The dance department at Sacramento State is interesting. The faculty are enthusiastic and an odd but successful combination of ballet, jazz and modern/acrobatic dancers who have impressive resumes to back up their positions.
So why are the department leaders not more aggressive in raising the bar? The students are untrained, but passionate and artistic dancers who express themselves in the genre of modern, for the most part. There are some who have studio training as a foundation. But I'm not sure they're being challenged.
There is no audition to become a dance major/minor, only a long list of required technique and history classes. So that means people of different dance calibers are being sent out with the same degree from the same institution. And those that I've seen graduate with this degree stay involved with the department for years after. It seems there was a failure to launch.
I spent the spring semester at California State University, Long Beach, which is noted as one of the top ten dance programs in the nation. I was admitted into the school academically, but still had the challenge of auditioning for the program. I did not make the audition. And rightfully so. Not only were the dancers there phenomenal, but they had thousands of dollars worth of ballet training, something I lack.
Anticipating my return to Sacramento State to finish my degree in a more timely manner, I hoped that the department had upped its standards. Unfortunately, I returned home to the same style of dance (modern) swallowing the Shasta Theater.
The dance department at Sacramento State has the potential to be great, and possibly one of the best dance schools in Northern California, but in order to do that, it would need to create exclusivity.
In the dancer's defense, they are a creative bunch with original ideas and have an incredible drive to define modern dance. And I've seen some beautiful and risk-taking work come from them. So although they may not be the studio kids that have been training since they could walk, their committment to dance is just as great.
The cold part is that dance is about talent. Not hopes and dreams and creativity because when you're out in the "real world," auditioners are looking for that "wow" factor. And that can't be taught.
Wednesday, October 26, 2011
Wednesday, October 19, 2011
Pushing, Pushing
Every morning following my four-hour rehearsal for Sacramento Kings Dancers, I'm sore like I haven't danced in months. I'm told this is a good thing.
A couple of weeks ago, I took what is called a master class by a local choreographer and friend, Tramon Traywick. Basically, it is a workshop where dancers come to learn choreography from a professional choreographer and get critiqued. This particular class was in the style of jazz funk; a fusion of jazz dance and hip hop and burlesque. I guess the reason I went off on this tangent about this class is that the choreographer mentioned something that stuck with me, "As dancers, we always have to push." I attribute my soreness to me "pushing" at rehearsals.
The goal is to one day be a touring backup dancer for an uber-famous singer like Lady Gaga, or choreograph for music videos and the VMAs. Feels like I'm on my way, especially if I push.
There are a million and one things for dancers to think about while rehearsing or performing; execution of choreography, stamina, technique and entertaining the audience, and that's only narrowed down to the most important elements. Dancing is hard.
I recently attended a local dance performance, "Red Bucket Dance Theater: The Collection", which took place at the 24th Street Theater in town. As previously covered, dancers are competitive, so watching a show with peer dancers, performed by peer dancers, is always interesting. All we're doing is critiquing.
The genre was modern dance with hints of ballet, cultural dance and musical theater. For the most part, I enjoyed the show, save for a few pieces I could not interpret or were not aesthetically pleasing. One of the scenes that struck me most was the end work, which had an oriental flavor to it. Percussive movement, quick direction changes and leaps into the air filled the stage. The reason behind its entertaining factor was that the dancers were pushing.
Out of realization that the dance community is miniature relative to the rest of the world, I'd like to expand my theory of pushing...
Yesterday, I had a conversation with my best friend who is currently living in LA and attending Pepperdine University for her masters in psychology. We were discussing whether or not people should push themselves to be more social, more aggressive and more interesting. In a sense, we loosely concluded that pushing results in growth, in any situation.
I guess it's a common thought to push or "strive" for the best. But I think there is a major difference between pushing and striving. I consider pushing as giving it 110% when you've got nothing left, in essence, putting your mind over the matter. In dance terms, it's continuing to dance full out at the end of rehearsal when you're drenched in sweat and your muscles are past the point of fatigue.
Whatever the industry, whatever the goal, pushing seems to be a key element to stay competitive and to continue growing. Now the next question is where to find that extra 10%...
A couple of weeks ago, I took what is called a master class by a local choreographer and friend, Tramon Traywick. Basically, it is a workshop where dancers come to learn choreography from a professional choreographer and get critiqued. This particular class was in the style of jazz funk; a fusion of jazz dance and hip hop and burlesque. I guess the reason I went off on this tangent about this class is that the choreographer mentioned something that stuck with me, "As dancers, we always have to push." I attribute my soreness to me "pushing" at rehearsals.
The goal is to one day be a touring backup dancer for an uber-famous singer like Lady Gaga, or choreograph for music videos and the VMAs. Feels like I'm on my way, especially if I push.
There are a million and one things for dancers to think about while rehearsing or performing; execution of choreography, stamina, technique and entertaining the audience, and that's only narrowed down to the most important elements. Dancing is hard.
