Strong Sense of Self Helps Boys Dance Well

Julian and I had a conversation yesterday about the post I had just written about developmental stages and how they affect dancers.  (He was adamant that I should be writing about him, by the way…) I told him about the girls and boys I most watched at the convention and how I thought their dancing differed from his.  And he made a comment that totally validated what I had been thinking…and writing about.

I said that the girls danced with a lot of confidence.  There was no hesitation in their movements, and their whole body seemed full of energy and attitude. His upper body, however, didn’t have that same look or feel. And he said, “Those girls have an attitude that is like, ‘I know who I am.’ Or ‘This is who I am.’” 

Julian admits that he doesn’t yet have that attitude. In fact, the place that his dancing is weakest is where he carries his lack of confidence: in his arms, his shoulders, and his chest. Not surprisingly, this is the part of the body where many people tend to curve in, slouch, hunch, or in some way fold to protect themselves. It’s also the part of the body that we can “make small” so we won’t be seen, noticed or judged.

So, while a boy like Julian might want to be seen, noticed and acknowledge in the world of dance, his insecurities in other places — like in school (where he has never been totally accepted, has been called “gay,” has been seen as “different,” hasn’t fit in, hasn’t had girls like him, etc.) — have created a pattern in his body of hiding and protecting himself. It seems to me that until he can feel secure about himself — like his female counterparts at TDC, he won’t really shine on the dance floor in the way he would like.

I might note that his lower body is much stronger…

I thought it was interesting that he could see this as well. I have to admit that he didn’t really like hearing it right after the convention. My niece pointed out that he would have heard my words better the day after the convention, so I advise other moms not to be as quick as I was to jump in there to try and offer an opinion. He was much more willing to admit to it and talk about it a few days later.

Again, he is planning to go into the studio alone and find some confidence…find himself. I hope he does.

Do Development Stages Affect Boys’ Dance Ability?

We’re back from The Pulse. Julian is tired, happy to have danced with some great choreographers and to have learned some cool choreography, and a bit disappointed not to have won a scholarship of any sort. I know…I know. The scholarship isn’t important. Tell that to Julian. He had several choreographers talk to him and tell him he was doing a good job, but no real “recognition.” To him that means he isn’t yet good enough.

I attended all of Saturday’s classes and the last class on Sunday. So, while I could only relate what Julian told me after the Nuvo convention, this time I actually analyzed a bit of what was going on when it came to choreography and how the kids interpreted it or “copied” it, and how they were, indeed, getting recognized. And now I can tell you what I think…or what questions came up for me…for whatever that is worth.

First, let me say, that there were some pretty awesome dancers there, especially when it came to the boys. Saturday was almost totally focused on hip hop classes. I thought some of these boys would disappear on Sunday, which seemed mostly focused on contemporary, but when I go there for the last class most of the boys were still in attendance. And most of them were just as good at contemporary as they had been at hip hop. (They did combine the advanced and pro class for that last class that I watched, because they were short one teacher; Mia Michaels was sick and didn’t show. I guess Julian is destined not to dance with her. Instead they had Brian Friedman for a second class.)

So, here’s what I noticed: First, according to Julian and from what I heard while I was in the room, at this convention all the teachers told the attendees to make the dance “their own.” That makes the question from my last post mute. And it gave the kids the freedom to learn the dance and then go beyond the basic movements. Most of the kids, however, did the choreography pretty much as taught. The difference between how one dancer did it and another and who got put on state and who didn’t (and who got scholarships and who didn’t) seemed to me to come down to the amount of energy, feeling, accuracy, and precision in the movements. The kids made it their own not so much through interpretation that changed the choreography in any way but in how much they bent their knees, how much emotion was portrayed in the movement of a head or hand, how quickly their torso moved, etc.

As I watched them move, and as I watched Julian, a question arose in my mind: Is it possible that a boy’s dancing  (or a girl’s) can be inhibited by their developmental stage at any given time? I think the answer is a resounding “yes.” And here’s why.

Let’s take a simple example first. One of the first dances the kids did on Saturday was to a song that was very sexual in nature. It was all about taking a girl home and having her do to the guy what he normally did to her. While the choreography could be done by anyone, the kids who performed it best, did so in a very sexual manner. They had the pelvic thrusts and the sways of the hips and the movements of the hands down the body down to a sexy art. (It’s a bit appalling actually to think that 14 and 15 year olds know how to dance this way…The room was filled with 14-18 year olds.)  More to the point, if a 14 or 15 year old (or 16 or 17 year old) doesn’t have the developmental wherewithal to know how to dance that way — to drum up the feeling to dance that way, they aren’t going to carry off the choreography well. Their performance is going to be missing something that a boy who maybe has had a sexual experience, or whose hormones make him feel sexual or sexy, or who has watched a lot of movies with sex scenes, or who simply is older and can relate to the words of the song will have.  Their movements will belie their knowledge, understanding and depth of feeling, while the other boys movements will be lacking. And I definitely saw some that were lacking in that way…and some that were not.

A less simple example comes when you have a kid whose developmental stage makes him insecure. Take your average freshman in high school, who is trying to fit in, find himself, and discover even a small sense of self-esteem.  The lack of these things will show in their dancing despite any superb technique or ability to mimic choreography or even make it their own. Their performance just won’t be as strong; it will wreak of all those insecurities they carry with them all day long, even if they feel fairly secure on the dance floor. Wherever they carry that insecurity — in their upper bodies, in their arms, in their shoulders — that’s where you’re going to see their dancing falling short and looking weak.

