Origins and evolution of jazz dance and ballet

Dance

Jazz

Jazz is a dance done to "jazz" music which originally comes from Africa, beginning in the late 1800s till the mid 1900s. Cakewalk, Black Bottom, Charleston, Jitterbug, Boogie Woogie, Lindy Hop and Swing are all danced to jazz music. The movements of jazz dancing are big and exaggerated, but ballet techniques are needed to excel, because of the attitude of the dancer, which must be displayed in perfect form, with the postures actually used in ballet. However, in jazz dances, the dancer displays a "happy" face and gestures. Broadway shows use jazz dances and jazz dancers.

Jazz is used today in Broadway shows, in "modern" dances (Alvin Ailey), and in ballroom dance settings to perform swing or other "jazzy" style dances. It is commonly performed by everyday dancers at nightclubs, if they have learned it, as it is a partner dance.

Jazz is also used as a basis for physical fitness routines. Gyms and fitness centers use a dance routine designed to go with jazz music for training participants in an enjoyable, active way to move their bodies and exert themselves in healthy, active exercises.

II. Ballet

Ballet is a dance form that developed in the courts of Renaissance Italy. Catherine de Medici enjoyed it and took it to France, where King Louis XIV learned it and staged elaborate court productions, with himself in leading roles. It has spread throughout the world, with costumes evolving, but basically remaining the same developed during the Renaissance (BalleyMet 1).

Ballet is performed in Russia and on the state of the Met in New York, professional ballet corps are sponsored by most cities in the world. Because it demands a great deal of discipline and form, as well as bodily perfection, there are few men and women who reach the point of becoming professional dancers for these troupes. Citizens of the cities who are fortunate enough to have ballet troupes flock to the performances and even travel throughout the world to view these spectacular productions of ballet dances. Music throughout the ages has been composed to accompany these performances (Emory-Maier 6).

Ballet dancers must begin when they are young, to stretch the legs and train the muscles exactly and correctly if the dancer is to become professional. The legs are rotated outward (turn out), which allows for greater mobility and produces pleasing lines during performance. Training ballet dancers must be careful not to injure the knees or ankles, as the unnatural demands on the legs may cause stress. To go "en point" is the final step of the professional ballet dancer, when toe shoes are placed on the feet and the dancer dances a large part of the dance on the tips of their toes (Lee 45).

The ballet dancer is probably the finest athlete in their venue. The demands of the dance, the daily practice for hours to develop the body and learn routines, the pure physical exertion of the demanding dances that are learned create a finely tuned body that is lean, muscular and can do about anything physical (Anderson 14).

Professional dancers

Professional dancers may belong to almost 500 organizations and types of dancing. Involved in dance as an art form, the dancer goes on to earn a living as a dancer. The dancer may audition for a job, just as any other performer does, for Broadway shows, for dance troupes who tour the country or as a member of a group that does a particular kind of dance and exhibits this everywhere they are invited.

The professional dancer first takes dance lessons, probably from the time they are young, and perfects the art. The dancer must enjoy and be talented at their dance, as they will be doing it for hours every day and then, when preparing to perform a dance, be willing to practice all day for days. The dancer must be willing to sacrifice time, money and more money to become the dancer they want to be. Costumes, medical bills, dance shoes and accessories are only some of the expenses that consume most of the dancer's budget. Fees and costs for going to auditions, to practices and for renting rooms to practice in are further investments. Then there is the pain and agony of aching muscles, the strain of having to learn a new dance and remember every move that must be made.

Once the dancer becomes a professional, there are competition costs, hotel bills and transportation to think of. If the dancer is good enough, there will be compensation in the form of money for ticket bought, winner's prizes in contests won and complimentary dinners and gifts. A top level dancer or team may win thousands in one competition if they win first place. Second- and third-place winners receive some compensation, but the rest of the fifteen or more teams or dancers competing receive nothing for their efforts. This is the stressful world of the professional dancer, no matter if they are a ballroom dancer, a folk and ethnic dancer or ballet dancer.

Auditions and promotions are just a part of the price that a professional dancer must pay. To attend auditions, the dancer must be able to perform all of the routines requested by the casting agents and therefore must be versatile and a quick learner. Dressing correctly for auditions and being rested and warmed up are part of the challenges. Promotions may be done by one's self or by an agent. The agent gets ahead of others who are competing and promotes the talents of his or her dancer. There are headshots and promotional sheets that are passed out, with the dancer's picture and resume on them. The agent is often key to getting the audition, but then it is up to the dancer to perform up to the standard that the casting agent is looking for (Kessel 23).

The average salary that a dancer earns is $21,000. That means 50% of all dancers earned less, down to $14,570 and 50% earned more, up to $34,660. Dancers on tour earn additional allowances for room and board and overtime. Dancing is considered a part time job and is irregular. Supplementing income may be made by working as guest artists with other dance companies, teaching dance or taking a part-time job in unrelated fields. The dancer signs a contract to work. Union contracts govern those who perform in public, such as major opera ballet, classical ballet or modern dance corps. These belong to the AFL-CIO and those who appear on live or videotaped TV programs belong to the American Federation of Television and Radio Artists. Those in films and on TV belong to the Screen Actors Guild and those in musicals are members of Actors' Equity Association. Through the unions minimum salaries, hours, benefits and other conditions are specified before the dancer signs the contract (Munger 5).

The professional dancer begins his or her day early, with warm-ups at the barre or with exercises. Then it is off to the studio to practice with the partner or team or troupe. If there is a performance being staged or being planned, work on the specific dances performed will be done. At the end of the day, the dancer is worn out and hungry. A dancer who dances all day may eat a lot, but often might be watching their weight so that costumes will not be outgrown. A dancer goes to bed early because of the demands of the profession (Salary 1).

Dancers and choreographers are covered for injuries and other work-related problems by their union contracts. They are entitled to paid sick leave, paid vacations, health and pension benefits, including extended sick pay and family-leave benefits. Those who are not covered by union contracts do not receive these benefits. A broken leg or even arm may mean the end of a paying career. It may mean the end of a career and perhaps a costly recovery, unless the union has covered extended leave for the care of medical problems. Otherwise, private insurance is a must. Still, the dancer must take care of his or her body, because it is all they have to earn their living by. The history of dance, it is said, is incorporated into the dancer's body and once the body is gone, part of history disappears (Charman 10).