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]