I recently attended a local dance performance, "Red Bucket Dance Theater: The Collection", which took place at the 24th Street Theater in town. As previously covered, dancers are competitive, so watching a show with peer dancers, performed by peer dancers, is always interesting. All we're doing is critiquing.
The genre was modern dance with hints of ballet, cultural dance and musical theater. For the most part, I enjoyed the show, save for a few pieces I could not interpret or were not aesthetically pleasing. One of the scenes that struck me most was the end work, which had an oriental flavor to it. Percussive movement, quick direction changes and leaps into the air filled the stage. The reason behind its entertaining factor was that the dancers were pushing.
Out of realization that the dance community is miniature relative to the rest of the world, I'd like to expand my theory of pushing...
Yesterday, I had a conversation with my best friend who is currently living in LA and attending Pepperdine University for her masters in psychology. We were discussing whether or not people should push themselves to be more social, more aggressive and more interesting. In a sense, we loosely concluded that pushing results in growth, in any situation.
I guess it's a common thought to push or "strive" for the best. But I think there is a major difference between pushing and striving. I consider pushing as giving it 110% when you've got nothing left, in essence, putting your mind over the matter. In dance terms, it's continuing to dance full out at the end of rehearsal when you're drenched in sweat and your muscles are past the point of fatigue.
Whatever the industry, whatever the goal, pushing seems to be a key element to stay competitive and to continue growing. Now the next question is where to find that extra 10%...
Wednesday, October 12, 2011
Oh, Occupy Wallstreet
The Adbusters' poster, an illustration of a graceful dancer atop a raging bull, that promoted Occupy Wallstreet perfectly describes the new movement. Peaceful protest atop raging rich people. But will this protest prove successful? I think not.
The demands of the movement seem simple enough: create economic equality and stop corporate greed. Simple enough in an ideal world where money doesn't exist and greed is not a characteristic of humans.
Although protests and demonstrations have ignited change and equality in the past, a movement against corporate greed in capital America is a dream. We are built on the idea of capitalism, and I'm sure anti-Occupy Wallstreet folks are eager to call it socialism. This movement weighs less relative to, say, the Civil Rights Movement, which proved successful, and for obvious reasons. Also, Occupy Wallstreet demonstrators seem to be looking to get a quick fix; otherwise they would be looking to impact the polls come election time. I'm sure this is part of their goal to sway the polls, but a lot of what is currently being done is vague.
In researching the movement, I did not find two like articles. Most of them simply covered the numbers and statistics, instead of what the protestors are accomplishing, or trying to accomplish. That says a lot.
In all honesty, I lack interest in this subject, probably because I know the marches, though reaching from Zuccotti Park in New York to Cesar Chavez Park in Sacramento, won't be successful. I come to this conclusion considering that the age range for this demonstration is relatively young, and that the objective is far fetched.
While visiting the Occupy Sacramento Facebook page, I came across a quote posted on the page, "None are more hopelessly enslaved than those who falsely believe they are free", written by Geothe. Apparantly, 53% of Americans are trying to end the movement, which shows that over half of Americans are content with their economic status and with corporate power. This is yet another reason I believe the movement will fail.
We will never live in an equal world. I'm all for improving and demanding change when necessary, but ironically, Occupy Wallstreet is greedy. I remember being stressed about money at different times in my life, but my father always told me two things; money is a utility and you cannot take it with you. That being said, people need to focus on other things. Real things. The middle class is complaining here, not the lower class, not the poor, not the homeless. I know I'm grateful to be where I'm at.
Instead of spending time marching, I have a better idea: Giant Flash Mob.
The demands of the movement seem simple enough: create economic equality and stop corporate greed. Simple enough in an ideal world where money doesn't exist and greed is not a characteristic of humans.
Although protests and demonstrations have ignited change and equality in the past, a movement against corporate greed in capital America is a dream. We are built on the idea of capitalism, and I'm sure anti-Occupy Wallstreet folks are eager to call it socialism. This movement weighs less relative to, say, the Civil Rights Movement, which proved successful, and for obvious reasons. Also, Occupy Wallstreet demonstrators seem to be looking to get a quick fix; otherwise they would be looking to impact the polls come election time. I'm sure this is part of their goal to sway the polls, but a lot of what is currently being done is vague.
In researching the movement, I did not find two like articles. Most of them simply covered the numbers and statistics, instead of what the protestors are accomplishing, or trying to accomplish. That says a lot.
In all honesty, I lack interest in this subject, probably because I know the marches, though reaching from Zuccotti Park in New York to Cesar Chavez Park in Sacramento, won't be successful. I come to this conclusion considering that the age range for this demonstration is relatively young, and that the objective is far fetched.
While visiting the Occupy Sacramento Facebook page, I came across a quote posted on the page, "None are more hopelessly enslaved than those who falsely believe they are free", written by Geothe. Apparantly, 53% of Americans are trying to end the movement, which shows that over half of Americans are content with their economic status and with corporate power. This is yet another reason I believe the movement will fail.
