640 --> 00:26:50,008
and the evolution of jazz.
783
00:26:50,108 --> 00:26:52,243
- {\an8}What happened was
- That the modern dancers
784
00:26:52,310 --> 00:26:53,812
{\an8}and the ballet dancers
785
00:26:53,912 --> 00:26:55,590
- got a hold of jazz,
- Pulled it into the studios
786
00:26:55,614 --> 00:26:56,732
and made it be
787
00:26:56,733 --> 00:26:57,849
what they wanted to do
788
00:26:57,949 --> 00:26:59,918
and they called it jazz.
789
00:26:59,985 --> 00:27:02,187
- [Natasha Powell] And we- Had ballet choreographers
790
00:27:02,287 --> 00:27:03,772
{\an8}or modern dance
791
00:27:02,287 --> 00:27:05,256
their interpretation
792
00:27:03,773 --> 00:27:05,256
{\an8}choreographers who are doing
793
00:27:05,323 --> 00:27:06,591
{\an8}of what they
794
00:27:06,592 --> 00:27:07,859
{\an8}consider jazz to be.
795
00:27:07,959 --> 00:27:09,260
{\an8}And then, you have critics
796
00:27:09,327 --> 00:27:11,238
- {\an8}who are writing about
- What they think jazz is,
797
00:27:11,262 --> 00:27:13,365
- not having
- Any historical reference
798
00:27:13,465 --> 00:27:15,767
- to the form
- Or any connection to the work.
799
00:27:15,834 --> 00:27:17,085
Now, how does that change
800
00:27:17,086 --> 00:27:18,336
how society thinks
801
00:27:18,436 --> 00:27:20,205
- or believes
- What jazz to be?
802
00:27:20,305 --> 00:27:22,345
- And how does that change
- The form and evolvement
803
00:27:22,440 --> 00:27:24,226
of what it was
804
00:27:22,440 --> 00:27:26,011
in that?
805
00:27:24,227 --> 00:27:26,011
and who was instrumental
806
00:27:27,979 --> 00:27:29,097
[Wendy Oliver] There
807
00:27:29,098 --> 00:27:30,215
were two big streams.
808
00:27:30,315 --> 00:27:32,217
- People who felt
- That jazz dance
809
00:27:32,317 --> 00:27:33,602
was this original
810
00:27:33,603 --> 00:27:34,886
vernacular form
811
00:27:34,986 --> 00:27:36,938
that only happened
812
00:27:36,939 --> 00:27:38,890
in the '20s to the '40s.
813
00:27:38,990 --> 00:27:41,026
{\an8}And there were people who
814
00:27:41,027 --> 00:27:43,061
{\an8}felt that jazz evolved.
815
00:27:43,161 --> 00:27:44,529
{\an8}And jazz became
816
00:27:44,530 --> 00:27:45,897
{\an8}something different
817
00:27:45,997 --> 00:27:47,199
{\an8}over time but
818
00:27:47,200 --> 00:27:48,400
{\an8}it's still jazz.
819
00:27:52,170 --> 00:27:53,789
[DeFrantz] Something else
820
00:27:53,790 --> 00:27:55,407
about how Black American
821
00:27:55,507 --> 00:27:56,908
social structure works
822
00:27:57,008 --> 00:27:58,360
is that we believe
823
00:27:58,361 --> 00:27:59,711
in each other and sharing.
824
00:27:59,811 --> 00:28:01,046
It's communal.
825
00:28:01,146 --> 00:28:02,681
We don't really
826
00:28:02,682 --> 00:28:04,215
have long traditions
827
00:28:04,315 --> 00:28:06,017
of individual ownership.
828
00:28:06,084 --> 00:28:07,502
We're not so big up on
829
00:28:07,503 --> 00:28:08,920
claiming it as our technique
830
00:28:09,020 --> 00:28:10,555
or our style
831
00:28:10,556 --> 00:28:12,090
or "this is my dance
832
00:28:12,190 --> 00:28:13,558
and no one else's."
833
00:28:13,658 --> 00:28:15,093
That's quite
834
00:28:15,094 --> 00:28:16,528
a European-American formation
835
00:28:16,594 --> 00:28:18,063
or a capitalist formation.
836
00:28:18,163 --> 00:28:19,348
So, there's a real,
837
00:28:19,349 --> 00:28:20,532
like, problem
838
00:28:20,598 --> 00:28:22,600
- when people start naming names
- And saying,
839
00:28:22,701 --> 00:28:24,636
"This is who invented a step
840
00:28:24,637 --> 00:28:26,571
or a style or made a technique."
841
00:28:26,671 --> 00:28:28,239
- And Black
- American culture,
842
00:28:28,339 --> 00:28:29,941
- it just doesn't operate
- That way.
843
00:28:30,041 --> 00:28:31,576
So, it's hard in jazz dance,
844
00:28:31,676 --> 00:28:33,821
- because we know it comes from
- A lot of that lineage,
845
00:28:33,845 --> 00:28:35,380
to really put a thumb on
846
00:28:35,381 --> 00:28:36,915
who the mother or father is.
847
00:28:37,015 --> 00:28:38,800
{\an8}Although, in America,
848
00:28:37,015 --> 00:28:40,585
to Jack Cole.
849
00:28:38,801 --> 00:28:40,585
{\an8}we tend to give the credit
850
00:28:40,685 --> 00:28:42,930
- {\an8}But I think, when we - Look
at the true origins of - jazz,
851
00:28:42,954 --> 00:28:44,289
{\an8}that may not be the
852
00:28:42,954 --> 00:28:45,623
look
853
00:28:44,290 --> 00:28:45,623
{\an8}right lens through which to
854
00:28:45,724 --> 00:28:47,559
at how jazz came about.
855
00:28:50,729 --> 00:28:52,297
So, around the 1940s,
856
00:28:52,397 --> 00:28:53,915
Jack Cole is looking
857
00:28:53,916 --> 00:28:55,433
at classical Indian forms
858
00:28:55,533 --> 00:28:58,133
- and starting to incorporate that
- Into his jazz dance movement.
859
00:28:58,203 --> 00:28:59,421
So, you see
860
00:28:59,422 --> 00:29:00,638
this idea of isolation
861
00:29:00,739 --> 00:29:02,440
- that is indigenous
- To jazz dancing,
862
00:29:02,540 --> 00:29:04,042
- a lot of that
- Really starts there,
863
00:29:04,109 --> 00:29:06,211
- {\an8}where the head may
- Move from side to side,
864
00:29:06,277 --> 00:29:07,295
{\an8}the arms may have
865
00:29:07,296 --> 00:29:08,313
{\an8}some very particular,
866
00:29:08,413 --> 00:29:10,048
- {\an8}angular motions
- To them.
867
00:29:10,115 --> 00:29:12,117
- {\an8}And Jack Cole was taking
- A lot of these ideas
868
00:29:12,217 --> 00:29:13,268
and incorporating it
869
00:29:13,269 --> 00:29:14,319
into his choreography
870
00:29:14,419 --> 00:29:15,537
and the dances that
871
00:29:15,538 --> 00:29:16,654
he was creating.
872
00:29:17,889 --> 00:29:19,691
{\an8}I saw Mr. Cole
873
00:29:19,692 --> 00:29:21,493
{\an8}in a convention.
874
00:29:21,593 --> 00:29:26,164
{\an8}This kind of tall-ish,
875
00:29:26,264 --> 00:29:30,001
evil-tempered person,
876
00:29:30,101 --> 00:29:31,236
which is intriguing,
877
00:29:31,302 --> 00:29:33,071
- and everyone seemed to be
- In love
878
00:29:33,138 --> 00:29:36,024
with that kind of
879
00:29:33,138 --> 00:29:38,910
maybe.
880
00:29:36,025 --> 00:29:38,910
antagonistic attitude,
881
00:29:38,977 --> 00:29:40,411
- We didn't know
- Who he was.
882
00:29:40,478 --> 00:29:41,663
He came in with
883
00:29:41,664 --> 00:29:42,847
boots, khakis,
884
00:29:42,947 --> 00:29:44,799
a tied shirt, and a drum,
885
00:29:44,800 --> 00:29:46,651
and he was crazy.
886
00:29:46,751 --> 00:29:48,019
- [instructor]
- Seven, eight.
887
00:29:48,119 --> 00:29:50,271
Walk, two, two, two,
888
00:29:50,272 --> 00:29:52,423
three, two. Work.
889
00:29:52,490 --> 00:29:54,042
Jack Cole
890
00:29:54,043 --> 00:29:55,593
created a technique.
891
00:29:55,660 --> 00:29:57,379
Was it taken from Ted Shawn,
892
00:29:57,380 --> 00:29:59,097
Ruth St. Denis,
893
00:29:59,164 --> 00:30:00,532
the Denis-Shawn years?
894
00:30:00,632 --> 00:30:02,000
Yes. Absolutely.
895
00:30:02,100 --> 00:30:03,301
Everyone was involved
896
00:30:03,302 --> 00:30:04,502
in his life that
897
00:30:04,602 --> 00:30:06,037
he put into his pot.
898
00:30:06,137 --> 00:30:08,039
They didn't call
899
00:30:08,040 --> 00:30:09,941
their stuff jazz.
900
00:30:10,008 --> 00:30:11,609
Sell those bananas.
901
00:30:11,676 --> 00:30:13,478
Let's do it again, ladies.
902
00:30:13,545 --> 00:30:15,547
[applause]
903
00:30:15,647 --> 00:30:18,216
- [Chet Walker] When you look- At Marilyn Monroe today,
904
00:30:18,316 --> 00:30:19,884
it was Jack Cole who gave her
905
00:30:19,885 --> 00:30:21,452
that persona,
906
00:30:21,519 --> 00:30:23,038
Rita Hayworth,
907
00:30:23,039 --> 00:30:24,556
same thing.
908
00:30:24,656 --> 00:30:25,924
Marilyn wouldn't do it
909
00:30:25,925 --> 00:30:27,192
without him.
910
00:30:27,292 --> 00:30:28,844
If you'll go and you'll look
911
00:30:28,845 --> 00:30:30,395
at Gentlemen Prefer Blondes
912
00:30:30,495 --> 00:30:31,763
and you'll look at
913
00:30:30,495 --> 00:30:33,031
a Girl's Best Friend,
914
00:30:31,764 --> 00:30:33,031
Diamonds Are
915
00:30:33,131 --> 00:30:34,850
she is never looking into the...
916
00:30:34,851 --> 00:30:36,568
into the camera ever
917
00:30:36,668 --> 00:30:38,236
because he's over here
918
00:30:38,336 --> 00:30:40,972
and he is doing it with her.
919
00:30:41,039 --> 00:30:42,407
But when you think about that,
920
00:30:42,507 --> 00:30:43,608
"Oh, what?"
921
00:30:43,609 --> 00:30:44,709
Then you look at it,
922
00:30:44,809 --> 00:30:46,211
- and you go,
- "It's amazing."
923
00:30:46,311 --> 00:30:47,679
Because she's not playing
924
00:30:47,680 --> 00:30:49,047
to a camera.
925
00:30:49,147 --> 00:30:51,082
- She's taking
- From the master.
926
00:30:51,182 --> 00:30:52,751
And they had a connection
927
00:30:52,752 --> 00:30:54,319
that was like no other.
928
00:30:54,385 --> 00:30:55,487
He wanted audiences
929
00:30:55,488 --> 00:30:56,588
to understand
930
00:30:56,688 --> 00:30:58,223
what dance was all about.
931
00:30:58,323 --> 00:31:00,225
- Dance didn't have
- A prominence.
932
00:31:00,325 --> 00:31:01,877
It was background
933
00:31:01,878 --> 00:31:03,428
material.
934
00:31:03,528 --> 00:31:04,963
The stars were the most
935
00:31:04,964 --> 00:31:06,397
important thing
936
00:31:06,497 --> 00:31:08,199
and not the dance.
937
00:31:12,003 --> 00:31:13,938
- You can't talk about jazz dance
- In America
938
00:31:14,038 --> 00:31:15,907
- without talking about
- Katherine Dunham.
939
00:31:16,007 --> 00:31:17,609
- I know you can talk
- About Jack Cole
940
00:31:17,709 --> 00:31:19,027
but you got to talk
941
00:31:19,028 --> 00:31:20,345
about Katherine Dunham.
942
00:31:22,547 --> 00:31:23,865
For us, she is the mother
943
00:31:23,866 --> 00:31:25,183
of all dance in America
944
00:31:25,250 --> 00:31:27,436
because it is that
945
00:31:27,437 --> 00:31:29,621
African heartbeat
946
00:31:29,721 --> 00:31:32,174
that has defined
947
00:31:29,721 --> 00:31:34,626
to the world.
948
00:31:32,175 --> 00:31:34,626
the style of America
949
00:31:34,726 --> 00:31:36,995
She was influenced
950
00:31:36,996 --> 00:31:39,264
by Afro-Caribbean movements
951
00:31:39,364 --> 00:31:41,449
combined with Graham
952
00:31:41,450 --> 00:31:43,534
and classical ballet.
953
00:31:43,601 --> 00:31:44,786
And she, not
954
00:31:44,787 --> 00:31:45,970
unlike Jack Cole,
955
00:31:46,070 --> 00:31:47,655
had studied
956
00:31:47,656 --> 00:31:49,240
Eastern dance.
957
00:31:50,575 --> 00:31:52,193
[Smith] She actually started
958
00:31:52,194 --> 00:31:53,811
as an anthropologist.
959
00:31:53,912 --> 00:31:55,330
And through her studies
960
00:31:55,331 --> 00:31:56,748
in anthropology,
961
00:31:56,814 --> 00:31:58,650
{\an8}that led her to dance.
962
00:31:58,750 --> 00:32:00,118
{\an8}Because she realized dance
963
00:32:00,119 --> 00:32:01,486
{\an8}was one of the oldest things
964
00:32:01,586 --> 00:32:03,038
{\an8}that humans have been
965
00:32:03,039 --> 00:32:04,489
{\an8}doing on this planet.
966
00:32:04,589 --> 00:32:05,941
[Danny Buraczeski]
967
00:32:04,589 --> 00:32:07,292
puritanical ideas
968
00:32:05,942 --> 00:32:07,292
Americans have these
969
00:32:07,392 --> 00:32:08,993
- about the body
- And about sex.
970
00:32:09,093 --> 00:32:10,695
And because it was so...
971
00:32:10,696 --> 00:32:12,297
uh, it wasn't sexy,
972
00:32:12,397 --> 00:32:14,557
- but it was so sensual,
- They had completely devalued
973
00:32:14,599 --> 00:32:16,051
{\an8}what she was doing even
974
00:32:14,599 --> 00:32:17,502
extraordinary.
975
00:32:16,052 --> 00:32:17,502
{\an8}though it was just
976
00:32:17,602 --> 00:32:18,870
{\an8}And she was a scholar,
977
00:32:18,871 --> 00:32:20,138
{\an8}researcher,
978
00:32:20,238 --> 00:32:22,173
- made a phenomenal
- Movement.
979
00:32:22,273 --> 00:32:24,842
- I mean, the Dunham technique
- Is just breathtaking
980
00:32:24,943 --> 00:32:26,611
- but they just
- Devalued it.
981
00:32:30,615 --> 00:32:32,484
As a child growing up
982
00:32:32,485 --> 00:32:34,352
in Houston, Texas, in the '50s,
983
00:32:34,452 --> 00:32:36,321
everything was segregated.
984
00:32:36,421 --> 00:32:39,157
Water fountains, white only.
985
00:32:39,257 --> 00:32:40,292
Movie theaters,
986
00:32:40,293 --> 00:32:41,326
white only.
987
00:32:41,426 --> 00:32:44,095
Restaurants, white only.
988
00:32:44,162 --> 00:32:45,513
And the dance schools
989
00:32:45,514 --> 00:32:46,864
were no different.
990
00:32:46,965 --> 00:32:48,583
They were not really allowing
991
00:32:48,584 --> 00:32:50,201
Black children
992
00:32:50,301 --> 00:32:51,669
to train and dance
993
00:32:51,670 --> 00:32:53,037
with white children.
994
00:32:53,137 --> 00:32:55,206
- I went to the local school,
- Mr. DeBato,
995
00:32:55,306 --> 00:32:56,825
and I learned tap dancing
996
00:32:56,826 --> 00:32:58,343
and a little ballet.
997
00:32:58,443 --> 00:33:00,879
But I had a bigger image
998
00:33:00,880 --> 00:33:03,314
of what I wanted to learn.
999
00:33:03,381 --> 00:33:05,667
And it was actually
1000
00:33:05,668 --> 00:33:07,952
Patrick Swayze's mom,
1001
00:33:08,019 --> 00:33:09,704
Patsy Swayze,
1002
00:33:09,705 --> 00:33:11,389
who taught jazz dance,
1003
00:33:11,489 --> 00:33:13,274
who saw me outside
1004
00:33:13,275 --> 00:33:15,059
of her school.
1005
00:33:15,159 --> 00:33:17,562
I was peeping through the window
1006
00:33:17,662 --> 00:33:19,447
and she and that wonderful
1007
00:33:19,448 --> 00:33:21,232
Southern drawl,
1008
00:33:21,332 --> 00:33:22,750
"Little girl,
1009
00:33:22,751 --> 00:33:24,168
what you doing out here?
1010
00:33:24,235 --> 00:33:25,303
Can you dance?"
1011
00:33:25,370 --> 00:33:26,738
I said, "Yes, ma'am."
1012
00:33:26,838 --> 00:33:28,273
She said, "Well, bring
1013
00:33:28,274 --> 00:33:29,707
your shoes tomorrow."
1014
00:33:29,807 --> 00:33:32,277
And so, she allowed me
1015
00:33:32,278 --> 00:33:34,746
to come and take the class.
1016
00:33:34,846 --> 00:33:36,364
[Rick Odums] I just happened
1017
00:33:36,365 --> 00:33:37,882
to see a dance performance
1018
00:33:37,982 --> 00:33:39,267
and I was fortunate enough
1019
00:33:39,268 --> 00:33:40,551
to meet
1020
00:33:40,651 --> 00:33:42,036
{\an8}the principal dancer,
1021
00:33:42,037 --> 00:33:43,421
{\an8}who was Debbie Allen.
1022
00:33:43,521 --> 00:33:45,223
- {\an8}And she was from
- Houston like me.
1023
00:33:45,323 --> 00:33:46,591
{\an8}So, I asked her,
1024
00:33:46,691 --> 00:33:48,926
- {\an8}"Where can I learn to do
- This?" And she told me,
1025
00:33:49,027 --> 00:33:51,763
- "You need to go see a woman
- By the name of Patsy Swayze."
1026
00:33:51,863 --> 00:33:53,731
- Because unfortunately,
- At that time,
1027
00:33:53,831 --> 00:33:55,433
or fortunately for us,
1028
00:33:55,533 --> 00:33:57,385
she was the only dance teacher
1029
00:33:57,386 --> 00:33:59,237
in the entire state of Texas
1030
00:33:59,337 --> 00:34:01,039
that would accept Black people
1031
00:34:01,040 --> 00:34:02,740
at her school.
1032
00:34:02,840 --> 00:34:04,976
Patsy was considered to be
1033
00:34:02,840 --> 00:34:07,111
jazz dance teachers.
1034
00:34:04,977 --> 00:34:07,111
one of the prominent
1035
00:34:07,211 --> 00:34:08,746
- And from my
- Understanding,
1036
00:34:08,846 --> 00:34:10,615
- Patsy had basically
- Based her work
1037
00:34:10,715 --> 00:34:12,717
- on the teacher that
- She had studied with,
1038
00:34:12,784 --> 00:34:13,852
who was Matt Mattox
1039
00:34:13,853 --> 00:34:14,919
at that time.
1040
00:34:16,721 --> 00:34:18,490
[Bob Boross] Matt never
1041
00:34:18,491 --> 00:34:20,258
called his work jazz dance.
1042
00:34:20,358 --> 00:34:22,260
- He was of the thinking
- Real jazz dance
1043
00:34:22,360 --> 00:34:23,645
is the social and
1044
00:34:23,646 --> 00:34:24,929
vernacular forms of jazz.
1045
00:34:25,029 --> 00:34:26,831
{\an8}Back in the late 1940s,
1046
00:34:25,029 --> 00:34:28,633
was creating a class
1047
00:34:26,832 --> 00:34:28,633
{\an8}Eugene Loring
1048
00:34:28,733 --> 00:34:30,468
- {\an8}called freestyle,
- Where he's saying,
1049
00:34:30,568 --> 00:34:32,713
- {\an8}"I want to take the best - Of the ballet,
- The best of modern,
1050
00:34:32,737 --> 00:34:34,105
the best of jazz,
1051
00:34:32,737 --> 00:34:35,473
and put them in together
1052
00:34:34,106 --> 00:34:35,473
the best of this,
1053
00:34:35,573 --> 00:34:38,276
to one American form of dance."