All this to say that the dancers I saw really “hitting it” at the convention seemed to have a maturity about them, a strong sense of self and a confidence that allowed them to carry out the choreography in a way that made you notice them. They were not only really going for it and making sure they got noticed, they were putting their heart and soul into the movements with a true sense of self.

This all became clear to me during the question and answer session. Someone asked what the choreographers looked for when dancers audition for parts in shows. Two choreographers responded. Tyce Diorio said something along these lines: “I look for people who are real individuals.” From this I took him to mean that that sense of individuality and strong sense of self comes through in their dancing.

Laurieann said, “Spirit is like a muscle, and you have to exercise it every day.” As she elaborated on this, what I took away was that as you exercise your spirit, strengthening your ability to bring your spirit forth in your dance (which means bringing more of yourself through your dance), you become a better and more unique dancer.

Both of these pieces of advice require confidence and a strong sense of self. (They don’t require a big ego; in fact, a large ego is usually a symptom of insecurity.) And many young dancers — boys and girls alike — are still trying to find their individuality, struggling against the pressure to conform in order to fit in, and their spirit. Thus, they may not have these qualities yet. They have to find their individuality; they have to know who they are, be okay with themselves, feel good about who they are even if they don’t fit in, even if they are different. They have to like — love — themselves. And then they have to dance in a way that expresses who they are.

I think Julian’s stuck in a developmental stage right now that isn’t helping his dancing. I suggested he go into the studio alone with his music and “find himself.” Actually, during the question and answer session someone asked if dance class or time spent dancing alone benefited a dancer’s education more.  I believe Wade Robson said, “Both are beneficial.” Julian doesn’t spend much time dancing alone.

Now, I’m not sure that dancing alone will help Julian find himself in school or socially, but it’s a start. One area at a time.

And for every boy that is still struggling to find himself, I wonder if the same advice doesn’t apply: Be an individual. Exercise your spirit muscle.  Go into the studio alone and find yourself.

Be Billy (Elliot) and Get Fired!

I read an article in the latest issue of Mvmnt Magazine about the current cast of Billy Elliot, the Musical. (The article I wrote on Criss Angel’s Believe, which Wade Robson choreographed, is on the cover of this issue.) It seems that one, as yet unnamed “Billy” is due to get fired already, and the show only opened on November 13! It seems time does not lie on the side of these child actors/dancers. As soon as puberty hits, they are out!

I would speculate that Kiril Kulish, aged 14, has gotten (or will get) the ax. One of the other boys also is 14, but Kiril is the only one who looks 14. The other two look much younger.

If you recall, my son auditioned for this Broadway musical almost two years ago now, making it through four  auditions to the last one which was supposed to last 30 minutes but which lasted almost 2 hours instead.  We were sure at the time he would be considered for the role.

When he didn’t get the part, we discovered that the casting directors had to produce time lines on all the top candidates, predicting when they might hit puberty. The “Billys” can’t have cracking voices or peach fuzz on their lips while on stage. And they surely didn’t want to put a ton of money into these boys only to discover they no longer looked or sounded like boys a month or two – or even six months – into the show. (Unfortunately, it seems they miscalculated with at least one boy…) They made the right decision with my son, Julian. Had he been there on opening night, his voice would have sounded much different than it did when he auditioned on that February day in 2006 and the audience might have detected a slight mustache (of which he’s quite proud) if the make up crew didn’t do a good job of covering it up. Whether or not that’s why they didn’t hire him as a “Billy” we’ll never know. He didn’t have any voice training, although the voice teacher we hired just before and just after the Be Billy audition said he had singing talent. And, the audition description said they were looking for raw talent. In fact, when it came to the dancing, the boys were told to bring tap shoes “if they had them.” So, the directors were willing to train these boys.

Anyway, this article indicates that young male (or female) dances and actors must live with the fact that their time in any show is limited by their changing bodies. While they perform, other actors and actresses are being trained to take their places…thus the reason for the Billy Elliot Academy. Adult actors don’t need to worry about this; no other actors waiting in the wings to jump into their role, unless of course they don’t do a good job.

That’s the oh-so-up-uplifting news for today. Sorry I couldn’t be more positive…A reality check is always a good thing, though, right?

On that note, let me also mention that puberty does effect dancers in some other ways. As they grow, their muscles can’t keep up with their bones and they become more prone to sprains and breaks and all sorts of injuries. They become clumsier. They may not be able to do things they could before, or the same actions may feel awkward all of a sudden, because their center of gravity has changed. They may literally not know where their feet are at any given moment. They may not be as flexible, or they may suddenly be able to “get” their splits. They may have aches and pains for no reason. Ah, the trials and tribulations of being a growing child and a dancer to boot.

Let me wish you all a very Happy second night of Chanukah and a week of light and miracles if you celebrate this Jewish holiday. And for the rest of you,  may you have a very merry Christmas (in case I don’t write before the 24th or 25th–my schedule has been crazy with driving Julian to tutoring and community service opportunities and trying mostly unsuccessfully to work)! Don’t forget to put a My Brother Can Dance T-shirt in your dancin’ boy’s stocking…or to purchase one before the prices go up in January!