We will never live in an equal world. I'm all for improving and demanding change when necessary, but ironically, Occupy Wallstreet is greedy. I remember being stressed about money at different times in my life, but my father always told me two things; money is a utility and you cannot take it with you. That being said, people need to focus on other things. Real things. The middle class is complaining here, not the lower class, not the poor, not the homeless. I know I'm grateful to be where I'm at.
Instead of spending time marching, I have a better idea: Giant Flash Mob.
Wednesday, October 5, 2011
Blocking a Career in Dance
So far, my life as a Sacramento Kings Dancer has been nothing short of amazing; I've met some great new people and am getting priceless dance training. I have to say though, the most intriguing part of this whole process has been in the reactions I'm getting from my personal network of people.
The "dance scene", especially in Sacramento, is a small one. It is built of tightly-knit, young, ambitious dancers who love and compete with their peers. Where I come from is an even smaller circle of hip hop dancers, mostly located in South Sacramento who create "underground" crews who compete and perform in local competitions for cash prizes and bragging rights. Interestingly, I've recently discovered the depth of segregation between dancers of different genres, and how much the dancers in each genres stick to their roots, especially underground hip hoppers.
It would be safe to say that I've jumped around; started as a hip hop dancer, moved to burlesque and jazz and even some cheerleading. Oh, the cheerleading. Starting out as a masculine dancer, like from far away you can't tell if that person in the baggy v-neck and sweats is a guy or a girl, influenced the remainder of my dance life.
Needless to say, some of my original hip hop dance peers were less than excited upon catching me with pom-poms in my hands with Dolly Parton hair and pageant princess make up. I don't deny that it was a change, and a dramatic one, and it is not common for dancers to jump around. It is respectable for dancers to hone in on "their" genre and climb up the great ladder of status in that genre. The goal is (I think), for dancers to get compensated for their work, whether it be choreography, dancing or assisting. In all honesty, I was ready for that to happen.
In Sacramento, hip hop dance does not pay, unless you're teaching. In fact, it is common in the above-mentioned crews to pay monthly for your membership and classes upon being admitted into the company. I would know, I had a crew of my own. Jazz dancers and professional cheerleaders, such as the Sacramento Kings Dancers, on the other hand, are compensated for their time and work, hence my decision to switch to the dark side.
The differences between being a member of a jazz company versus a hip hop company are countless. Hip hop dancers rely on basses and snares to teach movement and jazz uses the traditional counting of five, six, seven, eights. Obviously the music differs extensively as well. Though frequently overlooked by young dancers, the similarities between dancers of different genres are what defines all of us as dancers. We're all there to move ourselves and the audience.
The transition into professional jazz has been rough though; my dance clothes are limited to dark colors and plaids and not enough Victoria's Secret "PINK" cheetah print jazz pants. My shoes are still high-top Nikes and I don't yet own a pair of Uggs. But I make do. Baby steps.
The "dance scene", especially in Sacramento, is a small one. It is built of tightly-knit, young, ambitious dancers who love and compete with their peers. Where I come from is an even smaller circle of hip hop dancers, mostly located in South Sacramento who create "underground" crews who compete and perform in local competitions for cash prizes and bragging rights. Interestingly, I've recently discovered the depth of segregation between dancers of different genres, and how much the dancers in each genres stick to their roots, especially underground hip hoppers.
It would be safe to say that I've jumped around; started as a hip hop dancer, moved to burlesque and jazz and even some cheerleading. Oh, the cheerleading. Starting out as a masculine dancer, like from far away you can't tell if that person in the baggy v-neck and sweats is a guy or a girl, influenced the remainder of my dance life.
Needless to say, some of my original hip hop dance peers were less than excited upon catching me with pom-poms in my hands with Dolly Parton hair and pageant princess make up. I don't deny that it was a change, and a dramatic one, and it is not common for dancers to jump around. It is respectable for dancers to hone in on "their" genre and climb up the great ladder of status in that genre. The goal is (I think), for dancers to get compensated for their work, whether it be choreography, dancing or assisting. In all honesty, I was ready for that to happen.
In Sacramento, hip hop dance does not pay, unless you're teaching. In fact, it is common in the above-mentioned crews to pay monthly for your membership and classes upon being admitted into the company. I would know, I had a crew of my own. Jazz dancers and professional cheerleaders, such as the Sacramento Kings Dancers, on the other hand, are compensated for their time and work, hence my decision to switch to the dark side.
The differences between being a member of a jazz company versus a hip hop company are countless. Hip hop dancers rely on basses and snares to teach movement and jazz uses the traditional counting of five, six, seven, eights. Obviously the music differs extensively as well. Though frequently overlooked by young dancers, the similarities between dancers of different genres are what defines all of us as dancers. We're all there to move ourselves and the audience.
The transition into professional jazz has been rough though; my dance clothes are limited to dark colors and plaids and not enough Victoria's Secret "PINK" cheetah print jazz pants. My shoes are still high-top Nikes and I don't yet own a pair of Uggs. But I make do. Baby steps.
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