1054
00:34:38,376 --> 00:34:39,761
So, Matt was there
1055
00:34:39,762 --> 00:34:41,145
during that process
1056
00:34:41,245 --> 00:34:42,814
and would teach there.
1057
00:34:42,914 --> 00:34:44,199
So eventually, when Matt
1058
00:34:42,914 --> 00:34:45,483
Loring
1059
00:34:44,200 --> 00:34:45,483
left, he had that from
1060
00:34:45,583 --> 00:34:47,223
- and then he had worked
- With Jack Cole,
1061
00:34:47,251 --> 00:34:49,153
- so he had the style
- Of Jack Cole.
1062
00:34:49,253 --> 00:34:50,355
And those two things
1063
00:34:50,356 --> 00:34:51,456
came together
1064
00:34:51,556 --> 00:34:52,957
in his later teaching.
1065
00:34:53,057 --> 00:34:54,242
{\an8}[counting in
1066
00:34:54,243 --> 00:34:55,426
[{\an8}foreign language]
1067
00:34:58,062 --> 00:34:59,902
- [Nat Horne] I heard- Someone beating a drum,
1068
00:34:59,931 --> 00:35:02,076
- one of those tom-tom drums,
- Down on the hall and I said,
1069
00:35:02,100 --> 00:35:04,381
- {\an8}"Who was beating this drum
- Every day I come to class?"
1070
00:35:04,435 --> 00:35:06,471
{\an8}And they said that's the
1071
00:35:06,472 --> 00:35:08,506
{\an8}class by Matt Mattox.
1072
00:35:08,606 --> 00:35:09,924
{\an8}Our jazz teacher.
1073
00:35:09,925 --> 00:35:11,242
{\an8}So, I opened the door
1074
00:35:11,309 --> 00:35:13,411
- and I went in and I looked,
- I listened.
1075
00:35:13,478 --> 00:35:15,146
And I saw all these
1076
00:35:13,478 --> 00:35:16,814
training.
1077
00:35:15,147 --> 00:35:16,814
isolations, and the
1078
00:35:16,914 --> 00:35:18,950
They stood in one spot
1079
00:35:18,951 --> 00:35:20,985
for almost half an hour
1080
00:35:21,085 --> 00:35:23,154
- or 45 minutes just doing
- Body isolation,
1081
00:35:23,254 --> 00:35:24,455
head, shoulders,
1082
00:35:24,456 --> 00:35:25,656
rib cage, hips, legs,
1083
00:35:25,756 --> 00:35:26,874
parallel legs,
1084
00:35:26,875 --> 00:35:27,992
turn their arms.
1085
00:35:28,092 --> 00:35:29,644
All of these different
1086
00:35:28,092 --> 00:35:31,195
to ballet."
1087
00:35:29,645 --> 00:35:31,195
position. I say, "That's close
1088
00:35:31,295 --> 00:35:32,763
- To me, that was
- The closest thing
1089
00:35:32,830 --> 00:35:34,265
- to ballet technique
- I can get.
1090
00:35:34,332 --> 00:35:36,101
And so, that's
1091
00:35:36,102 --> 00:35:37,869
why I started it.
1092
00:35:37,969 --> 00:35:40,505
- [Boross] So, Matt was taking- These ideas from Jack Cole.
1093
00:35:40,605 --> 00:35:42,749
- He said, "When I first -
Started teaching in New - York,
1094
00:35:42,773 --> 00:35:45,510
- I was teaching for two years, -
Anything I learned - from Jack Cole
1095
00:35:45,610 --> 00:35:47,254
- and the students
- Could not do it because
1096
00:35:47,278 --> 00:35:49,380
- of the isolated nature
- Of the movement."
1097
00:35:49,480 --> 00:35:50,848
{\an8}And that's when he
1098
00:35:49,480 --> 00:35:52,216
exercises so they figure out
1099
00:35:50,849 --> 00:35:52,216
{\an8}said, "How do I make up
1100
00:35:52,316 --> 00:35:53,601
{\an8}how to move individual
1101
00:35:53,602 --> 00:35:54,886
{\an8}parts of their body?"
1102
00:35:54,986 --> 00:35:57,522
- {\an8}So, between head,
- Shoulders, rib cage, pelvis,
1103
00:35:57,622 --> 00:35:59,724
- those were, you know,
- The things that led him
1104
00:35:59,824 --> 00:36:01,392
to create the exercises
1105
00:36:01,393 --> 00:36:02,960
that he did.
1106
00:36:08,332 --> 00:36:11,402
{\an8}Accent, reflex,
1107
00:36:11,502 --> 00:36:15,406
{\an8}rhythm, dynamics, relax.
1108
00:36:24,015 --> 00:36:25,750
{\an8}[Horne] Matt and Jack did not
1109
00:36:24,015 --> 00:36:27,485
face.
1110
00:36:25,751 --> 00:36:27,485
{\an8}want any expressions in their
1111
00:36:27,552 --> 00:36:29,104
No expression.
1112
00:36:29,105 --> 00:36:30,655
Keep that all inside.
1113
00:36:30,721 --> 00:36:32,273
And I wanted to express
1114
00:36:32,274 --> 00:36:33,824
what I was feeling.
1115
00:36:33,891 --> 00:36:36,394
- Matt would say,
- "Why are you smiling, Nat?"
1116
00:36:36,494 --> 00:36:39,430
- I said, because I can feel this,
- I'm enjoying the music.
1117
00:36:39,530 --> 00:36:41,599
"No smiles." Cut.
1118
00:36:46,404 --> 00:36:47,972
[Martine]
1119
00:36:47,973 --> 00:36:49,540
Matt was a very integral
1120
00:36:49,607 --> 00:36:50,909
and simple
1121
00:36:50,910 --> 00:36:52,210
and truth man.
1122
00:36:52,276 --> 00:36:54,195
He never try to be false
1123
00:36:54,196 --> 00:36:56,113
or to use...
1124
00:36:56,214 --> 00:36:57,415
he was always doubting
1125
00:36:57,416 --> 00:36:58,616
about himself.
1126
00:36:58,716 --> 00:37:00,851
- And trying always to get...
- To get better
1127
00:37:00,918 --> 00:37:02,386
because it was never enough,
1128
00:37:02,387 --> 00:37:03,854
you know,
1129
00:37:03,921 --> 00:37:05,590
and I have learned that
1130
00:37:05,591 --> 00:37:07,258
about him.
1131
00:37:07,358 --> 00:37:09,760
I have a great respect and love.
1132
00:37:11,862 --> 00:37:12,997
Each people would teach
1133
00:37:12,998 --> 00:37:14,131
his technique.
1134
00:37:14,232 --> 00:37:15,417
Teach the way
1135
00:37:15,418 --> 00:37:16,601
they understand it.
1136
00:37:16,701 --> 00:37:18,636
And then they put back with
1137
00:37:18,637 --> 00:37:20,571
it their own sensibility.
1138
00:37:26,744 --> 00:37:27,996
[Vicki Willis] One of
1139
00:37:27,997 --> 00:37:29,247
my teachers in Calgary
1140
00:37:29,313 --> 00:37:30,982
came back from New York
1141
00:37:31,082 --> 00:37:32,650
{\an8}with this crazy technique.
1142
00:37:32,750 --> 00:37:34,185
{\an8}And she had been studying
1143
00:37:34,186 --> 00:37:35,620
{\an8}with Matt Mattox.
1144
00:37:35,720 --> 00:37:37,505
And so, she was a very
1145
00:37:37,506 --> 00:37:39,290
thorough teacher
1146
00:37:39,390 --> 00:37:41,059
and we were really immersed
1147
00:37:41,060 --> 00:37:42,727
in Matt's technique.
1148
00:37:42,793 --> 00:37:44,428
- Then, at one point,
- She came back
1149
00:37:44,495 --> 00:37:45,997
from her New York travels
1150
00:37:45,998 --> 00:37:47,498
and all of a sudden,
1151
00:37:47,598 --> 00:37:50,668
- we had our arms above our head
- And we were stretching this way.
1152
00:37:50,768 --> 00:37:52,837
And we started doing Luigi work.
1153
00:37:52,937 --> 00:37:54,305
{\an8}The Luigi Technique,
1154
00:37:54,306 --> 00:37:55,673
{\an8}much of the most,
1155
00:37:55,773 --> 00:37:57,341
{\an8}important draw about it
1156
00:37:57,342 --> 00:37:58,909
{\an8}was the man himself.
1157
00:37:58,976 --> 00:38:01,412
[man] First port de bras.
1158
00:38:02,246 --> 00:38:03,681
Five, six...
1159
00:38:03,781 --> 00:38:05,392
- [Bill Waldinger] Luigi- Had been in a car accident
1160
00:38:05,416 --> 00:38:06,751
and he was paralyzed
1161
00:38:06,752 --> 00:38:08,085
on one side of his body
1162
00:38:08,152 --> 00:38:09,837
and the doctors told
1163
00:38:08,152 --> 00:38:11,522
again,
1164
00:38:09,838 --> 00:38:11,522
him he would never walk
1165
00:38:11,622 --> 00:38:13,241
{\an8}And determined to dance
1166
00:38:13,242 --> 00:38:14,859
{\an8}again because he was a dancer.
1167
00:38:14,959 --> 00:38:17,145
{\an8}He developed a way
1168
00:38:17,146 --> 00:38:19,330
{\an8}of rehabilitating his body.
1169
00:38:19,430 --> 00:38:21,165
- Stretch the right arm
- Over to the left.
1170
00:38:21,265 --> 00:38:22,717
[Roach] His exercises were
1171
00:38:21,265 --> 00:38:24,168
nature
1172
00:38:22,718 --> 00:38:24,168
much more of a serious
1173
00:38:24,268 --> 00:38:25,686
because of what
1174
00:38:25,687 --> 00:38:27,104
they had to do.
1175
00:38:27,171 --> 00:38:31,876
His technique had to rebuild
1176
00:38:31,976 --> 00:38:33,928
a really broken spirit
1177
00:38:33,929 --> 00:38:35,880
and a really broken body.
1178
00:38:35,980 --> 00:38:37,632
He used the image
1179
00:38:37,633 --> 00:38:39,283
of pressing down on the bar.
1180
00:38:39,350 --> 00:38:40,785
Right? There would be
1181
00:38:39,350 --> 00:38:42,219
and he would press down on it
1182
00:38:40,786 --> 00:38:42,219
this imaginary bar
1183
00:38:42,320 --> 00:38:44,355
and use it to lift his
1184
00:38:42,320 --> 00:38:46,390
leg.
1185
00:38:44,356 --> 00:38:46,390
weight out of the paralyzed
1186
00:38:46,490 --> 00:38:47,892
Both arms in front of you.
1187
00:38:47,992 --> 00:38:49,560
- He would start
- Out at the bar,
1188
00:38:49,660 --> 00:38:50,945
use the bar for support,
1189
00:38:50,946 --> 00:38:52,229
do these exercises
1190
00:38:52,330 --> 00:38:53,964
- and then step away
- From the bar
1191
00:38:54,031 --> 00:38:55,449
and press down on
1192
00:38:55,450 --> 00:38:56,867
this imaginary bar.
1193
00:38:56,967 --> 00:38:58,302
And that is the foundation
1194
00:38:58,303 --> 00:38:59,637
of the technique,
1195
00:38:59,704 --> 00:39:02,056
this idea of using the space
1196
00:39:02,057 --> 00:39:04,408
in the room for the support.
1197
00:39:04,508 --> 00:39:06,677
Passé and down.
1198
00:39:06,744 --> 00:39:09,247
And so,
1199
00:39:06,744 --> 00:39:11,749
extremely slowly
1200
00:39:09,248 --> 00:39:11,749
he would do these exercises
1201
00:39:11,849 --> 00:39:13,751
- and talk about what everything
- Felt like.
1202
00:39:13,851 --> 00:39:16,253
- It really was not
- About what it looked like.
1203
00:39:16,354 --> 00:39:18,255
It was about what it felt like.
1204
00:39:18,356 --> 00:39:20,257
- -Now, 15 seconds...
- -The energy in that room
1205
00:39:20,358 --> 00:39:21,392
was not like
1206
00:39:21,393 --> 00:39:22,426
anybody else's class.
1207
00:39:22,526 --> 00:39:23,978
He was really, really
1208
00:39:23,979 --> 00:39:25,429
remarkable in that way.
1209
00:39:25,529 --> 00:39:26,864
Left arm in your chest.
1210
00:39:26,931 --> 00:39:28,675
- [Blake] He was so intensely- Involved in it
1211
00:39:28,699 --> 00:39:29,850
that it just didn't...
1212
00:39:29,851 --> 00:39:31,001
it was infectious.
1213
00:39:31,068 --> 00:39:33,771
- {\an8}Like, when he starts
- Moving his chest and shoulders,
1214
00:39:33,871 --> 00:39:35,490
{\an8}it was like you could see
1215
00:39:35,491 --> 00:39:37,108
{\an8}he was in a trance practically.
1216
00:39:37,208 --> 00:39:38,660
{\an8}And we just loved it.
1217
00:39:38,661 --> 00:39:40,111
{\an8}I mean, I had to follow that.
1218
00:39:40,211 --> 00:39:42,113
And I did for quite a while.
1219
00:39:42,213 --> 00:39:43,564
In five, six,
1220
00:39:43,565 --> 00:39:44,915
seven, brush.
1221
00:39:45,015 --> 00:39:47,234
A one, two, toe, heel,
1222
00:39:47,235 --> 00:39:49,453
toe, heel.
1223
00:39:49,553 --> 00:39:51,455
Passé back. Brush.
1224
00:39:51,555 --> 00:39:53,958
Repeat. Toe, heel.
1225
00:39:59,563 --> 00:40:01,375
- [DeFrantz] It's complicated- To try to understand
1226
00:40:01,399 --> 00:40:02,584
how Latin rhythms
1227
00:40:02,585 --> 00:40:03,768
or Latin expression
1228
00:40:03,868 --> 00:40:06,321
becomes embedded inside
1229
00:40:03,868 --> 00:40:08,773
jazz.
1230
00:40:06,322 --> 00:40:08,773
something we think of as
1231
00:40:08,873 --> 00:40:10,575
So many of the enslaved
1232
00:40:10,576 --> 00:40:12,276
African people
1233
00:40:12,376 --> 00:40:14,011
were brought through
1234
00:40:12,376 --> 00:40:15,646
to the Caribbean.
1235
00:40:14,012 --> 00:40:15,646
the Middle Passage
1236
00:40:15,746 --> 00:40:18,316
And most Africans were then
1237
00:40:18,317 --> 00:40:20,885
stolen to South America.
1238
00:40:20,951 --> 00:40:23,421
{\an8}So, these affiliations
1239
00:40:23,422 --> 00:40:25,890
{\an8}and sort of windings
1240
00:40:25,956 --> 00:40:27,375
{\an8}through and
1241
00:40:27,376 --> 00:40:28,793
{\an8}sharings are as old
1242
00:40:28,893 --> 00:40:30,394
as the slave trade.
1243
00:40:33,397 --> 00:40:34,599
[Sekou McMiller]
1244
00:40:33,397 --> 00:40:35,800
that came into Brazil
1245
00:40:34,600 --> 00:40:35,800
These are rhythms
1246
00:40:35,900 --> 00:40:37,068
and into the Caribbean
1247
00:40:37,069 --> 00:40:38,235
and into New Orleans
1248
00:40:38,302 --> 00:40:39,437
{\an8}and they're starting
1249
00:40:39,438 --> 00:40:40,571
{\an8}to fuse them.
1250
00:40:40,638 --> 00:40:42,198
- {\an8}And people say,
- "Oh, it's new music.
1251
00:40:42,239 --> 00:40:43,474
{\an8}Oh, it's new music."
1252
00:40:43,574 --> 00:40:45,743
{\an8}But really, it's more like
1253
00:40:45,744 --> 00:40:47,912
{\an8}a great reunion
1254
00:40:47,978 --> 00:40:49,463
of a culture of music
1255
00:40:49,464 --> 00:40:50,948
that was once one.
1256
00:40:54,452 --> 00:40:56,154
[Brenda Bufalino] Cuban music
1257
00:40:54,452 --> 00:40:57,855
jazz.
1258
00:40:56,155 --> 00:40:57,855
had a great influence on
1259
00:40:57,955 --> 00:40:59,724
Then when the bars
1260
00:40:59,725 --> 00:41:01,492
went up on Cuba,
1261
00:41:01,592 --> 00:41:03,060
{\an8}American jazz switched
1262
00:41:03,061 --> 00:41:04,528
{\an8}to Brazilian music
1263
00:41:04,628 --> 00:41:05,863
{\an8}for its influences.
1264
00:41:05,963 --> 00:41:07,365
{\an8}And so then,
1265
00:41:07,366 --> 00:41:08,766
{\an8}we started having cool jazz.
1266
00:41:12,336 --> 00:41:13,854
{\an8}[Joshua Bergasse]
1267
00:41:12,336 --> 00:41:15,372
about musicality
1268
00:41:13,855 --> 00:41:15,372
{\an8}There's something
1269
00:41:15,473 --> 00:41:17,342
{\an8}and syncopation
1270
00:41:17,343 --> 00:41:19,210
{\an8}that excites me.
1271
00:41:19,310 --> 00:41:20,344
I was doing a show
1272
00:41:20,345 --> 00:41:21,378
and the songwriter,
1273
00:41:21,479 --> 00:41:23,681
he was on my case about
1274
00:41:21,479 --> 00:41:25,883
syncopated.
1275
00:41:23,682 --> 00:41:25,883
everything being so
1276
00:41:25,983 --> 00:41:28,552
- I was talking about my father
- Who's from Brazil.
1277
00:41:28,652 --> 00:41:30,354
{\an8}And he said,
1278
00:41:30,355 --> 00:41:32,056
{\an8}"Oh, that's what it is."
1279
00:41:32,156 --> 00:41:34,191
{\an8}"You're Brazilian.
1280
00:41:34,291 --> 00:41:36,894
- {\an8}That's where all of
- Your syncopation comes from.
1281
00:41:36,994 --> 00:41:38,472
- That's why
- You're driving me crazy
1282
00:41:38,496 --> 00:41:41,699
with this syncopation."
1283
00:41:41,799 --> 00:41:43,184
Some of these innovators
1284
00:41:43,185 --> 00:41:44,568
start to claim Latin
1285
00:41:44,668 --> 00:41:46,537
as kind of their difference
1286
00:41:46,538 --> 00:41:48,405
in jazz.
1287
00:41:48,506 --> 00:41:49,540
But if we really
1288
00:41:49,541 --> 00:41:50,574
wanna understand,
1289
00:41:50,674 --> 00:41:51,926
I mean, that starts
1290
00:41:51,927 --> 00:41:53,177
from the beginning.
1291
00:41:54,645 --> 00:41:56,347
{\an8}I grew up in Cincinnati,
1292
00:41:56,348 --> 00:41:58,048
{\an8}Ohio, in the '70s.
1293
00:41:58,148 --> 00:41:59,583
- {\an8}I went to a little
- Dance school
1294
00:41:59,683 --> 00:42:01,485
- {\an8}and so like
- Many other kids in America,
1295
00:42:01,552 --> 00:42:04,088
- {\an8}I started with tap ballet.
- I started when I was three.
1296
00:42:04,188 --> 00:42:06,140
{\an8}And in my teenage
1297
00:42:04,188 --> 00:42:08,092
Chicago.
1298
00:42:06,141 --> 00:42:08,092
{\an8}years, I went to Giordano's in
1299
00:42:08,192 --> 00:42:09,477
{\an8}That was the first time
1300
00:42:09,478 --> 00:42:10,761
{\an8}I had gone away from home.
1301
00:42:10,861 --> 00:42:12,396
But it was the first time
1302
00:42:10,861 --> 00:42:13,931
class
1303
00:42:12,397 --> 00:42:13,931
also I felt like an adult in
1304
00:42:14,031 --> 00:42:15,599
and really had a mentality
1305
00:42:15,600 --> 00:42:17,167
and a fighting thing
1306
00:42:17,234 --> 00:42:19,370
- that was underneath
- To say, "You can do this."
1307
00:42:24,041 --> 00:42:25,209
[Phil Laduca] From Gus,
1308
00:42:25,210 --> 00:42:26,377
I learned discipline.
1309
00:42:26,443 --> 00:42:28,078
I learned that the body
1310
00:42:28,178 --> 00:42:31,181
has to balance in a certain way.
1311
00:42:31,248 --> 00:42:32,767
{\an8}It has to move
1312
00:42:32,768 --> 00:42:34,285
{\an8}and counter move.
1313
00:42:34,385 --> 00:42:36,404
{\an8}And those disciplines
1314
00:42:36,405 --> 00:42:38,422
{\an8}were not what I was used to
1315
00:42:38,522 --> 00:42:40,291
{\an8}in the freestyle improvising
1316
00:42:40,292 --> 00:42:42,059
{\an8}of street dancing.
1317
00:42:46,230 --> 00:42:47,381
{\an8}[Nan Giordano] The
1318
00:42:46,230 --> 00:42:48,532
Technique,
1319
00:42:47,382 --> 00:42:48,532
{\an8}markers of the Giordano
1320
00:42:48,599 --> 00:42:49,617
the movement comes
1321
00:42:49,618 --> 00:42:50,634
from the pelvis.
1322
00:42:50,734 --> 00:42:52,903
- And that's where everything
- Comes from.
1323
00:42:52,970 --> 00:42:54,672
So, it's got
1324
00:42:54,673 --> 00:42:56,373
a very organic quality.
1325
00:42:56,440 --> 00:42:57,625
{\an8}It's combining
1326
00:42:57,626 --> 00:42:58,809
{\an8}the groundedness,
1327
00:42:58,909 --> 00:43:00,845
{\an8}influence from Africa
1328
00:43:00,846 --> 00:43:02,780
{\an8}with the ballet world.
1329
00:43:02,880 --> 00:43:04,682
{\an8}Very technical and you
1330
00:43:04,683 --> 00:43:06,483
{\an8}have to have amazing technique.
1331
00:43:06,584 --> 00:43:08,286
And then the modern world,
1332
00:43:08,287 --> 00:43:09,987
it's really a combination
1333
00:43:10,087 --> 00:43:11,739
of the major
1334
00:43:11,740 --> 00:43:13,390
dance disciplines.
1335
00:43:17,094 --> 00:43:18,662
It's got to be real.
1336
00:43:18,762 --> 00:43:21,198
That was a slogan that my
1337
00:43:21,199 --> 00:43:23,634
father continually said.
1338
00:43:23,734 --> 00:43:25,619
The way that he lived
1339
00:43:25,620 --> 00:43:27,504
his life was with energy,
1340
00:43:27,605 --> 00:43:29,406
power, radiant,
1341
00:43:29,473 --> 00:43:31,976
and touching people's lives
1342
00:43:31,977 --> 00:43:34,478
through jazz dance.
1343
00:43:37,615 --> 00:43:39,984
- There's a misconception
- About the relationship to...
1344
00:43:40,084 --> 00:43:41,352
between ballet and jazz.
1345
00:43:41,452 --> 00:43:43,520
- And it's really important
- That people understand
1346
00:43:43,621 --> 00:43:45,239
that there has been this kind of
1347
00:43:45,240 --> 00:43:46,857
very deep relationship
1348
00:43:46,957 --> 00:43:48,576
that George Balanchine had
1349
00:43:48,577 --> 00:43:50,194
with the jazz dancing body.
1350
00:43:50,294 --> 00:43:51,912
Balanchine had direct contact
1351
00:43:50,294 --> 00:43:53,530
bodies
1352
00:43:51,913 --> 00:43:53,530
with some of these Black
1353
00:43:53,631 --> 00:43:55,032
during the time
1354
00:43:55,033 --> 00:43:56,433
of the Harlem Renaissance.
1355
00:43:56,500 --> 00:43:58,335
Josephine Baker,
1356
00:43:56,500 --> 00:44:00,170
in the United States.
1357
00:43:58,336 --> 00:44:00,170
she was a very prominent artist
1358
00:44:00,270 --> 00:44:01,572
Well, what Balanchine
1359
00:44:01,573 --> 00:44:02,873
appreciated about Josephine
1360
00:44:02,973 --> 00:44:04,508
was her ability to get down,
1361
00:44:04,509 --> 00:44:06,043
that polycentric body,
1362
00:44:06,143 --> 00:44:08,655
- multiple centers in the body -
That could articulate and - speak
1363
00:44:08,679 --> 00:44:10,114
to each other
1364
00:44:10,115 --> 00:44:11,548
all at the same time.
1365
00:44:11,649 --> 00:44:12,967
And so, he was looking
1366
00:44:12,968 --> 00:44:14,284
at ballet and deciding that
1367
00:44:14,351 --> 00:44:16,053
- he wanted to make
- Something new,
1368
00:44:16,153 --> 00:44:18,465
- thought, "Well, what if I take
- These Africanist aesthetics
1369
00:44:18,489 --> 00:44:19,974
from this particular body
1370
00:44:19,975 --> 00:44:21,458
and the jazz dancing body
1371
00:44:21,525 --> 00:44:23,193
- and I incorporate that
- Into ballet?
1372
00:44:23,293 --> 00:44:24,795
What does that do to take
1373
00:44:24,796 --> 00:44:26,296
ballet off of its axis?"
1374
00:44:26,363 --> 00:44:27,715
{\an8}Somebody like Jerome
1375
00:44:27,716 --> 00:44:29,066
{\an8}Robbins, his jazz
1376
00:44:29,166 --> 00:44:30,284
{\an8}is absolutely
1377
00:44:30,285 --> 00:44:31,402
{\an8}based in ballet.
1378
00:44:31,502 --> 00:44:32,520
But he's taken
1379
00:44:32,521 --> 00:44:33,537
on that jazz
1380
00:44:33,637 --> 00:44:35,940
to exemplify the character
1381
00:44:35,941 --> 00:44:38,242
that is being portrayed.
1382
00:44:38,342 --> 00:44:40,244
[Linda Murray] Robbins is
1383
00:44:38,342 --> 00:44:42,146
he was rejected
1384
00:44:40,245 --> 00:44:42,146
made by virtue of the fact that
1385
00:44:42,212 --> 00:44:43,572
- {\an8}from school of
- American ballet,
1386
00:44:43,647 --> 00:44:45,291
- {\an8}which is the New York City
- Ballet School,
1387
00:44:45,315 --> 00:44:46,717
{\an8}the Balanchine School.
1388
00:44:46,817 --> 00:44:48,185
{\an8}He was rejected from there
1389
00:44:48,186 --> 00:44:49,553
{\an8}and he gets his start
1390
00:44:49,653 --> 00:44:51,188
{\an8}with Gluck Sandor,
1391
00:44:51,189 --> 00:44:52,723
{\an8}who's teaching modern dance.
1392
00:44:52,823 --> 00:44:54,742
{\an8}A friend of mine said,
1393
00:44:54,743 --> 00:44:56,660
{\an8}"Oh, you've got to see this."
1394
00:44:56,727 --> 00:44:58,562
- {\an8}She called it a
- Musical comedy.
1395
00:44:58,662 --> 00:45:00,364
- {\an8}I said,
- "I hate musical comedies."
1396
00:45:00,431 --> 00:45:02,766
{\an8}Oh, I was such a snob too.
1397
00:45:02,866 --> 00:45:04,268
- -Oh, my God.
- -What a snob.
1398
00:45:04,368 --> 00:45:06,346
- My chignon, my first position.
- Are you kidding?
1399
00:45:06,370 --> 00:45:08,048
- -It's disgusting.
- -I had never seen it.
1400
00:45:08,072 --> 00:45:09,507
-Disgusting.
1401
00:45:08,072 --> 00:45:10,941
in my life.
1402
00:45:09,508 --> 00:45:10,941
-I had never seen a musical
1403
00:45:11,041 --> 00:45:12,810
I had never been.
1404
00:45:11,041 --> 00:45:14,578
is movies, you know.
1405
00:45:12,811 --> 00:45:14,578
The only musicals I've seen
1406
00:45:14,678 --> 00:45:16,947
- And they were one of that,
- "Oh, that's not for me."
1407
00:45:17,047 --> 00:45:19,450
- She said, "Well,
- I think you should see this.
1408
00:45:19,550 --> 00:45:21,285
It's done by Jerome Robbins."
1409
00:45:21,385 --> 00:45:22,920
So, when she said,
1410
00:45:21,385 --> 00:45:24,455
and directed by Jerome,"
1411
00:45:22,921 --> 00:45:24,455
"It's choreographed
1412
00:45:24,555 --> 00:45:26,023
- -I said, "I'll go."
- -Yeah.
1413
00:45:26,090 --> 00:45:27,358
And I saw West
1414
00:45:27,359 --> 00:45:28,625
Side Story.
1415
00:45:28,726 --> 00:45:30,360
And that changed my life.
1416
00:45:30,427 --> 00:45:32,363
I went out of
1417
00:45:32,364 --> 00:45:34,298
the Sarah Bernhardt Theatre,
1418
00:45:34,398 --> 00:45:35,850
sat by the Seine,
1419
00:45:35,851 --> 00:45:37,301
by the river, and said,
1420
00:45:37,401 --> 00:45:39,920
"I have to go to New York
1421
00:45:39,921 --> 00:45:42,439
to study that."
1422
00:45:42,539 --> 00:45:44,541
And that's what I did.
1423
00:45:46,744 --> 00:45:48,195
[Bergasse] The first
1424
00:45:46,744 --> 00:45:49,646
realized
1425
00:45:48,196 --> 00:45:49,646
movie, the first time I
1426
00:45:49,747 --> 00:45:52,225
- I wanted to do musical theater -
Was when I saw West Side - Story.
1427
00:45:52,249 --> 00:45:54,218
- -West Side Story.
- -West Side Story.
1428
00:45:54,284 --> 00:45:55,953
- -West Side Story.
- -West Side Story.
1429
00:45:56,053 --> 00:45:57,555
-West Side Story.
1430
00:45:57,556 --> 00:45:59,056
-I mean, West Side Story.
1431
00:45:59,123 --> 00:46:01,709
{\an8}Suddenly, a new world
1432
00:46:01,710 --> 00:46:04,294
{\an8}had opened its doors to me.
1433
00:46:04,394 --> 00:46:05,829
{\an8}That was jazz.
1434
00:46:05,929 --> 00:46:07,498
- {\an8}That's what I
- Wanted to do.
1435
00:46:07,598 --> 00:46:08,616
{\an8}Jerome Robbins' work
1436
00:46:08,617 --> 00:46:09,633
{\an8}kind of exploded
1437
00:46:09,733 --> 00:46:11,635
- {\an8}and that straightaway
- Captured me.
1438
00:46:12,936 --> 00:46:14,505
- His choreography
- Is very muscular.
1439
00:46:14,605 --> 00:46:16,173
- It's very...
- It's very grand.
1440
00:46:16,273 --> 00:46:17,725
It has great scale.
1441
00:46:17,726 --> 00:46:19,176
There's a lot of danger.
1442
00:46:19,276 --> 00:46:21,862
I fell in love with not only
1443
00:46:21,863 --> 00:46:24,448
Robbins' movement,
1444
00:46:24,515 --> 00:46:26,600
you know, it was this mix
1445
00:46:26,601 --> 00:46:28,685
of ballet and jazz
1446
00:46:28,786 --> 00:46:30,805
but also with his ability
1447
00:46:30,806 --> 00:46:32,823
to tell a story
1448
00:46:32,923 --> 00:46:33,791
and to convey character.
1449
00:46:33,857 --> 00:46:35,275
What West Side
1450
00:46:35,276 --> 00:46:36,693
Story showed me
1451
00:46:36,794 --> 00:46:38,362
was that you could be
1452
00:46:38,363 --> 00:46:39,930
a tough guy
1453
00:46:39,997 --> 00:46:41,999
and yet you could still dance.
1454
00:46:42,099 --> 00:46:43,600
I mean, how cool was that?
1455
00:46:43,667 --> 00:46:46,170
When they would do these
1456
00:46:46,171 --> 00:46:48,672
long, extended dance sequences,
1457
00:46:48,772 --> 00:46:50,107
I understood
1458
00:46:50,108 --> 00:46:51,441
why they were dancing.
1459
00:46:51,508 --> 00:46:52,860
I understood what
1460
00:46:52,861 --> 00:46:54,211
they were trying to say.
1461
00:46:54,311 --> 00:46:56,013
And that helped me
1462
00:46:56,014 --> 00:46:57,714
understand the story
1463
00:46:57,815 --> 00:47:00,217
- and understand
- What these characters wanted
1464
00:47:00,317 --> 00:47:01,602
and needed and/or
1465
00:47:01,603 --> 00:47:02,886
were deprived of.
1466
00:47:02,986 --> 00:47:04,955
♪ Boy, boy, crazy boy ♪
1467
00:47:05,022 --> 00:47:06,791
I think, personally,
1468
00:47:05,022 --> 00:47:08,559
of good theater is
1469
00:47:06,792 --> 00:47:08,559
what the secret
1470
00:47:08,659 --> 00:47:09,810
is conflict that
1471
00:47:09,811 --> 00:47:10,961
leads to resolution.
1472
00:47:11,028 --> 00:47:12,379
Tension because
1473
00:47:12,380 --> 00:47:13,730
there is no answer.
1474
00:47:13,831 --> 00:47:16,133
- And then eventually,
- Our hero finds the answer
1475
00:47:16,200 --> 00:47:17,467
and finds his way.
1476
00:47:17,534 --> 00:47:20,137
- Bob Fosse
- Was the quintessential sculptor
1477
00:47:20,204 --> 00:47:21,805
of tension and conflict.
1478
00:47:21,872 --> 00:47:23,907
Sexual tension, conflict,
1479
00:47:24,007 --> 00:47:26,176
dysfunction that's so deeply
1480
00:47:26,177 --> 00:47:28,345
seated from childhood,
1481
00:47:28,412 --> 00:47:30,397
from past marriages,
1482
00:47:28,412 --> 00:47:32,382
from social injustice,
1483
00:47:30,398 --> 00:47:32,382
from whatever it is,
1484
00:47:32,482 --> 00:47:34,952
it's... it goes into the body
1485
00:47:32,482 --> 00:47:37,421
down.
1486
00:47:34,953 --> 00:47:37,421
and it crunches the body
1487
00:47:37,521 --> 00:47:39,473
{\an8}He grew up dancing in a
1488
00:47:39,474 --> 00:47:41,425
{\an8}lot of vaudeville houses.
1489
00:47:41,525 --> 00:47:42,960
{\an8}I mean, he was around
1490
00:47:41,525 --> 00:47:44,394
stuff.
1491
00:47:42,961 --> 00:47:44,394
{\an8}strippers and a lot of that
1492
00:47:44,494 --> 00:47:46,964
{\an8}And you see a lot of that
1493
00:47:46,965 --> 00:47:49,433
{\an8}influence in his work.
1494
00:47:49,533 --> 00:47:51,318
{\an8}He would always say,
1495
00:47:49,533 --> 00:47:53,103
so I turned in.
1496
00:47:51,319 --> 00:47:53,103
{\an8}"I couldn't turn out,
1497
00:47:53,203 --> 00:47:55,014
- {\an8}And I had bad posture,
- Or whatever, you know,
1498
00:47:55,038 --> 00:47:56,478
- {\an8}so I let it come down
- Like this."
1499
00:47:56,506 --> 00:47:58,475
{\an8}He was, you know,
1500
00:47:58,476 --> 00:48:00,444
{\an8}pigeon-toed.
1501
00:48:00,544 --> 00:48:02,179
- {\an8}You know, he was
- A little guy.
1502
00:48:02,246 --> 00:48:04,114
- There always seemed
- To be something in Bob
1503
00:48:04,214 --> 00:48:05,949
that was just so cool.
1504
00:48:06,049 --> 00:48:09,620
It was just, ah, right in there.
1505
00:48:09,720 --> 00:48:10,921
It was addicting.
1506
00:48:10,922 --> 00:48:12,122
It was heady.
1507
00:48:12,222 --> 00:48:15,426
It was... it
1508
00:48:15,427 --> 00:48:18,629
was, ah, jazz.
1509
00:48:18,729 --> 00:48:20,264
I think that the turning
1510
00:48:18,729 --> 00:48:21,798
Game.
1511
00:48:20,265 --> 00:48:21,798
point for him was Pajama
1512
00:48:21,899 --> 00:48:23,334
And Gwen then
1513
00:48:23,335 --> 00:48:24,768
entered the picture.
1514
00:48:26,536 --> 00:48:27,754
She was his muse,
1515
00:48:27,755 --> 00:48:28,972
absolutely his muse,
1516
00:48:29,072 --> 00:48:31,608
and I really think that the
1517
00:48:31,609 --> 00:48:34,144
work with Gwen sealed it.
1518
00:48:34,244 --> 00:48:36,780
[Kim Greene] If you look at
1519
00:48:34,244 --> 00:48:39,316
cookie cutters.
1520
00:48:36,781 --> 00:48:39,316
his dancers, there were no
1521
00:48:39,416 --> 00:48:42,228
- {\an8}It's not, "Oh, this is - Made up of
bunch of this and a - bunch of that."
1522
00:48:42,252 --> 00:48:43,987
- {\an8}It's like, there was you.
- There was me.
1523
00:48:44,087 --> 00:48:45,956
- {\an8}There was this person,
- That person.
1524
00:48:46,056 --> 00:48:47,324
{\an8}We were all different.
1525
00:48:47,424 --> 00:48:49,710
{\an8}We all brought our own
1526
00:48:49,711 --> 00:48:51,995
{\an8}thing to the table,
1527
00:48:52,095 --> 00:48:53,330
that he would then take
1528
00:48:53,331 --> 00:48:54,564
and just mold
1529
00:48:54,631 --> 00:48:57,734
and make a masterpiece out of.
1530
00:48:57,801 --> 00:48:59,970
- So, we were doing
- The "Cell Block Tango."
1531
00:49:00,070 --> 00:49:02,506
- And, of course,
- I was speaking in Hungarian.
1532
00:49:02,606 --> 00:49:04,508
- My whole monologue was
- Hungarian.
1533
00:49:04,608 --> 00:49:05,759
And the only English
1534
00:49:05,760 --> 00:49:06,910
was "not guilty."
1535
00:49:06,977 --> 00:49:09,680
- He corrected and gave directions
- To everybody.
1536
00:49:09,780 --> 00:49:11,181
Oh, I know this.
1537
00:49:11,281 --> 00:49:13,767
And he never said a word
1538
00:49:13,768 --> 00:49:16,253
to me, bad or good or... nothing.
1539
00:49:16,320 --> 00:49:18,455
So, one day I said,
1540
00:49:16,320 --> 00:49:20,590
what I'm doing?
1541
00:49:18,456 --> 00:49:20,590
"Bobby, is it okay
1542
00:49:20,657 --> 00:49:22,075
I mean, 'cause you haven't
1543
00:49:22,076 --> 00:49:23,493
said anything to me."
1544
00:49:23,593 --> 00:49:24,628
And he turned around,
1545
00:49:24,629 --> 00:49:25,662
looked at me.
1546
00:49:25,762 --> 00:49:27,564
He said, "Well, frankly,
1547
00:49:25,762 --> 00:49:29,366
a word you're saying,
1548
00:49:27,565 --> 00:49:29,366
I don't understand
1549
00:49:29,466 --> 00:49:31,168
and I made up my mind
1550
00:49:31,169 --> 00:49:32,869
that you are guilty."
1551
00:49:32,970 --> 00:49:34,922
Well, it was like a knife
1552
00:49:32,970 --> 00:49:36,873
she wasn't.
1553
00:49:34,923 --> 00:49:36,873
because I had decided that
1554
00:49:36,974 --> 00:49:38,785
- -My work on the character - Was that...
- -This is so good.
1555
00:49:38,809 --> 00:49:40,644
- -...she was not guilty.
- -This is so good.
1556
00:49:40,711 --> 00:49:43,113
- -I had a whole story going on.
- -I have goosebumps.
1557
00:49:43,180 --> 00:49:44,682
-I'm having all those...
1558
00:49:44,683 --> 00:49:46,183
-It was like somebody had...
1559
00:49:46,283 --> 00:49:48,168
And just before leaving,
1560
00:49:48,169 --> 00:49:50,053
he turned around
1561
00:49:50,153 --> 00:49:52,789
and he went, "Right?"
1562
00:49:54,324 --> 00:49:55,776
I thought
1563
00:49:55,777 --> 00:49:57,227
that's the greatest cruel,
1564
00:49:57,327 --> 00:49:59,279
cruel, greatest direction
1565
00:49:59,280 --> 00:50:01,231
I've ever gotten
1566
00:50:01,331 --> 00:50:03,033
because he made me feel
1567
00:50:03,034 --> 00:50:04,735
like Hunyak felt.
1568
00:50:04,835 --> 00:50:06,704
-Yeah.
1569
00:50:04,835 --> 00:50:08,572
freaking show.
1570
00:50:06,705 --> 00:50:08,572
-During the entire
1571
00:50:08,672 --> 00:50:09,983
- -He was cruel.
- -It was cruel...
1572
00:50:10,007 --> 00:50:11,651
- -He was cruel in that way.
- -He was cruel.
1573
00:50:11,675 --> 00:50:14,144
- -But it was fantastic.
- -But the whole thing was cruel
1574
00:50:14,211 --> 00:50:15,912
- -towards the Hunyak.
- -Fantastic.
1575
00:50:16,013 --> 00:50:17,548
-I have goose pimples too.
1576
00:50:17,549 --> 00:50:19,082
-It was just... I know.
1577
00:50:19,182 --> 00:50:20,384
{\an8}One of Fosse's main
1578
00:50:20,385 --> 00:50:21,585
{\an8}descriptions for dancers
1579
00:50:21,685 --> 00:50:23,287
{\an8}was that they were actors
1580
00:50:21,685 --> 00:50:24,888
bodies.
1581
00:50:23,288 --> 00:50:24,888
{\an8}who communicated with their
1582
00:50:24,988 --> 00:50:26,890
- {\an8}So, he didn't
- Call them dancers.
1583
00:50:26,990 --> 00:50:29,710
They were the company
1584
00:50:29,711 --> 00:50:32,429
and they expressed themselves
1585
00:50:32,529 --> 00:50:34,231
and they told that story through
1586
00:50:34,232 --> 00:50:35,932
the movements in their body.
1587
00:50:36,033 --> 00:50:37,735
You could look at a dance
1588
00:50:37,736 --> 00:50:39,436
as if it were a script.
1589
00:50:39,536 --> 00:50:42,105
- So, the steps are like the words
- In a script.
1590
00:50:42,205 --> 00:50:43,407
So, you dance the meaning
1591
00:50:43,408 --> 00:50:44,608
of the steps.
1592
00:50:44,708 --> 00:50:45,993
Not just steps
1593
00:50:45,994 --> 00:50:47,277
for the sake of steps,
1594
00:50:47,377 --> 00:50:49,162
any more than you would act
1595
00:50:49,163 --> 00:50:50,947
a script just with the words.
1596
00:50:51,048 --> 00:50:52,525
- You don't have to know
- What it is.
1597
00:50:52,549 --> 00:50:54,718
- I'm the only one
- That has to know the story.
1598
00:50:54,785 --> 00:50:55,869
But there has to be
1599
00:50:55,870 --> 00:50:56,953
something internally
1600
00:50:57,054 --> 00:50:59,689
going on with everything.
1601
00:51:07,364 --> 00:51:08,916
When we're doing
1602
00:51:08,917 --> 00:51:10,467
the number "Big Spender,"
1603
00:51:10,567 --> 00:51:12,369
- Gwen would say
- Things like,
1604
00:51:12,436 --> 00:51:14,438
- "Think that you're
- Pushing through Jell-O
1605
00:51:14,538 --> 00:51:16,373
- as you're moving
- Through the number.
1606
00:51:16,440 --> 00:51:18,075
Roll your shoulder like
1607
00:51:18,076 --> 00:51:19,709
you're wearing a dirty bra."
1608
00:51:19,776 --> 00:51:21,578
You know, I mean, it's just...
1609
00:51:21,579 --> 00:51:23,380
all these amazing images
1610
00:51:23,447 --> 00:51:25,282
would be used.
1611
00:51:29,286 --> 00:51:31,822
- [Bonnie Lanford] These -
Dancers lining up against the - bar
1612
00:51:31,922 --> 00:51:33,607
in the dance hall
1613
00:51:31,922 --> 00:51:35,292
and choose them.
1614
00:51:33,608 --> 00:51:35,292
waiting for these men to come
1615
00:51:35,392 --> 00:51:36,643
And they are broken,
1616
00:51:36,644 --> 00:51:37,894
they are broken dolls.
1617
00:51:37,961 --> 00:51:39,563
The minute you say that, it's
1618
00:51:39,564 --> 00:51:41,164
not girls posing on a bar.
1619
00:51:41,264 --> 00:51:42,666
It says so much more.
1620
00:51:42,766 --> 00:51:44,501
And, to me,
1621
00:51:44,502 --> 00:51:46,236
that just adds these layers
1622
00:51:46,303 --> 00:51:48,972
that make it so expressive
1623
00:51:49,072 --> 00:51:50,874
and deep
1624
00:51:50,875 --> 00:51:52,676
and at the same time, funny.
1625
00:51:52,776 --> 00:51:55,362
His big theory was contain
1626
00:51:55,363 --> 00:51:57,948
and explode,
1627
00:51:58,014 --> 00:51:59,516
so that you would
1628
00:51:59,517 --> 00:52:01,017
keep something very quiet
1629
00:52:01,118 --> 00:52:02,970
almost like a little secret,
1630
00:52:02,971 --> 00:52:04,821
and then go, "Ah!"
1631
00:52:10,327 --> 00:52:11,762
♪ Do you wanna
1632
00:52:11,763 --> 00:52:13,196
have fun? ♪
1633
00:52:13,296 --> 00:52:14,815
[Culbreath] A lot of times in
1634
00:52:13,296 --> 00:52:16,333
going on
1635
00:52:14,816 --> 00:52:16,333
dances, there's lots of stuff
1636
00:52:16,433 --> 00:52:18,578
- and you just sort of choose
- What you wanna look at.
1637
00:52:18,602 --> 00:52:20,437
With Bob, everything
1638
00:52:20,438 --> 00:52:22,272
was specifically designed
1639
00:52:22,339 --> 00:52:24,191
to focus in on a hip
1640
00:52:24,192 --> 00:52:26,042
or one person's hand
1641
00:52:26,143 --> 00:52:28,011
or the nod of the head
1642
00:52:28,111 --> 00:52:30,213
- or suddenly there's a shimmy
- Of a shoulder.
1643
00:52:30,313 --> 00:52:31,882
- [Blake]
- It's the restraint of it,
1644
00:52:31,982 --> 00:52:33,550
- you know, having
- To hold in,
1645
00:52:33,650 --> 00:52:35,085
it's like having sex
1646
00:52:35,086 --> 00:52:36,520
without having an orgasm,
1647
00:52:36,620 --> 00:52:38,555
- so it's just...
- You know, it just...
1648
00:52:38,655 --> 00:52:40,123
it's bubbling up underneath you.
1649
00:52:40,190 --> 00:52:41,892
How's about it, palsy?
1650
00:52:41,992 --> 00:52:43,894
Yeah.
1651
00:52:43,994 --> 00:52:46,005
- {\an8}I think there's a lot of
- Ways to look at the history
1652
00:52:46,029 --> 00:52:47,230
{\an8}and who's important,
1653
00:52:47,330 --> 00:52:48,615
{\an8}and part of why
1654
00:52:48,616 --> 00:52:49,900
{\an8}someone like a Mattox
1655
00:52:50,000 --> 00:52:51,418
{\an8}and a Giordano and a Luigi
1656
00:52:51,419 --> 00:52:52,836
{\an8}get talked about so much
1657
00:52:52,903 --> 00:52:54,221
was because they codified
1658
00:52:54,222 --> 00:52:55,539
their vocabulary.
1659
00:52:55,639 --> 00:52:57,858
And also, let's just be
1660
00:52:57,859 --> 00:53:00,076
frank, Mattox, Luigi,
1661
00:53:00,177 --> 00:53:01,779
Giordano have
1662
00:53:01,780 --> 00:53:03,380
a ballet influence.
1663
00:53:05,348 --> 00:53:09,085
And, for better or worse,
1664
00:53:09,186 --> 00:53:10,704
that told people
1665
00:53:10,705 --> 00:53:12,222
that it was legitimate.
1666
00:53:13,323 --> 00:53:14,858
But here's the thing.
1667
00:53:14,925 --> 00:53:16,176
What if the fundamental
1668
00:53:16,177 --> 00:53:17,427
construct of the reasons
1669
00:53:17,527 --> 00:53:19,096
why your movement exists
1670
00:53:19,097 --> 00:53:20,664
is based on
1671
00:53:20,730 --> 00:53:22,770
- not having that organization
- That never changes,
1672
00:53:22,832 --> 00:53:24,834
- because that is
- A very Eurocentric model?
1673
00:53:24,901 --> 00:53:26,953
So it isn't that the
1674
00:53:26,954 --> 00:53:29,005
people who didn't codify
1675
00:53:29,072 --> 00:53:30,407
hadn't thought it out,
1676
00:53:30,507 --> 00:53:31,725
it's that they're saying
1677
00:53:31,726 --> 00:53:32,943
the philosophy
1678
00:53:33,043 --> 00:53:34,611
- on which the thing
- We're building
1679
00:53:34,711 --> 00:53:35,712
doesn't require
1680
00:53:35,713 --> 00:53:36,713
codification.
1681
00:53:41,251 --> 00:53:43,453
{\an8}[interviewer speaking]
1682
00:53:49,726 --> 00:53:51,595
- {\an8}So who are you
- Identifying?
1683
00:53:58,034 --> 00:53:59,302
{\an8}Whew!
1684
00:54:00,437 --> 00:54:02,939
{\an8}It's an incomplete list.
1685
00:54:03,039 --> 00:54:05,575
{\an8}It is a list that
1686
00:54:05,576 --> 00:54:08,111
{\an8}has a colonist mindset.
1687
00:54:10,747 --> 00:54:12,949
- It's always
- Gonna be an incomplete list
1688
00:54:13,049 --> 00:54:14,217
because the people
1689
00:54:14,218 --> 00:54:15,385
that we've elevated,
1690
00:54:15,452 --> 00:54:16,987
- the way that
- History works
1691
00:54:17,087 --> 00:54:18,205
is that then becomes,
1692
00:54:18,206 --> 00:54:19,322
like, the gospel.
1693
00:54:19,422 --> 00:54:22,926
So, it's flawed.
1694
00:54:22,993 --> 00:54:24,461
It's flawed.
1695
00:54:26,296 --> 00:54:27,381
Honestly, Black and
1696
00:54:27,382 --> 00:54:28,465
brown people and women
1697
00:54:28,565 --> 00:54:31,234
- don't get talked about enough
- In the history.
1698
00:54:37,440 --> 00:54:38,675
[Murray] The way people
1699
00:54:38,676 --> 00:54:39,909
value your art form
1700
00:54:39,976 --> 00:54:41,645
is based on the sort of historic
1701
00:54:41,646 --> 00:54:43,313
importance it carries,
1702
00:54:43,413 --> 00:54:45,248
so people place a lot of
1703
00:54:45,249 --> 00:54:47,083
value on music and on literature
1704
00:54:47,150 --> 00:54:49,069
because you can see a body
1705
00:54:49,070 --> 00:54:50,987
of work amassing over time.
1706
00:54:51,087 --> 00:54:52,722
But with dance,
1707
00:54:51,087 --> 00:54:54,357
it is an ephemeral form.
1708
00:54:52,723 --> 00:54:54,357
you don't have that,
1709
00:54:54,457 --> 00:54:56,926
- And in fact, as a - Discipline,
we often embrace - that fact
1710
00:54:56,993 --> 00:54:58,211
and glory that fact
1711
00:54:58,212 --> 00:54:59,429
that you only have
1712
00:54:59,496 --> 00:55:01,264
- that one moment
- Where it exists
1713
00:55:01,331 --> 00:55:03,933
- and then it's gone forever,
- And that's part of the magic
1714
00:55:04,000 --> 00:55:05,669
and the tragedy of dance,
1715
00:55:05,769 --> 00:55:07,271
we sometimes don't want
1716
00:55:07,272 --> 00:55:08,772
to give that up.
1717
00:55:08,838 --> 00:55:10,657
But the problem is,
1718
00:55:08,838 --> 00:55:12,475
your history,
1719
00:55:10,658 --> 00:55:12,475
when you don't keep
1720
00:55:12,542 --> 00:55:13,660
then you don't know
1721
00:55:13,661 --> 00:55:14,778
where you've come from,
1722
00:55:14,844 --> 00:55:16,880
- and you can't really know
- Where you're going
1723
00:55:16,980 --> 00:55:18,148
if you don't know
1724
00:55:18,149 --> 00:55:19,316
where you've been.
1725
00:55:21,685 --> 00:55:24,004
I want us all to be more curious
1726
00:55:24,005 --> 00:55:26,323
about the names we don't know.
1727
00:55:26,389 --> 00:55:27,541
Because Pepsi Bethel
1728
00:55:27,542 --> 00:55:28,692
should be on that list.
1729
00:55:31,828 --> 00:55:33,748
- [Hubbard] Pepsi was an- Authentic jazz dancer.
1730
00:55:33,797 --> 00:55:35,649
In fact, his company was
1731
00:55:33,797 --> 00:55:37,500
Jazz Dance Theater.
1732
00:55:35,650 --> 00:55:37,500
the Authentic
1733
00:55:37,567 --> 00:55:39,319
He never talked about
1734
00:55:39,320 --> 00:55:41,071
his professional experience.
1735
00:55:41,171 --> 00:55:43,473
- It wasn't until years later
- I found out
1736
00:55:43,540 --> 00:55:45,642
that Pepsi was
1737
00:55:45,643 --> 00:55:47,744
a Savoy Lindy Hopper.
1738
00:55:47,844 --> 00:55:49,713
{\an8}In rehearsals,
1739
00:55:47,844 --> 00:55:51,581
what he would do.
1740
00:55:49,714 --> 00:55:51,581
{\an8}Pepsi always indicated
1741
00:55:51,681 --> 00:55:52,949
{\an8}He'd say, "Well,
1742
00:55:51,681 --> 00:55:54,217
and I'll do this,
1743
00:55:52,950 --> 00:55:54,217
{\an8}I'm gonna go over here
1744
00:55:54,317 --> 00:55:55,585
{\an8}and I'll go over there,
1745
00:55:54,317 --> 00:55:56,853
blah, blah, blah.
1746
00:55:55,586 --> 00:55:56,853
{\an8}and I'll do that,"
1747
00:55:56,920 --> 00:55:58,622
{\an8}Didn't know until I got
1748
00:55:58,623 --> 00:56:00,323
{\an8}on stage with the man,
1749
00:56:00,390 --> 00:56:01,825
{\an8}he was amazing.
1750
00:56:01,891 --> 00:56:03,811
- {\an8}It was like sparks were
- Flying from his body,
1751
00:56:03,860 --> 00:56:05,428
- {\an8}and he was
- Scatting,
1752
00:56:05,528 --> 00:56:07,047
{\an8}and I was stunned for
1753
00:56:07,048 --> 00:56:08,565
{\an8}a moment, you know?
1754
00:56:15,872 --> 00:56:18,241
- I'm always researching.
- I love research, you know,
1755
00:56:18,341 --> 00:56:19,960
and I just decided
1756
00:56:19,961 --> 00:56:21,578
to look up jazz dance,
1757
00:56:21,678 --> 00:56:23,730
and I said, "Where's
1758
00:56:23,731 --> 00:56:25,782
Fred Benjamin's name?"
1759
00:56:25,882 --> 00:56:27,667
{\an8}You know, you see Bob
1760
00:56:27,668 --> 00:56:29,452
{\an8}Fosse, see other people.
1761
00:56:29,552 --> 00:56:31,488
{\an8}And that's part
1762
00:56:31,489 --> 00:56:33,423
{\an8}of the problem,
1763
00:56:33,523 --> 00:56:36,359
{\an8}is that there's only very
1764
00:56:36,360 --> 00:56:39,195
{\an8}specific stories being told.
1765
00:56:39,262 --> 00:56:41,198
To be on this planet
1766
00:56:41,199 --> 00:56:43,133
during the '60s,
1767
00:56:43,233 --> 00:56:44,351
in the midst
1768
00:56:44,352 --> 00:56:45,468
of segregation,
1769
00:56:45,568 --> 00:56:47,103
to still be able to
1770
00:56:47,104 --> 00:56:48,638
create your voice
1771
00:56:48,738 --> 00:56:50,607
in the midst of that,
1772
00:56:50,707 --> 00:56:53,243
that's real, because Bob
1773
00:56:53,244 --> 00:56:55,779
Fosse and Fred Benjamin
1774
00:56:55,879 --> 00:56:59,649
had two very different paths.
1775
00:56:59,749 --> 00:57:01,151
{\an8}And I think this is
1776
00:57:01,152 --> 00:57:02,552
{\an8}why it's important
1777
00:57:02,619 --> 00:57:04,821
{\an8}for so many voices
1778
00:57:04,921 --> 00:57:06,106
to get lifted up
1779
00:57:06,107 --> 00:57:07,290
because it's easy
1780
00:57:07,390 --> 00:57:08,525
for things to just
1781
00:57:08,526 --> 00:57:09,659
kind of fall away
1782
00:57:09,759 --> 00:57:11,261
and not get acknowledged.
1783
00:57:11,327 --> 00:57:13,406
- These are people who were
- So dedicated to the form
1784
00:57:13,430 --> 00:57:15,465
that that was their whole life,
1785
00:57:15,466 --> 00:57:17,500
and then they pass away,
1786
00:57:17,600 --> 00:57:20,170
and if not for their families,
1787
00:57:20,270 --> 00:57:21,471
{\an8}you know, out of sight,
1788
00:57:21,472 --> 00:57:22,672
{\an8}out of mind.
1789
00:57:25,942 --> 00:57:27,727
{\an8}Without JoJo Smith, there's no
1790
00:57:25,942 --> 00:57:29,512
literally.
1791
00:57:27,728 --> 00:57:29,512
{\an8}Broadway Dance Center,
1792
00:57:29,612 --> 00:57:31,581
He started a school,
1793
00:57:31,648 --> 00:57:32,999
and then that school
1794
00:57:33,000 --> 00:57:34,350
became another school,
1795
00:57:34,451 --> 00:57:36,419
- which then became
- The Broadway Dance Center.
1796
00:57:36,486 --> 00:57:38,455
But without
1797
00:57:38,456 --> 00:57:40,423
JoJo's Dance Factory,
1798
00:57:40,490 --> 00:57:42,192
you can't even get there.
1799
00:57:42,292 --> 00:57:43,443
{\an8}One of my biggest
1800
00:57:43,444 --> 00:57:44,594
{\an8}influences
1801
00:57:44,661 --> 00:57:46,630
{\an8}in my style of dance
1802
00:57:46,631 --> 00:57:48,598
{\an8}and jazz was JoJo Smith.
1803
00:57:48,665 --> 00:57:51,534
{\an8}JoJo Smith.
1804
00:57:51,634 --> 00:57:54,337
{\an8}I saw a special on
1805
00:57:51,634 --> 00:57:57,040
dancers,
1806
00:57:54,338 --> 00:57:57,040
{\an8}television, and I saw
1807
00:57:57,140 --> 00:57:58,625
they were dancing
1808
00:57:58,626 --> 00:58:00,109
with an undulation
1809
00:58:00,176 --> 00:58:01,194
and a smoothness
1810
00:58:01,195 --> 00:58:02,212
and a fierceness.
1811
00:58:02,312 --> 00:58:03,713
{\an8}I said,
1812
00:58:03,714 --> 00:58:05,114
{\an8}"Who the hell is that?"
1813
00:58:06,950 --> 00:58:08,661
- {\an8}[Sue Samuels] The
- Different jazz masters,
1814
00:58:08,685 --> 00:58:10,454
{\an8}the early jazz masters came
1815
00:58:10,455 --> 00:58:12,222
{\an8}through ballet training,
1816
00:58:12,322 --> 00:58:13,890
so their styles were rounded
1817
00:58:13,891 --> 00:58:15,458
in some way.
1818
00:58:15,525 --> 00:58:17,694
{\an8}Not JoJo. JoJo came
1819
00:58:17,695 --> 00:58:19,863
{\an8}through the martial arts.
1820
00:58:19,963 --> 00:58:21,131
{\an8}And his mother
1821
00:58:21,132 --> 00:58:22,298
{\an8}was in Katherine Dunham.
1822
00:58:22,365 --> 00:58:24,217
{\an8}So, the dance
1823
00:58:24,218 --> 00:58:26,069
{\an8}and then martial arts
1824
00:58:26,169 --> 00:58:28,505
had, like, a square-ish
1825
00:58:28,506 --> 00:58:30,840
kind of style.
1826
00:58:33,176 --> 00:58:34,361
[Smith] Before
1827
00:58:34,362 --> 00:58:35,545
JoJo's Dance Factory,
1828
00:58:35,645 --> 00:58:37,230
which also my mother,
1829
00:58:37,231 --> 00:58:38,815
Sue Samuels, helped build,
1830
00:58:38,882 --> 00:58:40,350
every dance teacher had
1831
00:58:40,351 --> 00:58:41,818
their own studio,
1832
00:58:41,885 --> 00:58:43,320
and so you had to go
1833
00:58:41,885 --> 00:58:44,754
to get ballet,
1834
00:58:43,321 --> 00:58:44,754
to this one studio
1835
00:58:44,854 --> 00:58:46,823
- {\an8}you had to go to this
- Studio to get tap.
1836
00:58:46,890 --> 00:58:48,758
- {\an8}You had to go
- Here to get jazz.
1837
00:58:48,858 --> 00:58:50,143
{\an8}They actually brought all
1838
00:58:50,144 --> 00:58:51,427
{\an8}the styles and techniques
1839
00:58:51,528 --> 00:58:52,729
{\an8}under the same roof
1840
00:58:52,730 --> 00:58:53,930
{\an8}for the first time,
1841
00:58:54,030 --> 00:58:55,932
- and they don't get
- Credit for it,
1842
00:58:56,032 --> 00:58:57,901
but now, I look around the world
1843
00:58:58,001 --> 00:58:59,936
- and all dance studios
- Are modeled
1844
00:59:00,036 --> 00:59:01,304
after what they started
1845
00:59:01,305 --> 00:59:02,572
in the '70s.
1846
00:59:04,707 --> 00:59:06,226
These are these names
1847
00:59:06,227 --> 00:59:07,744
that get lost,
1848
00:59:07,844 --> 00:59:09,312
because they were doing
1849
00:59:09,313 --> 00:59:10,780
the work on the daily.
1850
00:59:11,748 --> 00:59:13,449
They were teachers,
1851
00:59:13,550 --> 00:59:15,302
and they were doing the work
1852
00:59:15,303 --> 00:59:17,053
day in, day out.
1853
00:59:19,222 --> 00:59:21,367
- [Al Blackstone] For me, it -
Was all about Frank - Hatchett.
1854
00:59:21,391 --> 00:59:23,543
He was this
1855
00:59:23,544 --> 00:59:25,695
incredible presence.
1856
00:59:25,762 --> 00:59:27,030
{\an8}He was really
1857
00:59:27,031 --> 00:59:28,298
{\an8}as much a motivator
1858
00:59:28,398 --> 00:59:30,934
{\an8}and a guru, I'd say,
1859
00:59:31,034 --> 00:59:32,878
- {\an8}as much as he was
- A choreographer and a teacher,
1860
00:59:32,902 --> 00:59:34,804
- {\an8}and he was one of
- The first people I think
1861
00:59:34,904 --> 00:59:36,356
that, really, I understood
1862
00:59:36,357 --> 00:59:37,807
about what style was.
1863
00:59:37,907 --> 00:59:39,442
He had a style that he taught,
1864
00:59:37,907 --> 00:59:40,977
he created it himself,
1865
00:59:39,443 --> 00:59:40,977
he called it VOP,
1866
00:59:41,077 --> 00:59:43,188
- it sort of became the name
- Of what he was teaching.
1867
00:59:43,212 --> 00:59:45,415
I believe as a jazz dancer,
1868
00:59:43,212 --> 00:59:47,617
to interpret the music,
1869
00:59:45,416 --> 00:59:47,617
it's our obligation
1870
00:59:47,717 --> 00:59:49,157
- to communicate
- With the audience,
1871
00:59:49,252 --> 00:59:50,453
it's an energy.
1872
00:59:50,553 --> 00:59:52,322
- Sometimes we have
- To sacrifice technique,
1873
00:59:52,422 --> 00:59:54,124
but that's what VOP is,
1874
00:59:52,422 --> 00:59:55,825
the choreography.
1875
00:59:54,125 --> 00:59:55,825
it's about flavoring
1876
00:59:55,925 --> 00:59:58,828
- VOP, the initials mean nothing,
- It's a style.
1877
01:00:01,764 --> 01:00:04,400
- [Blackstone] He would - Combine,
like, classic pas de - bourrées
1878
01:00:04,467 --> 01:00:06,145
- and then he would
- Get this sort of, like,
1879
01:00:06,169 --> 01:00:07,804
very grounded sort of, like...
1880
01:00:07,904 --> 01:00:09,356
almost the beginning, really,
1881
01:00:09,357 --> 01:00:10,807
of what we call hip-hop now.
1882
01:00:10,907 --> 01:00:12,959
And he was... combined styles
1883
01:00:12,960 --> 01:00:15,011
in a way that was very fearless,
1884
01:00:15,111 --> 01:00:16,779
- and I think
- Really excited people.
1885
01:00:16,846 --> 01:00:19,182
Pas de bourrée, say hey.
1886
01:00:19,282 --> 01:00:20,282
Hey.
1887
01:00:20,316 --> 01:00:22,018
- -Say ho.
- -Ho.
1888
01:00:22,118 --> 01:00:24,654
- He was really motivating,
- But he was also really fun,
1889
01:00:24,754 --> 01:00:26,689
- but he also had
- Very, very high standards.
1890
01:00:26,789 --> 01:00:29,025
- I remember people would,
- You know, come into class,
1891
01:00:29,125 --> 01:00:30,436
- and they would stand in
- The front of the room,
1892
01:00:30,460 --> 01:00:31,804
- and if they didn't know what
- They were doing,
1893
01:00:31,828 --> 01:00:33,439
- Frank would ask you
- To move to the back,
1894
01:00:33,463 --> 01:00:34,573
- and he would ask you to move
- To the back of the room
1895
01:00:34,597 --> 01:00:36,032
in front of the entire class.
1896
01:00:36,132 --> 01:00:38,034
I mean, there was a really
1897
01:00:38,035 --> 01:00:39,936
high standard of behavior.
1898
01:00:40,003 --> 01:00:41,721
It's this environment that
1899
01:00:40,003 --> 01:00:43,439
fun
1900
01:00:41,722 --> 01:00:43,439
was simultaneously really
1901
01:00:43,506 --> 01:00:44,758
and really energetic,
1902
01:00:44,759 --> 01:00:46,009
but also really serious.
1903
01:00:46,109 --> 01:00:47,944
- People took
- This style seriously.
1904
01:00:48,011 --> 01:00:49,079
You were in New York,
1905
01:00:49,080 --> 01:00:50,146
you had technique,
1906
01:00:50,213 --> 01:00:51,665
but you also had flavor,
1907
01:00:51,666 --> 01:00:53,116
and you had style.
1908
01:00:53,182 --> 01:00:55,184
And I think that he found a way
1909
01:00:53,182 --> 01:00:57,186
of the technique
1910
01:00:55,185 --> 01:00:57,186
to combine discipline
1911
01:00:57,286 --> 01:00:58,454
with what was happening
1912
01:00:58,455 --> 01:00:59,622
commercially in America
1913
01:00:59,689 --> 01:01:01,100
- {\an8}and what was happening
- In the clubs
1914
01:01:01,124 --> 01:01:02,604
- {\an8}and what was happening
- With music.
1915
01:01:05,161 --> 01:01:06,262
I don't think
1916
01:01:06,263 --> 01:01:07,363
the artists of today
1917
01:01:07,463 --> 01:01:09,499
are doing enough
1918
01:01:09,500 --> 01:01:11,534
to acknowledge our ancestors,
1919
01:01:11,634 --> 01:01:14,070
the lineage of this art form,
1920
01:01:14,170 --> 01:01:17,407
{\an8}and the history of this dance.
1921
01:01:17,507 --> 01:01:19,676
- {\an8}I think we need
- To talk about our ancestors,
1922
01:01:19,742 --> 01:01:21,477
{\an8}we need to talk about
1923
01:01:19,742 --> 01:01:23,212
class.
1924
01:01:21,478 --> 01:01:23,212
{\an8}our inspirations, every
1925
01:01:23,312 --> 01:01:25,114
{\an8}Not just the one time
1926
01:01:25,115 --> 01:01:26,916
{\an8}we get to sit down on film.
1927
01:01:27,016 --> 01:01:28,134
{\an8}We need to speak
1928
01:01:28,135 --> 01:01:29,252
{\an8}their names every day.
1929
01:01:30,687 --> 01:01:31,705
{\an8}If we continue to
1930
01:01:31,706 --> 01:01:32,722
{\an8}keep their memory,
1931
01:01:32,822 --> 01:01:34,223
{\an8}their spirit alive,
1932
01:01:34,323 --> 01:01:36,225
- {\an8}through their dances,
- Through their music,
1933
01:01:36,325 --> 01:01:38,161
- {\an8}through
- Their names,
1934
01:01:38,227 --> 01:01:40,363
- {\an8}that evokes their
- Spirit on a higher level
1935
01:01:40,430 --> 01:01:41,715
{\an8}and that's one of
1936
01:01:41,716 --> 01:01:42,999
{\an8}the most powerful things
1937
01:01:43,066 --> 01:01:44,834
- {\an8}you can do
- As a human.
1938
01:01:48,371 --> 01:01:49,723
{\an8}[Durden] It's paying
1939
01:01:48,371 --> 01:01:51,074
elders.
1940
01:01:49,724 --> 01:01:51,074
{\an8}respects and honor to the
1941
01:01:51,174 --> 01:01:53,176
{\an8}It's acknowledging that
1942
01:01:53,177 --> 01:01:55,178
{\an8}a group of people were here
1943
01:01:55,244 --> 01:01:56,346
{\an8}and they contributed
1944
01:01:56,347 --> 01:01:57,447
{\an8}to society,
1945
01:01:57,547 --> 01:01:59,165
{\an8}they contributed to
1946
01:01:59,166 --> 01:02:00,783
{\an8}what influenced you.
1947
01:02:00,883 --> 01:02:03,236
{\an8}And to be dismissive
1948
01:02:00,883 --> 01:02:05,588
that they weren't here.
1949
01:02:03,237 --> 01:02:05,588
{\an8}of that is to say
1950
01:02:05,688 --> 01:02:07,490
{\an8}Because we go to these studios,
1951
01:02:07,491 --> 01:02:09,292
{\an8}we go to these universities,
1952
01:02:09,392 --> 01:02:10,660
{\an8}and you get one side
1953
01:02:10,661 --> 01:02:11,928
{\an8}of the picture,
1954
01:02:12,028 --> 01:02:13,730
{\an8}and there's a whole other
1955
01:02:13,731 --> 01:02:15,431
{\an8}side that y'all don't even know.
1956
01:02:15,531 --> 01:02:17,051
- They don't know
- About these people,
1957
01:02:17,100 --> 01:02:18,468
you don't even know their names.
1958
01:02:18,568 --> 01:02:20,803
- {\an8}I think part of what
- Happens in the U.S. is this
1959
01:02:20,903 --> 01:02:22,305
{\an8}kind of consolidation
1960
01:02:22,306 --> 01:02:23,706
{\an8}of everything.
1961
01:02:23,773 --> 01:02:25,041
{\an8}It's like America
1962
01:02:25,042 --> 01:02:26,309
{\an8}as the melting pot,
1963
01:02:26,409 --> 01:02:28,144
- things kind of
- Get absorbed
1964
01:02:28,244 --> 01:02:31,280
- so we stop identifying the thing
- That made it,
1965
01:02:31,380 --> 01:02:32,682
and so it becomes
1966
01:02:32,683 --> 01:02:33,983
this whole universal
1967
01:02:34,083 --> 01:02:36,819
experience of dance.
1968
01:02:36,919 --> 01:02:38,121
It's also because as
1969
01:02:36,919 --> 01:02:39,322
acknowledge
1970
01:02:38,122 --> 01:02:39,322
Americans, you don't
1971
01:02:39,422 --> 01:02:40,707
the historical roots
1972
01:02:40,708 --> 01:02:41,991
of lots of things,
1973
01:02:42,091 --> 01:02:44,203
- particularly those things
- In which African Americans
1974
01:02:44,227 --> 01:02:45,729
have had
1975
01:02:45,730 --> 01:02:47,230
a vital participatory role.
1976
01:02:49,265 --> 01:02:50,967
- [Durden] To see someone- Doing a dance
1977
01:02:51,067 --> 01:02:52,911
- but they have no relationship
- To the community
1978
01:02:52,935 --> 01:02:54,887
and why it's being done, then
1979
01:02:54,888 --> 01:02:56,839
it loses its authenticity,
1980
01:02:56,939 --> 01:02:58,674
it becomes a movement
1981
01:02:58,775 --> 01:03:01,177
that in the movement,
1982
01:03:01,277 --> 01:03:02,478
there's authentic form
1983
01:03:02,479 --> 01:03:03,679
and expression.
1984
01:03:03,780 --> 01:03:06,266
But the meaning behind
1985
01:03:03,780 --> 01:03:08,751
is not the same.
1986
01:03:06,267 --> 01:03:08,751
what you're doing
1987
01:03:08,818 --> 01:03:10,753
[DeFrantz]
1988
01:03:08,818 --> 01:03:12,688
does get appropriated,
1989
01:03:10,754 --> 01:03:12,688
African-American creativity
1990
01:03:12,789 --> 01:03:13,990
it gets taken,
1991
01:03:13,991 --> 01:03:15,191
and moved to somewhere
1992
01:03:15,291 --> 01:03:17,093
where it never was before
1993
01:03:17,160 --> 01:03:18,845
and dropped down to do a
1994
01:03:18,846 --> 01:03:20,530
different kind of work,
1995
01:03:20,630 --> 01:03:22,399
and then the people who
1996
01:03:20,630 --> 01:03:24,167
benefit
1997
01:03:22,400 --> 01:03:24,167
created the form can't
1998
01:03:24,267 --> 01:03:26,035
- from all of
- The things that
1999
01:03:26,135 --> 01:03:27,170
{\an8}might be available
2000
01:03:27,171 --> 01:03:28,204
{\an8}in this other space.
2001
01:03:28,304 --> 01:03:30,240
{\an8}On Broadway or Hollywood
2002
01:03:28,304 --> 01:03:32,175
or more work,
2003
01:03:30,241 --> 01:03:32,175
{\an8}where there might be money
2004
01:03:32,275 --> 01:03:34,277
- {\an8}or the possibility to live
- In a neighborhood
2005
01:03:34,343 --> 01:03:36,179
- {\an8}where schools are good
- For children,
2006
01:03:36,279 --> 01:03:38,614
- like that's not available
- For the Black people
2007
01:03:38,681 --> 01:03:39,699
who are developing
2008
01:03:39,700 --> 01:03:40,716
these dance forms
2009
01:03:40,817 --> 01:03:42,351
and these creative addresses.
2010
01:03:42,451 --> 01:03:45,288
- So, it's important to understand
- That this is a part of
2011
01:03:45,354 --> 01:03:46,956
how jazz is formed.
2012
01:03:47,023 --> 01:03:48,457
It's not gonna go away.
2013
01:03:48,524 --> 01:03:51,227
- It doesn't not exist
- Just because we wish it didn't.
2014
01:03:51,327 --> 01:03:52,679
This is what jazz is, too,
2015
01:03:52,680 --> 01:03:54,030
it's part of it.
2016
01:03:54,130 --> 01:03:55,682
I think people
2017
01:03:55,683 --> 01:03:57,233
do have a genuine...
2018
01:03:57,333 --> 01:03:58,568
Uh, I don't even know
2019
01:03:58,569 --> 01:03:59,802
if I can say that word,
2020
01:03:59,869 --> 01:04:02,738
but they have a respect for it.
2021
01:04:02,839 --> 01:04:04,607
But I just think there's a lot
2022
01:04:04,608 --> 01:04:06,375
of conversations to have
2023
01:04:06,475 --> 01:04:08,010
as to how authentic
2024
01:04:08,011 --> 01:04:09,545
you're doing...
2025
01:04:09,645 --> 01:04:11,285
- you're trying to hold
- On to something.
2026
01:04:11,347 --> 01:04:12,548
It might not be something
2027
01:04:12,549 --> 01:04:13,749
for you to hold on to.
2028
01:04:13,850 --> 01:04:15,552
I think it also wears a support
2029
01:04:15,553 --> 01:04:17,253
for the community
2030
01:04:17,353 --> 01:04:19,038
that this art form comes from,
2031
01:04:19,039 --> 01:04:20,723
it's the people.
2032
01:04:20,823 --> 01:04:22,208
And when people divide
2033
01:04:22,209 --> 01:04:23,593
and take the dance away
2034
01:04:23,693 --> 01:04:25,428
from the people, and say,
2035
01:04:25,429 --> 01:04:27,163
"This dance is cool,
2036
01:04:27,230 --> 01:04:28,665
but I don't wanna mess
2037
01:04:28,666 --> 01:04:30,099
with you as a person,"
2038
01:04:30,199 --> 01:04:31,667
there's danger in that
2039
01:04:31,734 --> 01:04:33,669
- because now
- We're just appropriating
2040
01:04:33,736 --> 01:04:35,872
these art forms for sale
2041
01:04:35,938 --> 01:04:37,356
as opposed to appreciating
2042
01:04:37,357 --> 01:04:38,774
the people
2043
01:04:38,875 --> 01:04:40,543
- that have brought
- These art forms out
2044
01:04:40,610 --> 01:04:42,745
- and getting the true meaning
- Of what they're doing
2045
01:04:42,845 --> 01:04:44,413
and what they're trying to say.
2046
01:04:46,582 --> 01:04:48,267
The Civil Rights Movement is
2047
01:04:48,268 --> 01:04:49,952
another challenging moment
2048
01:04:50,052 --> 01:04:51,921
- [DeFrantz] in American- Political history
2049
01:04:52,021 --> 01:04:53,156
where dances start
2050
01:04:53,157 --> 01:04:54,290
to shift yet again
2051
01:04:54,390 --> 01:04:55,842
and they become
2052
01:04:55,843 --> 01:04:57,293
even more weighty,
2053
01:04:57,393 --> 01:04:59,262
- so we're seeing
- A lot of fists,
2054
01:04:59,362 --> 01:05:01,030
- and things are getting
- Just harder
2055
01:05:01,097 --> 01:05:03,032
- because the struggle
- For civil rights
2056
01:05:03,099 --> 01:05:04,667
is also reflected
2057
01:05:03,099 --> 01:05:06,235
that we create.
2058
01:05:04,668 --> 01:05:06,235
in the social dances
2059
01:05:07,737 --> 01:05:10,673
We are gonna walk
2060
01:05:10,674 --> 01:05:13,609
non-violently and peacefully,
2061
01:05:13,709 --> 01:05:15,261
to let the nation
2062
01:05:15,262 --> 01:05:16,812
and the world know
2063
01:05:16,913 --> 01:05:19,982
that we are tired now.
2064
01:05:20,082 --> 01:05:22,618
We've lived with slavery
2065
01:05:22,619 --> 01:05:25,154
and segregation 345 years.
2066
01:05:25,254 --> 01:05:27,290
We waited a long time
2067
01:05:27,291 --> 01:05:29,325
for freedom.
2068
01:05:29,425 --> 01:05:30,943
We are trying
2069
01:05:30,944 --> 01:05:32,461
to remind the nation
2070
01:05:32,561 --> 01:05:34,597
of the urgency of the moment.
2071
01:05:34,664 --> 01:05:37,133
Now is the time to make
2072
01:05:37,134 --> 01:05:39,602
real the promises of democracy.
2073
01:05:39,669 --> 01:05:41,554
Now is the time to make
2074
01:05:41,555 --> 01:05:43,439
justice a reality
2075
01:05:43,506 --> 01:05:45,508
for all of God's children.
2076
01:05:45,608 --> 01:05:49,412
♪ Run from these demons ♪
2077
01:05:49,478 --> 01:05:51,230
♪ Please don't give 'em
2078
01:05:51,231 --> 01:05:52,982
a reason ♪
2079
01:05:54,450 --> 01:05:56,736
{\an8}♪ To spill blood
2080
01:05:56,737 --> 01:05:59,021
{\an8}on my sneakers ♪
2081
01:05:59,121 --> 01:06:00,523
♪ So I just put
2082
01:06:00,524 --> 01:06:01,924
my hand up ♪
2083
01:06:01,991 --> 01:06:03,826
Martin Luther King was
2084
01:06:03,827 --> 01:06:05,661
shot and was killed tonight...
2085
01:06:05,761 --> 01:06:07,213
♪ ...put me
2086
01:06:07,214 --> 01:06:08,664
in handcuffs ♪
2087
01:06:08,764 --> 01:06:11,133
♪ They just scared 'cause
2088
01:06:11,134 --> 01:06:13,502
they don't understand us ♪
2089
01:06:13,602 --> 01:06:15,638
♪ Try to beat us down
2090
01:06:15,639 --> 01:06:17,673
when we try to stand up ♪
2091
01:06:17,773 --> 01:06:19,158
♪ I didn't even
2092
01:06:19,159 --> 01:06:20,543
do nothin' ♪
2093
01:06:20,643 --> 01:06:22,621
- [Muhammad Ali] - You my opposer- When I want freedom.
2094
01:06:22,645 --> 01:06:24,380
- You my opposer
- When I want justice.
2095
01:06:24,480 --> 01:06:26,040
- You my opposer
- When I want equality.
2096
01:06:26,115 --> 01:06:28,017
- You won't even stand
- Up for me in America,
2097
01:06:28,117 --> 01:06:29,452
for my religious beliefs
2098
01:06:29,518 --> 01:06:31,129
- and you want me
- To go somewhere and fight
2099
01:06:31,153 --> 01:06:33,322
- but you won't even stand up
- For me here at home.
2100
01:06:34,323 --> 01:06:36,892
♪ Oh, baby ♪
2101
01:06:36,993 --> 01:06:38,461
♪ Yeah ♪
2102
01:06:38,527 --> 01:06:40,363
♪ Just give me
2103
01:06:40,364 --> 01:06:42,198
my freedom ♪
2104
01:06:46,002 --> 01:06:47,703
♪ The beautiful ♪
2105
01:06:48,504 --> 01:06:50,740
♪ America ♪
2106
01:06:50,840 --> 01:06:53,242
♪ The murderer ♪
2107
01:06:53,342 --> 01:06:55,578
♪ America ♪
2108
01:06:55,678 --> 01:06:57,913
♪ The beautiful ♪
2109
01:06:58,014 --> 01:06:59,415
♪ America ♪
2110
01:06:59,515 --> 01:07:02,418
♪ God bless America ♪
2111
01:07:15,865 --> 01:07:17,433
[Durden]
2112
01:07:15,865 --> 01:07:19,001
as the Decade of Fire.
2113
01:07:17,434 --> 01:07:19,001
The '60s is kind of known
2114
01:07:19,068 --> 01:07:20,953
We had a lot of
2115
01:07:19,068 --> 01:07:22,838
movement,
2116
01:07:20,954 --> 01:07:22,838
assassinations, Women's Rights
2117
01:07:22,905 --> 01:07:24,407
Black Power movement.
2118
01:07:24,507 --> 01:07:26,776
- And so the music kind of
- Reflected those times.
2119
01:07:26,876 --> 01:07:29,045
The dances reflected the
2120
01:07:29,046 --> 01:07:31,213
movement that was going on.
2121
01:07:32,748 --> 01:07:34,600
So now the twist
2122
01:07:34,601 --> 01:07:36,452
changes the social decorum.
2123
01:07:36,552 --> 01:07:37,954
People are just dancing. They
2124
01:07:37,955 --> 01:07:39,355
can do it by themselves,
2125
01:07:39,422 --> 01:07:41,608
a woman doesn't have to wait
2126
01:07:39,422 --> 01:07:43,793
dance.
2127
01:07:41,609 --> 01:07:43,793
for a man to ask her to
2128
01:07:43,893 --> 01:07:45,511
[Dr. Faison] We were seeing
2129
01:07:43,893 --> 01:07:47,129
different attitudes.
2130
01:07:45,512 --> 01:07:47,129
all sorts of
2131
01:07:47,229 --> 01:07:48,247
And people were
2132
01:07:48,248 --> 01:07:49,265
coming out of,
2133
01:07:49,365 --> 01:07:50,533
{\an8}or falling out of,
2134
01:07:50,534 --> 01:07:51,700
{\an8}all kind of closets.
2135
01:07:51,767 --> 01:07:53,369
{\an8}You know what I mean?
2136
01:07:53,370 --> 01:07:54,970
{\an8}So the world was different.
2137
01:07:55,071 --> 01:07:56,605
People were different.
2138
01:07:56,705 --> 01:07:58,507
We were living and it
2139
01:07:58,508 --> 01:08:00,309
was everything out there.
2140
01:08:00,409 --> 01:08:02,895
Drugs and sex and rock 'n'
2141
01:08:02,896 --> 01:08:05,381
roll, and that other beat.
2142
01:08:05,448 --> 01:08:06,950
There it was,
2143
01:08:06,951 --> 01:08:08,451
it was jazz back there
2144
01:08:08,551 --> 01:08:10,319
on the dance floor again.
2145
01:08:10,419 --> 01:08:11,954
You know, taking us
2146
01:08:11,955 --> 01:08:13,489
into another era.
2147
01:08:13,589 --> 01:08:15,074
{\an8}In the '70s,
2148
01:08:15,075 --> 01:08:16,559
{\an8}the streets were buzzing,
2149
01:08:16,625 --> 01:08:18,060
{\an8}the clubs were buzzing,
2150
01:08:18,061 --> 01:08:19,495
{\an8}dance was everywhere,
2151
01:08:19,595 --> 01:08:21,130
{\an8}and dance wasn't just
2152
01:08:21,131 --> 01:08:22,665
{\an8}something you had to train for,
2153
01:08:22,765 --> 01:08:24,167
{\an8}dance was something
2154
01:08:24,168 --> 01:08:25,568
{\an8}you could create
2155
01:08:25,634 --> 01:08:27,970
- {\an8}whether it was
- From the streets of hip-hop
2156
01:08:28,070 --> 01:08:29,622
{\an8}or breaking or
2157
01:08:29,623 --> 01:08:31,173
{\an8}in the discos.
2158
01:08:31,273 --> 01:08:33,676
And it was wild.
2159
01:08:37,746 --> 01:08:39,849
Hip-hop is the culture that has
2160
01:08:39,850 --> 01:08:41,951
come right out of our community.
2161
01:08:42,017 --> 01:08:44,420
- It's a culture,
- It's not just a music style
2162
01:08:44,487 --> 01:08:45,754
or dance style, it's a culture.
2163
01:08:45,821 --> 01:08:47,256
{\an8}Hip-hop is a
2164
01:08:47,257 --> 01:08:48,691
{\an8}derivative of jazz.
2165
01:08:48,791 --> 01:08:49,992
{\an8}And so the root of it
2166
01:08:49,993 --> 01:08:51,193
{\an8}is coming from jazz
2167
01:08:51,293 --> 01:08:52,695
{\an8}but it's the street,
2168
01:08:52,795 --> 01:08:54,363
{\an8}it's the common dance.
2169
01:08:54,463 --> 01:08:56,499
- I call it the common dance
- Of jazz today.
2170
01:08:56,599 --> 01:08:57,984
{\an8}Most of the
2171
01:08:56,599 --> 01:08:59,368
hip-hop culture
2172
01:08:57,985 --> 01:08:59,368
{\an8}characteristics defined with
2173
01:08:59,468 --> 01:09:01,203
- {\an8}are closely connected
- To the roots,
2174
01:09:01,303 --> 01:09:03,472
{\an8}the identifiable
2175
01:09:01,303 --> 01:09:05,641
traditional dance.
2176
01:09:03,473 --> 01:09:05,641
{\an8}characteristics of African
2177
01:09:05,708 --> 01:09:07,710
[upbeat music playing]
2178
01:09:11,814 --> 01:09:13,349
[Brown] Each
2179
01:09:13,350 --> 01:09:14,884
generation has a time
2180
01:09:14,984 --> 01:09:16,936
when you're looking
2181
01:09:16,937 --> 01:09:18,888
at the politics around you
2182
01:09:18,988 --> 01:09:20,189
and you're
2183
01:09:20,190 --> 01:09:21,390
responding to it.
2184
01:09:21,490 --> 01:09:22,675
That was part of
2185
01:09:22,676 --> 01:09:23,859
the creation of hip-hop,
2186
01:09:23,959 --> 01:09:26,228
people finding their voices.
2187
01:09:28,330 --> 01:09:30,733
- [Durden] Pretty much- Every hip-hop dance you see,
2188
01:09:30,833 --> 01:09:32,201
I can show you footage
2189
01:09:32,202 --> 01:09:33,569
of that same step
2190
01:09:33,669 --> 01:09:36,539
from the jazz era.
2191
01:09:36,639 --> 01:09:39,008
- Some of the movement
- That you see breakers do was
2192
01:09:39,074 --> 01:09:41,076
part of what was considered
2193
01:09:39,074 --> 01:09:43,078
in the jazz era.
2194
01:09:41,077 --> 01:09:43,078
eccentric dancing
2195
01:09:43,179 --> 01:09:45,214
A lot of that was seen
2196
01:09:45,215 --> 01:09:47,249
as comedic dancing.
2197
01:09:47,349 --> 01:09:48,918
In 1921, Lupino Lane
2198
01:09:48,919 --> 01:09:50,486
came out with a book,
2199
01:09:50,553 --> 01:09:51,788
and in that book,
2200
01:09:51,789 --> 01:09:53,022
they illustrate
2201
01:09:53,088 --> 01:09:55,207
how to do moves
2202
01:09:55,208 --> 01:09:57,326
that breakers do right now.
2203
01:09:57,393 --> 01:09:59,412
So, we can see that none
2204
01:09:59,413 --> 01:10:01,430
of this stuff is new
2205
01:10:01,530 --> 01:10:03,599
- and they say nothing is new
- Under the sun,
2206
01:10:03,699 --> 01:10:05,434
the only thing that might
2207
01:10:03,699 --> 01:10:07,169
twist on it.
2208
01:10:05,435 --> 01:10:07,169
be new is how you put your
2209
01:10:07,236 --> 01:10:08,621
But there's a lineage
2210
01:10:08,622 --> 01:10:10,005
to this movement
2211
01:10:10,072 --> 01:10:11,490
that we need to excavate
2212
01:10:11,491 --> 01:10:12,908
to really understand
2213
01:10:13,008 --> 01:10:14,176
its socio-cultural
2214
01:10:14,177 --> 01:10:15,344
significance.
2215
01:10:15,411 --> 01:10:16,512
And these are
2216
01:10:16,513 --> 01:10:17,613
steps that go back
2217
01:10:17,713 --> 01:10:18,731
to the 1800s,
2218
01:10:18,732 --> 01:10:19,748
some of them.
2219
01:10:19,848 --> 01:10:21,600
And so there's a progression
2220
01:10:19,848 --> 01:10:23,352
community
2221
01:10:21,601 --> 01:10:23,352
that happens in the
2222
01:10:23,419 --> 01:10:25,054
that we don't
2223
01:10:25,055 --> 01:10:26,689
see on the stage.
2224
01:10:26,755 --> 01:10:28,357
So, Lindy Hop
2225
01:10:28,358 --> 01:10:29,959
didn't die,
2226
01:10:30,059 --> 01:10:31,344
it transitioned
2227
01:10:31,345 --> 01:10:32,628
into some other movements
2228
01:10:32,728 --> 01:10:34,296
for the next generation.
2229
01:10:34,396 --> 01:10:36,632
- So you have Lindy Hoppers
- Today saying,
2230
01:10:36,732 --> 01:10:38,901
- "Well, the African Americans,
- They dropped it."
2231
01:10:38,968 --> 01:10:40,636
You can't drop culture.
2232
01:10:40,736 --> 01:10:42,037
You don't drop culture.
2233
01:10:42,104 --> 01:10:43,806
- But if you're not
- In that culture,
2234
01:10:43,906 --> 01:10:45,908
{\an8}you don't see how it
2235
01:10:45,909 --> 01:10:47,910
{\an8}morphs into the next thing.
2236
01:10:50,045 --> 01:10:51,981
- And so now, when I get
- Around young students
2237
01:10:52,081 --> 01:10:54,049
- and they're turning
- Their nose up at hip-hop.
2238
01:10:54,116 --> 01:10:55,368
"Oh, no. I'm not taking
2239
01:10:54,116 --> 01:10:56,619
dancing."
2240
01:10:55,369 --> 01:10:56,619
hip-hop, that's not real
2241
01:10:56,719 --> 01:10:58,320
- And it's very
- Interesting to me
2242
01:10:58,420 --> 01:11:00,398
- because we'll talk about
- African-American people
2243
01:11:00,422 --> 01:11:02,124
who, "I have to have
2244
01:11:02,125 --> 01:11:03,826
my natural hairstyle.
2245
01:11:03,926 --> 01:11:05,261
I have to have the garb.
2246
01:11:05,327 --> 01:11:07,329
- I have to have the Black art
- On the wall.
2247
01:11:07,429 --> 01:11:09,298
I need to read Langston Hughes."
2248
01:11:09,398 --> 01:11:11,834
But when it comes to the dance
2249
01:11:11,934 --> 01:11:13,302
and hip-hop
2250
01:11:13,402 --> 01:11:14,620
is most tied
2251
01:11:14,621 --> 01:11:15,838
to your cultural identity
2252
01:11:15,938 --> 01:11:17,139
and heritage
2253
01:11:17,140 --> 01:11:18,340
because of the structure
2254
01:11:18,440 --> 01:11:19,875
how rooted it is in African
2255
01:11:19,876 --> 01:11:21,310
dance.
2256
01:11:21,410 --> 01:11:23,846
But that's not real dancing.
2257
01:11:23,946 --> 01:11:26,749
And these elders have taught you
2258
01:11:26,815 --> 01:11:29,251
to value this Eurocentric dance
2259
01:11:29,318 --> 01:11:31,037
over what's most connected
2260
01:11:31,038 --> 01:11:32,755
to your heritage.
2261
01:11:32,821 --> 01:11:34,156
They don't get it.
2262
01:11:34,256 --> 01:11:35,858
- They're not
- Doing it intentionally.
2263
01:11:35,958 --> 01:11:37,426
They don't see it.
2264
01:11:39,094 --> 01:11:40,629
- [Guarino]
- Hip-hop, all of a sudden,
2265
01:11:40,696 --> 01:11:42,698
- you see it not danced
- To hip-hop music
2266
01:11:42,798 --> 01:11:44,442
- so we're removing it
- Further and further
2267
01:11:44,466 --> 01:11:45,651
from that culture
2268
01:11:45,652 --> 01:11:46,835
of which it was born.
2269
01:11:46,935 --> 01:11:48,937
- And it might not have
- That connection
2270
01:11:49,004 --> 01:11:50,339
to the place
2271
01:11:50,340 --> 01:11:51,674
where in the '80s
2272
01:11:51,774 --> 01:11:53,542
- when people were
- Using hip-hop
2273
01:11:53,642 --> 01:11:55,444
- as a way to work out
- Their aggression
2274
01:11:55,511 --> 01:11:57,212
- and from a place
- Of community.
2275
01:11:57,313 --> 01:11:58,581
So now I see
2276
01:11:58,582 --> 01:11:59,848
a lot of hip-hop dances
2277
01:11:59,948 --> 01:12:01,459
- {\an8}where everyone
- Is standing in straight lines
2278
01:12:01,483 --> 01:12:03,352
- {\an8}and directed outward
- Towards the audience
2279
01:12:03,452 --> 01:12:06,388
- {\an8}and there's this
- Disconnect and lack of community
2280
01:12:06,488 --> 01:12:08,357
- {\an8}and they're not dancing
- To hip-hop music,
2281
01:12:08,457 --> 01:12:09,634
yet they're calling it hip-hop.
2282
01:12:09,658 --> 01:12:11,010
So we're having
2283
01:12:11,011 --> 01:12:12,361
a lot of the same issues
2284
01:12:12,461 --> 01:12:14,363
- with these branches off
- Of the jazz tree
2285
01:12:14,463 --> 01:12:15,765
and who knows
2286
01:12:15,766 --> 01:12:17,066
where they'll go.
2287
01:12:30,145 --> 01:12:31,864
[Blackstone] A great
2288
01:12:31,865 --> 01:12:33,582
jazz dancer is musical,
2289
01:12:33,682 --> 01:12:35,217
has line,
2290
01:12:35,317 --> 01:12:36,585
has a strong
2291
01:12:36,586 --> 01:12:37,853
sense of self.
2292
01:12:39,488 --> 01:12:41,123
{\an8}A great jazz dancer
2293
01:12:41,124 --> 01:12:42,758
{\an8}isn't afraid to get dirty.
2294
01:12:42,858 --> 01:12:44,760
{\an8}A great jazz dancer isn't
2295
01:12:44,761 --> 01:12:46,662
{\an8}afraid to enjoy themselves.
2296
01:12:52,401 --> 01:12:54,236
[Esse] It's those extra
2297
01:12:52,401 --> 01:12:56,071
movement
2298
01:12:54,237 --> 01:12:56,071
inches of feeling in
2299
01:12:56,171 --> 01:12:57,623
that I think makes the most
2300
01:12:57,624 --> 01:12:59,074
dynamic jazz dancer,
2301
01:12:59,174 --> 01:13:01,010
{\an8}somebody that doesn't just
2302
01:13:01,011 --> 01:13:02,845
{\an8}stop at the end of the line
2303
01:13:02,911 --> 01:13:04,513
{\an8}but continues to go on.
2304
01:13:12,721 --> 01:13:13,989
[Mandy Moore]
2305
01:13:12,721 --> 01:13:15,257
knows how to focus.
2306
01:13:13,990 --> 01:13:15,257
A great jazz dancer
2307
01:13:15,357 --> 01:13:17,259
- {\an8}They know
- How to get the audience
2308
01:13:17,359 --> 01:13:18,527
{\an8}to look at them and say,
2309
01:13:18,528 --> 01:13:19,695
{\an8}this is what I want.
2310
01:13:19,762 --> 01:13:20,896
This is what I want you
2311
01:13:20,897 --> 01:13:22,030
to look at.
2312
01:13:29,605 --> 01:13:31,607
- [Allen] It's like- The great jazz musicians.
2313
01:13:31,707 --> 01:13:33,618
- There're a lot of people
- That can hit the notes
2314
01:13:33,642 --> 01:13:35,144
- but can they
- Put it together,
2315
01:13:35,244 --> 01:13:37,813
- can they make gumbo with it,
- Can they zhuzh it,
2316
01:13:37,913 --> 01:13:38,981
can they make it hot?
2317
01:13:39,081 --> 01:13:40,366
You know,
2318
01:13:40,367 --> 01:13:41,650
that's jazz dancing.
2319
01:13:46,422 --> 01:13:48,262
- [Jerry Mitchell] I can- Teach you the steps,
2320
01:13:48,323 --> 01:13:49,858
I can teach you the
2321
01:13:48,323 --> 01:13:51,393
notes.
2322
01:13:49,859 --> 01:13:51,393
words, I can teach you the
2323
01:13:51,460 --> 01:13:53,345
But what I can't teach
2324
01:13:51,460 --> 01:13:55,230
passion.
2325
01:13:53,346 --> 01:13:55,230
you how to do is have
2326
01:13:55,297 --> 01:13:56,765
{\an8}If you can't bring passion
2327
01:13:56,766 --> 01:13:58,233
{\an8}to the room,
2328
01:13:58,300 --> 01:13:59,451
{\an8}why would anyone
2329
01:13:59,452 --> 01:14:00,602
{\an8}wanna watch you?
2330
01:14:12,481 --> 01:14:14,416
In the '80s, dance was visible
2331
01:14:14,417 --> 01:14:16,351
in a way
2332
01:14:16,452 --> 01:14:19,021
that it isn't even visible now.
2333
01:14:19,121 --> 01:14:20,756
- It was, like, okay,
- Now sex is back
2334
01:14:20,823 --> 01:14:23,525
- and we're gonna... we got MTV
- And music videos and it's hot.
2335
01:14:23,625 --> 01:14:26,428
- And, like, girls are killing it,
- With the guys strong,
2336
01:14:26,495 --> 01:14:27,796
shirtless, you know.
2337
01:14:33,802 --> 01:14:36,638
- [George] There was so much -
Dance happening in the '80s and - '90s.
2338
01:14:36,705 --> 01:14:37,823
And you would see
2339
01:14:37,824 --> 01:14:38,941
the same dancers
2340
01:14:39,007 --> 01:14:40,509
from video to video
2341
01:14:40,609 --> 01:14:42,444
- and then you just didn't see
- Them anymore.
2342
01:14:42,511 --> 01:14:44,112
- And conventional wisdom
- Would say,
2343
01:14:44,179 --> 01:14:46,014
- oh, it's because
- Dancing in music videos
2344
01:14:46,114 --> 01:14:47,149
fell out of vogue
2345
01:14:47,150 --> 01:14:48,183
in the late '90s.
2346
01:14:48,283 --> 01:14:50,018
But the reality also was,
2347
01:14:50,118 --> 01:14:51,663
- we were in the midst
- Of an AIDS crisis.
2348
01:14:51,687 --> 01:14:53,355
And so there's dancers
2349
01:14:53,356 --> 01:14:55,023
who I saw in multiple videos
2350
01:14:55,123 --> 01:14:57,292
{\an8}who then just disappeared.
2351
01:15:02,798 --> 01:15:03,849
[Mitchell] I
2352
01:15:03,850 --> 01:15:04,900
was a dancer.
2353
01:15:05,000 --> 01:15:06,785
Choreographers were dying
2354
01:15:06,786 --> 01:15:08,570
left and right.
2355
01:15:08,670 --> 01:15:10,906
There was no dance.
2356
01:15:11,006 --> 01:15:12,708
- Dance disappeared
- From Broadway
2357
01:15:12,808 --> 01:15:14,743
- not because the
- Choreographers were dying,
2358
01:15:14,843 --> 01:15:17,596
because dance
2359
01:15:17,597 --> 01:15:20,349
is a sexual expression.
2360
01:15:20,415 --> 01:15:22,551
- Even when you don't want it
- To be sexual,
2361
01:15:22,651 --> 01:15:25,020
it's sexual because we're using
2362
01:15:25,021 --> 01:15:27,389
our bodies to tell a story.
2363
01:15:27,489 --> 01:15:29,358
So people were afraid.
2364
01:15:30,526 --> 01:15:32,311
{\an8}And that form
2365
01:15:32,312 --> 01:15:34,096
{\an8}of expression
2366
01:15:34,196 --> 01:15:35,631
{\an8}was left alone
2367
01:15:35,632 --> 01:15:37,065
{\an8}for a while.
2368
01:15:41,203 --> 01:15:42,571
{\an8}[George] AIDS took
2369
01:15:42,572 --> 01:15:43,939
{\an8}out all of these men
2370
01:15:44,039 --> 01:15:46,659
{\an8}and it took them out primarily
2371
01:15:46,660 --> 01:15:49,278
{\an8}between the ages of 23 and 45.
2372
01:15:49,378 --> 01:15:51,780
- {\an8}And when you think
- About who we are as artists
2373
01:15:51,880 --> 01:15:52,915
{\an8}and when we hit,
2374
01:15:52,916 --> 01:15:53,949
{\an8}like, our prime,
2375
01:15:54,049 --> 01:15:55,634
{\an8}when we really like
2376
01:15:54,049 --> 01:15:57,219
wanna do.
2377
01:15:55,635 --> 01:15:57,219
{\an8}figure out what it is what we
2378
01:15:57,286 --> 01:15:58,287
Thirty-five
2379
01:15:58,288 --> 01:15:59,288
and forty-five,
2380
01:15:59,388 --> 01:16:00,840
that's when people
2381
01:16:00,841 --> 01:16:02,291
really, really lock in
2382
01:16:02,391 --> 01:16:04,743
and we just
2383
01:16:04,744 --> 01:16:07,095
don't have those voices,
2384
01:16:07,195 --> 01:16:09,031
so it changed the trajectory
2385
01:16:09,097 --> 01:16:10,909
- in ways that I don't know
- That we can really name
2386
01:16:10,933 --> 01:16:12,501
because, certainly,
2387
01:16:10,933 --> 01:16:14,069
you know.
2388
01:16:12,502 --> 01:16:14,069
work was still getting made,
2389
01:16:14,136 --> 01:16:16,021
Uh, but, you know,
2390
01:16:16,022 --> 01:16:17,906
a chunk of the creative team
2391
01:16:17,973 --> 01:16:19,041
that created A
2392
01:16:19,042 --> 01:16:20,108
Chorus Line is gone.
2393
01:16:24,913 --> 01:16:26,782
I got to where I am
2394
01:16:26,783 --> 01:16:28,650
on the backs of a lot of people
2395
01:16:28,750 --> 01:16:30,152
who are no longer with us.
2396
01:16:30,252 --> 01:16:31,687
So, when I really started
2397
01:16:31,688 --> 01:16:33,121
to teach in New York,
2398
01:16:33,221 --> 01:16:34,890
that was during the AIDS crisis.
2399
01:16:34,957 --> 01:16:36,609
So the young gentlemen
2400
01:16:36,610 --> 01:16:38,260
who were teaching jazz
2401
01:16:38,327 --> 01:16:41,463
all over New York disappeared.
2402
01:16:41,563 --> 01:16:43,282
Those people that we lost,
2403
01:16:43,283 --> 01:16:45,000
we lost a whole connection
2404
01:16:45,100 --> 01:16:47,336
- the things that would have
- Informed theater.
2405
01:16:47,436 --> 01:16:49,638
- God, who knows what we would
- Have been doing now
2406
01:16:49,738 --> 01:16:51,673
had those people not died.
2407
01:16:56,111 --> 01:16:58,246
- {\an8}Sometimes I look at the work
- Of the '80s
2408
01:16:58,313 --> 01:16:59,982
{\an8}and as much as it feels
2409
01:16:58,313 --> 01:17:01,650
dynamic,
2410
01:16:59,983 --> 01:17:01,650
{\an8}sexual and propulsive and
2411
01:17:01,750 --> 01:17:04,319
- {\an8}there's times it also feels
- Really desperate,
2412
01:17:04,419 --> 01:17:06,855
- {\an8}because people were dancing
- For their lives.
2413
01:17:06,955 --> 01:17:08,624
{\an8}And many of them
2414
01:17:08,625 --> 01:17:10,292
{\an8}couldn't talk about it.
2415
01:17:15,130 --> 01:17:17,699
- It's heartbreaking.
- It's heartbreaking because...
2416
01:17:17,799 --> 01:17:20,002
- we'll never know
- What they could have done,
2417
01:17:20,102 --> 01:17:21,387
we'll never know how that
2418
01:17:20,102 --> 01:17:22,671
our lives,
2419
01:17:21,388 --> 01:17:22,671
work could have changed
2420
01:17:22,771 --> 01:17:24,106
how that work would
2421
01:17:24,107 --> 01:17:25,440
have changed the world.
2422
01:17:39,888 --> 01:17:41,807
[instructor] Spread the toes,
2423
01:17:41,808 --> 01:17:43,725
plié, rolling up.
2424
01:17:43,825 --> 01:17:45,894
- {\an8}Pressing the whole foot
- Into the floor,
2425
01:17:45,994 --> 01:17:47,229
{\an8}feeling very rooted.
2426
01:17:47,329 --> 01:17:48,830
{\an8}Stand tall.
2427
01:17:59,307 --> 01:18:01,009
To first position.
2428
01:18:04,680 --> 01:18:06,815
- [George] I started- Noticing it in the '90s,
2429
01:18:06,882 --> 01:18:08,767
the repertoire of jazz
2430
01:18:06,882 --> 01:18:10,652
dramatically.
2431
01:18:08,768 --> 01:18:10,652
companies was changing
2432
01:18:10,719 --> 01:18:12,754
Two, regular.
2433
01:18:13,989 --> 01:18:15,757
It's slow. I know. I changed it.
2434
01:18:15,857 --> 01:18:17,392
What happened
2435
01:18:17,393 --> 01:18:18,927
was a huge shift
2436
01:18:19,027 --> 01:18:20,312
to modern and
2437
01:18:20,313 --> 01:18:21,596
contemporary.
2438
01:18:24,332 --> 01:18:26,001
Body roll.
2439
01:18:26,068 --> 01:18:27,069
There was
2440
01:18:27,070 --> 01:18:28,070
nothing going on,
2441
01:18:28,170 --> 01:18:29,905
- I mean, you could
- Barely get a job
2442
01:18:30,005 --> 01:18:31,707
as a jazz dancer.
2443
01:18:37,179 --> 01:18:38,747
Plié, roll it out.
2444
01:18:38,847 --> 01:18:40,549
[George] But then a few years
2445
01:18:40,550 --> 01:18:42,250
go by, five, six years,
2446
01:18:42,350 --> 01:18:44,753
Britney Spears, Backstreet Boys,
2447
01:18:44,853 --> 01:18:48,123
NSYNC, Darrin's Dance Grooves.
2448
01:18:48,223 --> 01:18:49,958
Because it's always cyclical,
2449
01:18:50,058 --> 01:18:52,203
- there's always an ebb and
- A flow to what's happening.
2450
01:18:52,227 --> 01:18:54,539
- And so, even if you - Don't
see jazz prominent right - now,
2451
01:18:54,563 --> 01:18:57,199
- just wait because it's always
- Gonna be there.
2452
01:18:58,867 --> 01:19:00,435
- {\an8}There's something
- About jazz
2453
01:19:00,535 --> 01:19:03,171
{\an8}that feels almost like
2454
01:19:03,172 --> 01:19:05,807
{\an8}everyman meets magnified dancer.
2455
01:19:05,907 --> 01:19:07,919
- You know, there's some things
- About jazz dancing
2456
01:19:07,943 --> 01:19:09,711
- {\an8}that I think
- Can feel
2457
01:19:09,778 --> 01:19:12,047
- {\an8}common to someone who
- Doesn't know how to dance.
2458
01:19:12,114 --> 01:19:14,049
- {\an8}It feels right
- When you watch it,
2459
01:19:14,116 --> 01:19:15,301
{\an8}where sometimes
2460
01:19:15,302 --> 01:19:16,485
{\an8}things like ballet
2461
01:19:16,585 --> 01:19:17,920
{\an8}can feel a
2462
01:19:17,921 --> 01:19:19,254
{\an8}little elitist.
2463
01:19:19,321 --> 01:19:21,123
- [Simonson] And because- It was not elitist,
2464
01:19:21,223 --> 01:19:22,858
{\an8}it was not "classical
2465
01:19:22,859 --> 01:19:24,493
{\an8}ballet," opera, the symphony,
2466
01:19:24,593 --> 01:19:27,462
{\an8}it was looked down upon.
2467
01:19:27,562 --> 01:19:29,331
- {\an8}[Knight] There are
- Certain areas of dance
2468
01:19:29,431 --> 01:19:30,783
{\an8}that are much more
2469
01:19:29,431 --> 01:19:32,134
because
2470
01:19:30,784 --> 01:19:32,134
{\an8}well-funded and understood
2471
01:19:32,234 --> 01:19:34,302
{\an8}their values fall in alignment
2472
01:19:34,402 --> 01:19:36,571
- {\an8}with the values of the people
- Who have the dollars.
2473
01:19:36,638 --> 01:19:38,273
And so, unfortunately, jazz,
2474
01:19:38,274 --> 01:19:39,908
hip-hop, tap,
2475
01:19:39,975 --> 01:19:41,443
they're looked at
2476
01:19:41,444 --> 01:19:42,911
as the other forms.
2477
01:19:45,914 --> 01:19:47,533
{\an8}[Boross] Jazz has been told
2478
01:19:47,534 --> 01:19:49,151
{\an8}not to be jazz.
2479
01:19:49,251 --> 01:19:51,136
{\an8}Jazz is now lately
2480
01:19:49,251 --> 01:19:53,021
liability.
2481
01:19:51,137 --> 01:19:53,021
{\an8}considered to be a
2482
01:19:53,121 --> 01:19:55,073
[Walker] I was told,
2483
01:19:53,121 --> 01:19:57,025
contemporary in front of it,
2484
01:19:55,074 --> 01:19:57,025
"If you would put
2485
01:19:57,125 --> 01:19:58,994
I could help you out."
2486
01:19:59,094 --> 01:20:00,495
But I couldn't do that.
2487
01:20:00,595 --> 01:20:03,031
- {\an8}If you're gonna go
- And talk about jazz dance,
2488
01:20:03,131 --> 01:20:04,483
{\an8}you don't wanna put
2489
01:20:04,484 --> 01:20:05,834
{\an8}contemporary in front of it.
2490
01:20:05,934 --> 01:20:07,536
{\an8}Jazz should stand by
2491
01:20:07,537 --> 01:20:09,137
{\an8}itself, but there's no funding.
2492
01:20:11,673 --> 01:20:13,484
- [Drew McOnie] - To say there's more room- In the industry
2493
01:20:13,508 --> 01:20:15,343
- for jazz companies
- Is like...
2494
01:20:15,443 --> 01:20:17,321
- I mean, of course there is,
- There's so few of them.
2495
01:20:17,345 --> 01:20:19,347
- You know, if you think
- About how saturated
2496
01:20:19,447 --> 01:20:21,859
- {\an8}the world is with ballet - Companies
and contemporary - companies that...
2497
01:20:21,883 --> 01:20:24,462
- {\an8}And there is... I promise - You,
there is the wealth of - talent out there
2498
01:20:24,486 --> 01:20:25,821
to fill hundreds
2499
01:20:25,822 --> 01:20:27,155
of jazz companies.
2500
01:20:36,464 --> 01:20:38,266
{\an8}To make a career in dance,
2501
01:20:36,464 --> 01:20:40,068
in New York City,
2502
01:20:38,267 --> 01:20:40,068
{\an8}to make a career here
2503
01:20:40,168 --> 01:20:41,837
{\an8}versatility is everything.
2504
01:20:41,903 --> 01:20:43,572
- {\an8}You have to
- Do everything.
2505
01:20:43,672 --> 01:20:45,073
- You must be a
- Great jazz dancer.
2506
01:20:45,173 --> 01:20:47,209
- You must have great ballet
- Technique.
2507
01:20:47,309 --> 01:20:48,743
- You need to be
- A tap dancer.
2508
01:20:48,844 --> 01:20:50,596
You should be great
2509
01:20:50,597 --> 01:20:52,347
at flamenco and hip-hop.
2510
01:20:52,414 --> 01:20:54,249
And you should sing.
2511
01:20:54,349 --> 01:20:55,717
You know, it's a lot.
2512
01:20:55,718 --> 01:20:57,085
There's a lot.
2513
01:20:57,185 --> 01:20:59,105
- I think that what's happening
- In New York now
2514
01:20:59,154 --> 01:21:00,914
- {\an8}is that people are taking
- Theater classes
2515
01:21:00,989 --> 01:21:02,424
- {\an8}because they
- Wanna do theater
2516
01:21:02,524 --> 01:21:03,876
{\an8}because that's how
2517
01:21:03,877 --> 01:21:05,227
{\an8}they can make money.
2518
01:21:05,327 --> 01:21:06,545
[George] A friend of
2519
01:21:05,327 --> 01:21:07,762
jazz."
2520
01:21:06,546 --> 01:21:07,762
mine calls it "get a job
2521
01:21:07,863 --> 01:21:09,974
- Training people how to actually
- Work in the field,
2522
01:21:09,998 --> 01:21:11,533
which means commercial work
2523
01:21:11,534 --> 01:21:13,068
or theatrical work.
2524
01:21:15,370 --> 01:21:16,571
Jazz as a technique
2525
01:21:16,671 --> 01:21:17,991
- is really how
- You become great
2526
01:21:18,039 --> 01:21:19,708
- at doing
- The kind of choreography
2527
01:21:19,774 --> 01:21:21,743
- that you see in
- Theater today.
2528
01:21:23,845 --> 01:21:25,147
The practice,
2529
01:21:25,148 --> 01:21:26,448
or the way it is taught,
2530
01:21:26,548 --> 01:21:28,617
- is only from a
- Commercial point of view.
2531
01:21:28,717 --> 01:21:30,752
We very rarely go back
2532
01:21:28,717 --> 01:21:32,787
the lineage,
2533
01:21:30,753 --> 01:21:32,787
and we look at the history,
2534
01:21:32,888 --> 01:21:34,256
what makes jazz what it is,
2535
01:21:34,257 --> 01:21:35,624
what is the aesthetic.
2536
01:21:35,724 --> 01:21:37,401
- And so, the aesthetic
- Has changed so much
2537
01:21:37,425 --> 01:21:38,510
that we don't
2538
01:21:38,511 --> 01:21:39,594
recognize it today.
2539
01:21:43,565 --> 01:21:44,583
[Murray] Sometimes we
2540
01:21:44,584 --> 01:21:45,600
think of jazz dance
2541
01:21:45,700 --> 01:21:47,535
- as permanently
- Being in peril,
2542
01:21:47,602 --> 01:21:49,104
but if you look at those
2543
01:21:47,602 --> 01:21:50,605
on television,
2544
01:21:49,105 --> 01:21:50,605
popular dance shows
2545
01:21:50,705 --> 01:21:52,607
there are serious choreographers
2546
01:21:52,707 --> 01:21:54,342
on those shows
2547
01:21:54,343 --> 01:21:55,977
that are introducing jazz
2548
01:21:56,077 --> 01:21:57,812
- to a really
- Broad audience.
2549
01:21:57,913 --> 01:21:59,448
{\an8}Dance is becoming more
2550
01:21:59,449 --> 01:22:00,982
{\an8}accessible to the masses.
2551
01:22:01,082 --> 01:22:02,384
It's giving them inspiration
2552
01:22:02,450 --> 01:22:03,885
and it's getting new people
2553
01:22:03,886 --> 01:22:05,320
started dancing.
2554
01:22:05,420 --> 01:22:07,956
- {\an8}I worry that it's all
- Become a little bit tricksy,
2555
01:22:08,056 --> 01:22:09,941
{\an8}that if you can do a
2556
01:22:08,056 --> 01:22:11,826
jazz dancer.
2557
01:22:09,942 --> 01:22:11,826
{\an8}backflip, you're therefore a
2558
01:22:11,927 --> 01:22:13,995
{\an8}No, you're not.
2559
01:22:14,095 --> 01:22:15,797
- Look at this
- Competition crap.
2560
01:22:15,897 --> 01:22:17,499
- It's how many pirouettes
- Can I do?
2561
01:22:17,599 --> 01:22:20,001
- How can I expose my crotch
- In a different way?
2562
01:22:20,101 --> 01:22:21,803
It's not about
2563
01:22:21,804 --> 01:22:23,505
moving anybody.
2564
01:22:23,605 --> 01:22:25,173
- [Simonson]
- It becomes trick-oriented
2565
01:22:25,273 --> 01:22:26,391
and that's what
2566
01:22:26,392 --> 01:22:27,509
the everyday person
2567
01:22:27,609 --> 01:22:29,127
is seeing on television
2568
01:22:29,128 --> 01:22:30,645
and they're going, "Wow."
2569
01:22:30,745 --> 01:22:32,847
- And we're going,
- "No, that's just tricks.
2570
01:22:32,948 --> 01:22:34,249
There's no heart."
2571
01:22:34,316 --> 01:22:35,834
But there are people
2572
01:22:35,835 --> 01:22:37,352
looking at dance now,
2573
01:22:37,452 --> 01:22:39,187
so flip it to the other side,
2574
01:22:39,287 --> 01:22:40,555
who've never considered
2575
01:22:40,556 --> 01:22:41,823
looking at dance.
2576
01:22:41,923 --> 01:22:43,925
So, there's a gift in that also.
2577
01:22:43,992 --> 01:22:45,927
{\an8}But I think that, you
2578
01:22:43,992 --> 01:22:47,862
young dancers
2579
01:22:45,928 --> 01:22:47,862
{\an8}know, we're relying on those
2580
01:22:47,963 --> 01:22:49,931
- {\an8}to know the amount of work
- That goes in
2581
01:22:49,998 --> 01:22:51,866
- to be able to perform
- To that level.
2582
01:22:51,967 --> 01:22:53,168
And if it can be used
2583
01:22:51,967 --> 01:22:54,369
it's brilliant.
2584
01:22:53,169 --> 01:22:54,369
as an inspiration,
2585
01:22:54,469 --> 01:22:56,071
If it's used to make you
2586
01:22:56,072 --> 01:22:57,672
lazy, then we're in trouble.
2587
01:22:57,772 --> 01:22:59,708
- [Culbreath] They do- Step right off the bus,
2588
01:22:59,808 --> 01:23:01,093
they have an agent
2589
01:23:01,094 --> 01:23:02,377
and Twitter followers,
2590
01:23:02,477 --> 01:23:04,546
- and a YouTube blog, and a thing,
- And a thing
2591
01:23:04,646 --> 01:23:06,932
{\an8}and a thing, and all that
2592
01:23:04,646 --> 01:23:09,217
horseshit
2593
01:23:06,933 --> 01:23:09,217
{\an8}stuff is just a bunch of
2594
01:23:09,317 --> 01:23:10,685
{\an8}in the way to the work.
2595
01:23:10,785 --> 01:23:12,854
- Just do the work,
- But they need somebody
2596
01:23:12,954 --> 01:23:14,665
- to guide them in the proper way
- To do the work
2597
01:23:14,689 --> 01:23:17,292
- {\an8}and ask more of them
- Than they think they can do.
2598
01:23:17,359 --> 01:23:20,195
- {\an8}Then you go.
- This flight, this flight, stop.
2599
01:23:20,295 --> 01:23:21,797
{\an8}Going to take it again.
2600
01:23:21,798 --> 01:23:23,298
{\an8}Five, six, seven...
2601
01:23:23,365 --> 01:23:25,551
[Bergman] Class, as a dancer,
2602
01:23:23,365 --> 01:23:27,736
face.
2603
01:23:25,552 --> 01:23:27,736
is a place to fall on your
2604
01:23:27,836 --> 01:23:29,321
What happened
2605
01:23:29,322 --> 01:23:30,805
started to change
2606
01:23:30,872 --> 01:23:32,557
{\an8}when all this convention
2607
01:23:32,558 --> 01:23:34,242
{\an8}dancing started
2608
01:23:34,342 --> 01:23:36,094
{\an8}and it all became
2609
01:23:36,095 --> 01:23:37,846
{\an8}about competition.
2610
01:23:37,912 --> 01:23:39,748
And I think as a young person,
2611
01:23:39,749 --> 01:23:41,583
as a young dancer,
2612
01:23:41,683 --> 01:23:43,251
it's a place to fail.
2613
01:23:43,351 --> 01:23:45,120
{\an8}It's a place to fall down
2614
01:23:45,121 --> 01:23:46,888
{\an8}and get back up again,
2615
01:23:46,988 --> 01:23:48,990
- {\an8}and learn how
- To do something better.
2616
01:23:49,057 --> 01:23:50,575
{\an8}Don't be the...
2617
01:23:50,576 --> 01:23:52,093
{\an8}don't focus so much.
2618
01:23:52,193 --> 01:23:53,995
- {\an8}-[Chita Rivera] It's not easy.
- -Dance!
2619
01:23:54,062 --> 01:23:55,230
{\an8}But anything
2620
01:23:55,231 --> 01:23:56,398
{\an8}that's good
2621
01:23:56,498 --> 01:23:57,699
{\an8}is not easy.
2622
01:23:57,766 --> 01:23:58,984
{\an8}If you wanna keep
2623
01:23:58,985 --> 01:24:00,201
{\an8}it. You know.
2624
01:24:00,268 --> 01:24:02,170
- {\an8}If you want it to be
- A part of you,
2625
01:24:02,237 --> 01:24:03,672
{\an8}then it's got to be
2626
01:24:03,673 --> 01:24:05,106
{\an8}drilled into you.
2627
01:24:05,206 --> 01:24:06,308
{\an8}You have to keep up
2628
01:24:06,309 --> 01:24:07,409
{\an8}with your training.
2629
01:24:07,509 --> 01:24:09,911
- {\an8}I think no matter what,
- You can never stop learning.
2630
01:24:10,011 --> 01:24:11,563
{\an8}Um, your body is your tool,
2631
01:24:10,011 --> 01:24:13,114
that tool
2632
01:24:11,564 --> 01:24:13,114
{\an8}and you have to maintain
2633
01:24:13,214 --> 01:24:14,733
{\an8}and you have to
2634
01:24:13,214 --> 01:24:16,251
training.
2635
01:24:14,734 --> 01:24:16,251
{\an8}continue to keep learning and
2636
01:24:20,021 --> 01:24:21,323
{\an8}Most of us, you know,
2637
01:24:21,324 --> 01:24:22,624
{\an8}we spent hours,
2638
01:24:22,724 --> 01:24:23,842
{\an8}blood, sweat and tears,
2639
01:24:23,843 --> 01:24:24,959
{\an8}in a dance class.
2640
01:24:25,060 --> 01:24:26,461
Back, back, back, forward...
2641
01:24:26,561 --> 01:24:29,264
- Doing eight shows a week, folks,
- Ain't fun.
2642
01:24:29,364 --> 01:24:30,632
It's really tough.
2643
01:24:30,732 --> 01:24:32,367
- To make that kind
- Of commitment,
2644
01:24:32,434 --> 01:24:34,302
- get one day off a week,
- And in the theater,
2645
01:24:34,402 --> 01:24:36,137
{\an8}you get two weeks off a
2646
01:24:34,402 --> 01:24:37,872
holiday.
2647
01:24:36,138 --> 01:24:37,872
{\an8}year and you work every
2648
01:24:37,939 --> 01:24:39,808
{\an8}Yes. Isabelle, yes!
2649
01:24:39,908 --> 01:24:41,560
{\an8}The theater, the dance world,
2650
01:24:41,561 --> 01:24:43,211
{\an8}it is difficult.
2651
01:24:43,278 --> 01:24:44,629
{\an8}-Ready? Six.
2652
01:24:44,630 --> 01:24:45,980
{\an8}-And so, I think for you
2653
01:24:46,081 --> 01:24:47,558
- {\an8}to survive,
- You have got to love it
2654
01:24:47,582 --> 01:24:48,783
{\an8}more than anything
2655
01:24:48,784 --> 01:24:49,984
{\an8}else in the world.
2656
01:24:50,085 --> 01:24:51,953
- Keep them still,
- Keep them still.
2657
01:24:52,053 --> 01:24:53,822
Yes, yes, yes. Yes, yes, yes.
2658
01:24:53,922 --> 01:24:55,802
- [Andrew Wright] I went- To a college to teach
2659
01:24:55,890 --> 01:24:58,326
- and brought up some elements
- Of dance history,
2660
01:24:58,426 --> 01:25:00,011
and I was met
2661
01:25:00,012 --> 01:25:01,596
with absolute blank faces.
2662
01:25:01,663 --> 01:25:02,997
{\an8}I don't understand that.
2663
01:25:03,098 --> 01:25:04,466
{\an8}If it's gonna be your job,
2664
01:25:04,467 --> 01:25:05,834
{\an8}and your livelihood,
2665
01:25:05,934 --> 01:25:07,252
{\an8}and your passion,
2666
01:25:05,934 --> 01:25:08,570
the history of it?
2667
01:25:07,253 --> 01:25:08,570
{\an8}why don't you know
2668
01:25:08,636 --> 01:25:09,738
And especially today,
2669
01:25:09,739 --> 01:25:10,839
with the Internet,
2670
01:25:10,939 --> 01:25:12,624
you can find anything out
2671
01:25:12,625 --> 01:25:14,309
within seconds.
2672
01:25:16,111 --> 01:25:17,629
{\an8}[Tom Ralabate]
2673
01:25:16,111 --> 01:25:19,147
for studio teachers
2674
01:25:17,630 --> 01:25:19,147
{\an8}I think it's important
2675
01:25:19,247 --> 01:25:20,498
{\an8}to constantly
2676
01:25:20,499 --> 01:25:21,749
{\an8}sprinkle
2677
01:25:21,816 --> 01:25:23,518
- {\an8}information to
- Their students.
2678
01:25:23,618 --> 01:25:25,654
{\an8}You can teach
2679
01:25:23,618 --> 01:25:27,689
a vernacular movement.
2680
01:25:25,655 --> 01:25:27,689
{\an8}a Shorty George, okay,
2681
01:25:27,789 --> 01:25:29,141
{\an8}But you best,
2682
01:25:27,789 --> 01:25:30,492
that movement, Shorty George,
2683
01:25:29,142 --> 01:25:30,492
{\an8}while you're teaching
2684
01:25:30,592 --> 01:25:32,761
{\an8}mention that George
2685
01:25:30,592 --> 01:25:34,929
this movement
2686
01:25:32,762 --> 01:25:34,929
{\an8}Snowden was the originator of
2687
01:25:34,996 --> 01:25:35,997
{\an8}and that it
2688
01:25:35,998 --> 01:25:36,998
{\an8}happened at a place
2689
01:25:37,098 --> 01:25:38,700
- Lindy Hoppers
- Would gather together.
2690
01:25:38,800 --> 01:25:41,002
- All you're doing is
- Just sprinkling information
2691
01:25:41,102 --> 01:25:42,770
- while they're
- Learning it.
2692
01:25:43,972 --> 01:25:45,257
Okay?
2693
01:25:45,258 --> 01:25:46,541
All right. Good enough?
2694
01:25:46,641 --> 01:25:48,786
- Four times, right side, -
Left side, right side, - left side.
2695
01:25:48,810 --> 01:25:49,911
We as dancers
2696
01:25:49,912 --> 01:25:51,012
have been mentored.
2697
01:25:51,112 --> 01:25:53,381
- We have a responsibility
- To do the same.
2698
01:25:53,481 --> 01:25:55,817
- {\an8}We've all kind of vessels,
- Aren't we,
2699
01:25:55,884 --> 01:25:57,619
- {\an8}and taking into
- The dance studio
2700
01:25:57,685 --> 01:25:59,554
- {\an8}our knowledge
- And what we know,
2701
01:25:59,654 --> 01:26:01,389
{\an8}and then you don't realize
2702
01:25:59,654 --> 01:26:03,124
the next generation.
2703
01:26:01,390 --> 01:26:03,124
{\an8}you're impacting
2704
01:26:05,460 --> 01:26:06,845
[Boross] There's a lack
2705
01:26:06,846 --> 01:26:08,229
of curiosity about jazz,
2706
01:26:08,329 --> 01:26:10,031
about what it is,
2707
01:26:08,329 --> 01:26:11,733
to our history is.
2708
01:26:10,032 --> 01:26:11,733
about what its relation
2709
01:26:11,833 --> 01:26:14,402
- I mean, jazz is the history
- Of America,
2710
01:26:14,502 --> 01:26:16,070
pure and simple.
2711
01:26:16,171 --> 01:26:17,515
- [Smith]
- It's the American voice
2712
01:26:17,539 --> 01:26:19,057
that has allowed
2713
01:26:19,058 --> 01:26:20,575
so many people
2714
01:26:20,675 --> 01:26:21,876
in oppressed situations
2715
01:26:21,877 --> 01:26:23,077
to speak.
2716
01:26:23,178 --> 01:26:24,629
And that's a beautiful thing.
2717
01:26:23,178 --> 01:26:26,080
man,
2718
01:26:24,630 --> 01:26:26,080
If dance can do that too,
2719
01:26:26,181 --> 01:26:28,350
that's an empowering tool
2720
01:26:26,181 --> 01:26:30,518
from our children,
2721
01:26:28,351 --> 01:26:30,518
that we should never take away
2722
01:26:30,585 --> 01:26:31,903
never take out of schools,
2723
01:26:31,904 --> 01:26:33,221
as we have been doing.
2724
01:26:33,321 --> 01:26:35,156
We should implement it more
2725
01:26:35,157 --> 01:26:36,991
into our educational system.
2726
01:26:40,695 --> 01:26:42,731
[George]
2727
01:26:40,695 --> 01:26:44,766
in the jazz dance field.
2728
01:26:42,732 --> 01:26:44,766
We're not having a dialog
2729
01:26:44,866 --> 01:26:46,151
Part of it is, is that
2730
01:26:46,152 --> 01:26:47,435
the concert people
2731
01:26:47,535 --> 01:26:49,788
are sort of conflicted
2732
01:26:47,535 --> 01:26:52,040
to the contemporary people.
2733
01:26:49,789 --> 01:26:52,040
about the relationship
2734
01:26:52,106 --> 01:26:53,591
And the contemporary people
2735
01:26:52,106 --> 01:26:55,076
have no relationship.
2736
01:26:53,592 --> 01:26:55,076
and the swing people
2737
01:26:55,176 --> 01:26:57,312
But what I do know is
2738
01:26:57,313 --> 01:26:59,447
the urban dance community
2739
01:26:59,547 --> 01:27:01,282
- and the tap community have
- Figured out
2740
01:27:01,382 --> 01:27:03,284
- how to always stay in dialog
- With each other
2741
01:27:03,384 --> 01:27:04,953
- regardless of
- The different schools.
2742
01:27:05,053 --> 01:27:06,730
- And the jazz community
- Does not know how to do that
2743
01:27:06,754 --> 01:27:08,957
- and it's tragic, and it's why
- We're in this place
2744
01:27:09,057 --> 01:27:11,125
- that we're at right now,
- Where we're trying to
2745
01:27:11,226 --> 01:27:12,677
still, like,
2746
01:27:12,678 --> 01:27:14,128
claw and claim
2747
01:27:14,229 --> 01:27:16,297
because we don't communicate.
2748
01:27:31,713 --> 01:27:33,181
♪ Everything
2749
01:27:33,182 --> 01:27:34,649
must change ♪
2750
01:27:34,749 --> 01:27:37,369
[Knight] I think jazz
2751
01:27:34,749 --> 01:27:39,988
of flux at the moment.
2752
01:27:37,370 --> 01:27:39,988
is in a place
2753
01:27:40,088 --> 01:27:41,432
- There's a little bit
- Of confusion
2754
01:27:41,456 --> 01:27:42,474
about whether or not
2755
01:27:42,475 --> 01:27:43,491
it's necessary
2756
01:27:43,591 --> 01:27:44,626
or whether
2757
01:27:44,627 --> 01:27:45,660
it's relevant.
2758
01:27:45,760 --> 01:27:47,829
♪ ...remains the same ♪
2759
01:27:52,767 --> 01:27:54,502
We are in transition.
2760
01:27:54,602 --> 01:27:56,113
- I don't know where
- This is gonna go,
2761
01:27:56,137 --> 01:27:57,322
but we have
2762
01:27:57,323 --> 01:27:58,506
arrived nowhere.
2763
01:27:58,606 --> 01:28:01,976
This is all shifting.
2764
01:28:02,076 --> 01:28:05,213
♪ No one and nothing
2765
01:28:05,214 --> 01:28:08,349
remains the same ♪
2766
01:28:15,156 --> 01:28:16,408
I would never profess
2767
01:28:16,409 --> 01:28:17,659
to tell you
2768
01:28:17,759 --> 01:28:19,060
how to dance
2769
01:28:19,061 --> 01:28:20,361
if that's what you wanna do
2770
01:28:20,461 --> 01:28:22,263
- and I would celebrate
- What you do.
2771
01:28:22,330 --> 01:28:23,331
It may not be
2772
01:28:23,332 --> 01:28:24,332
what I wanna do.
2773
01:28:24,432 --> 01:28:26,468
And I think that's where we
2774
01:28:24,432 --> 01:28:28,503
controversy,
2775
01:28:26,469 --> 01:28:28,503
get into a bit of
2776
01:28:28,603 --> 01:28:29,804
when people become
2777
01:28:29,805 --> 01:28:31,005
such purists
2778
01:28:31,105 --> 01:28:33,057
that they think they own
2779
01:28:31,105 --> 01:28:35,009
or a certain technique
2780
01:28:33,058 --> 01:28:35,009
a certain style
2781
01:28:35,109 --> 01:28:37,045
- and that it
- Can't evolve.
2782
01:28:37,145 --> 01:28:39,097
Well, the world is built,
2783
01:28:37,145 --> 01:28:41,049
on change.
2784
01:28:39,098 --> 01:28:41,049
the universe is built,
2785
01:28:41,149 --> 01:28:42,934
And if nothing changes, it is
2786
01:28:42,935 --> 01:28:44,719
stagnant, it is not alive.
2787
01:28:44,819 --> 01:28:48,056
♪ Nothing, no one
2788
01:28:48,057 --> 01:28:51,292
remains unchanged ♪
2789
01:28:55,163 --> 01:28:56,948
[DeFrantz] I think the future
2790
01:28:55,163 --> 01:28:58,733
promising.
2791
01:28:56,949 --> 01:28:58,733
of jazz dance is very
2792
01:28:58,833 --> 01:29:00,952
I think we should continue to
2793
01:28:58,833 --> 01:29:03,071
roots,
2794
01:29:00,953 --> 01:29:03,071
work on reclaiming its
2795
01:29:03,171 --> 01:29:04,623
but still embracing
2796
01:29:04,624 --> 01:29:06,074
the hybrids
2797
01:29:06,174 --> 01:29:07,959
that are happening
2798
01:29:07,960 --> 01:29:09,744
right in front of us.
2799
01:29:09,844 --> 01:29:11,112
I think it's gonna create
2800
01:29:11,113 --> 01:29:12,380
a lot of debate,
2801
01:29:12,480 --> 01:29:13,615
but that's what
2802
01:29:13,616 --> 01:29:14,749
jazz dance is.
2803
01:29:14,849 --> 01:29:18,152
♪ Ooh ♪
2804
01:29:18,219 --> 01:29:19,654
♪ Except ♪
2805
01:29:19,721 --> 01:29:22,157
♪ Rain comes
2806
01:29:22,158 --> 01:29:24,592
from the clouds ♪
2807
01:29:24,692 --> 01:29:26,227
[Allen] I think to go
2808
01:29:24,692 --> 01:29:27,762
back
2809
01:29:26,228 --> 01:29:27,762
forward, you have to look
2810
01:29:27,862 --> 01:29:29,197
and you have to know
2811
01:29:29,263 --> 01:29:30,498
the history
2812
01:29:30,499 --> 01:29:31,733
and references.
2813
01:29:31,833 --> 01:29:35,203
♪ And hummingbirds... ♪
2814
01:29:35,269 --> 01:29:36,721
I think there's
2815
01:29:35,269 --> 01:29:38,172
and responsibility
2816
01:29:36,722 --> 01:29:38,172
a beautiful weight
2817
01:29:38,239 --> 01:29:39,824
to being a jazz dancer
2818
01:29:39,825 --> 01:29:41,409
because there are so few of us
2819
01:29:41,509 --> 01:29:43,144
and because the history
2820
01:29:43,145 --> 01:29:44,779
is complicated
2821
01:29:44,879 --> 01:29:47,582
and born of finding joy
2822
01:29:47,583 --> 01:29:50,284
in suffering.
2823
01:29:50,385 --> 01:29:51,903
And so, if you're going
2824
01:29:51,904 --> 01:29:53,421
to represent that history,
2825
01:29:53,521 --> 01:29:54,572
you have to know
2826
01:29:54,573 --> 01:29:55,623
where it came from.
2827
01:30:22,417 --> 01:30:24,652
[jazz music playing]
2828
01:31:30,017 --> 01:31:32,120
I met... Okay.
2829
01:31:30,017 --> 01:31:34,222
at a party once.
2830
01:31:32,121 --> 01:31:34,222
I met John Travolta
2831
01:31:34,322 --> 01:31:35,766
- This is...
- I'm gonna tell you this.
2832
01:31:35,790 --> 01:31:36,925
And I brought
2833
01:31:36,926 --> 01:31:38,059
up the nerve,
2834
01:31:38,159 --> 01:31:40,127
- you know, got up the nerve
- To go over to him,
2835
01:31:40,194 --> 01:31:42,339
- I'm just like, "Don't be a nerd. - Don't be a nerd.
- No, don't be a nerd."
2836
01:31:42,363 --> 01:31:44,541
- And I said to him, "Hey, John,
- My name is Mandy Moore.
2837
01:31:44,565 --> 01:31:46,525
- I'm a choreographer.
- I just wanna let you know
2838
01:31:46,567 --> 01:31:48,052
that Staying Alive was
2839
01:31:46,567 --> 01:31:49,537
films ever."
2840
01:31:48,053 --> 01:31:49,537
honestly one of my favorite
2841
01:31:49,637 --> 01:31:51,889
And he goes, "Wait, the one
2842
01:31:51,890 --> 01:31:54,141
where I was a jazz dancer?"
2843
01:31:54,208 --> 01:31:56,811
And I was like, "Yeah.
2844
01:31:56,878 --> 01:31:58,312
It was my favorite film."
2845
01:31:58,379 --> 01:32:00,190
- And he's like... I think
- He was weirded out by it
2846
01:32:00,214 --> 01:32:01,566
because of course
2847
01:32:00,214 --> 01:32:02,917
so many other films
2848
01:32:01,567 --> 01:32:02,917
the man's done, like,
2849
01:32:03,017 --> 01:32:04,361
- that are, like,
- So much more, you know,
2850
01:32:04,385 --> 01:32:05,829
- probably more
- Successful or whatever,
2851
01:32:05,853 --> 01:32:07,331
- but I just thought
- It's so funny the way he,
2852
01:32:07,355 --> 01:32:09,257
- like, he had this disdain
- For, like,
2853
01:32:09,357 --> 01:32:11,168
- "Wait, the one where
- I was the jazz dancer?"
2854
01:32:11,192 --> 01:32:13,504
- I was thinking, "Yes, the one
- Where you're the jazz dancer.
2855
01:32:13,528 --> 01:32:15,563
That's why I'm a jazz dancer."
2856
01:32:15,663 --> 01:32:18,499
I have no idea how old I am.
2857
01:32:18,566 --> 01:32:20,668
It's the truth.
2858
01:32:21,702 --> 01:32:23,204
What?!
2859
01:32:29,010 --> 01:32:30,261
I mean, should we go
2860
01:32:30,262 --> 01:32:31,512
to the next question?
2861
01:32:31,579 --> 01:32:32,830
Is that it?
2862
01:32:32,831 --> 01:32:34,081
I mean, can you edit that?
2863
01:32:34,181 --> 01:32:35,550
Like, one of the best things
2864
01:32:35,551 --> 01:32:36,918
ever and he's, like,
2865
01:32:37,018 --> 01:32:38,386
"Jump!"
2866
01:32:38,387 --> 01:32:39,754
And she's, like, "I can't!"
2867
01:32:39,854 --> 01:32:41,789
- And then she, like,
- Leaps in her red tights
2868
01:32:41,889 --> 01:32:44,358
- with the red leotard.
- I mean, it was over for me.
2869
01:32:44,425 --> 01:32:45,560
{\an8}Like that... from that
2870
01:32:45,561 --> 01:32:46,694
{\an8}point forward, jazz.
2871
01:32:46,761 --> 01:32:47,779
That's it.
2872
01:32:47,780 --> 01:32:48,796
That's all I'm doing.
2873
01:32:48,896 --> 01:32:51,098
[laughter]
2874
01:32:52,600 --> 01:32:54,268
- -That's okay.
- -Ahem.
2875
01:32:54,368 --> 01:32:57,071
- -Try it now?
- -Oh, yeah, I'm just stretching.
2876
01:32:59,040 --> 01:33:01,609
- You might not wanna put that
- In the movie.
2877
01:33:01,709 --> 01:33:03,377
[laughter]
337573
Can't find what you're looking for?
Get subtitles in any language from opensubtitles.com, and translate them here.