'Would you like to go to dance classes?' was the offer my mum proposed to me at the tender age of seven or so. I agreed, mastered the art of good toes, naughty toes, and took quite a shining to my shimmering ('90s lycra) lilac leotard. I'm sure any supportive mother such as mine would have gladly given her blessing to a daughter wishing to follow her Angelina Ballerina dreams but, alas, it was not meant to be. So, who'd have guessed a sobbing infant pleading with her mother to be freed of her ballet shoes, due to the frightfully daunting prospect of having to go on stage, would soon be graduating with a BA Honours Dance Studies degree fifteen years later. Not me.

But my goodness, how grateful I am to have timidly shied away from the 'I want to be a prima ballerina' phase of my childhood, and here's why. Due to a dodgy overly turned-in hip I use to perform my finest party trick with, it used to be a regular regret of mine that I hadn't been dancing since I was three. It gets tiring watching ballet-trained dancers swim through every dance career going that they even get to choose their very own label during their 'So You Think You Can Dance' appearance, claiming to be an established contemporary dancer despite having strictly trained in ballet and jazz. And there's me, continually pressured by the competition due to my lack of ballet experience, confidence diminishing by the second. Sure, I can understand why: ballet is highly beneficial in terms of technique throughout many genres, you're half-way there. But when a certain Twitter discussion occurred debating whether modern dancers' creativity levels were higher than those of ballet dancers', I just had to defend my case.

The findings of scientists located in Austria were revealed at http://www.livescience.com/16025-modern-dancers-creative.html stating that tests have shown modern dancers are notably more creative than the likes of ballet dancers, even musical theatre jazz dancers. Of course, in many individual cases this is simply not true, but I have to admit as a modern dancer myself, I am personally quite relieved and take great comfort in the fact that someone has finally noticed I'm good for something.

Having far too much experience surrounded by the belief that ballet is the be-all and end-all to dance, I was extremely nervous prior to my first day beginning my dance degree. Surely a ballet-shy person like me couldn't possibly dream of a career in dance? On paper it certainly looked that way. I could picture far too well another repeat performance of falling at my mother's feet, begging her to not allow it. Thankfully at a not-so tender age, I didn't. Would have been a bit embarrassing wouldn't it... However, my fears soon vanished when I instantly felt at home in a world full of contemporary dance... ness! And a beautiful musing occurred to me, not only could I be a dancer, but I could become an artist. And by conceiving that thought alone, promotes the very idea of what the article in question is describing, thus forth prompting this blog.

What I have witnessed throughout my studies and general dancing life strongly correlates with this article. Whilst struggling to find my place in the dance world, I'd finally comprehended with the fact that I had actually benefited from a lack of ballet training from a young age, and that in actual fact it wasn't so bad being a late starter. It was apparent, and still is in various circumstances within dance education, that those strictly ballet-trained, (especially from their younger years) found it harder or less appealing to 'take to' other techniques or methods and fully allow their bodies to let go of their balletic habits. Dance education at GCSE, A Level and degree level predominantly covers the area of contemporary dance. As a dance degree student, on many occasions I have heard the phrase "Years and years of somebody telling me my body has to do this, to then be told to just forget it" and those stating therefore finding that hard to accept. And rightly so, having not known any different. Someone like myself however, who hasn't embodied dance from a 'right or wrong' perspective, can adapt with greater ease. A prominent example is that, from personal experience, many a ballet-minded individual can sometimes be hesitant when grasping a new means of moving through a contemporary technique, unable to shake off those darn floaty ballet hands. Whereas a modern dancer is far more likely to naturally embody the concept of ballet or any other technique for that matter, due to the open minded quality of their particular means of learning.

It is of course not a bad thing coming from a ballet based background as, let's face it, ballet is a huge part of dance history which has, and continues to aid the growth of dance. But in all honesty, having to put up with the stigma that those who had been ballet, jazz or tapping it up since the age of three were far more successful as dancers, I was quite thankful that these lovely Austrian scientists had discovered faith in dancers such as myself. After all, growing into the dancer I am has given me a great advantage, as whether it be hip hop or ballet, it all feels very natural and is highly accessible due to a fully grown versatility and open character. My body feels comfortable in any moving situation and the likes of choreography and improvisation are a joy. Surely this creative instinct should be applied to all dancers of all ages? If this was so, and dancers were taught to be 'more open to experiences' as the article describes the nature of modern dancers, the dance world would be a far more equal, less separated, accessible place.

Take Jonathan Burrows for instance. This choreographer makes for a perfect example of an artist who utilises dance to his fullest. In spite of formerly starting out as a soloist for the Royal Ballet, this man has thoroughly branched out and his approach to dance is as creative as they get. One workshop with this man is an eye-opener as I experienced back in 2008. He taught me that exploring movement shouldn't be a chore, and that we should recognise our habits (those most likely stemming from ballet upbringings), notice they are there, and be at peace with that knowledge. That then gives us the key to open our bodies up to something new, enriching our view of dance. Dancing hands make for a good piece of choreography, who knew?!

I think all teachers should be like Jonathan. My reasons being, not only do our dancing bodies develop, but our characters and attitudes follow alongside. So by embracing creative and open ways of thinking about dance with curious personalities, that's bound to better dance in itself. Ballet-trained dancers shouldn't feel discomfort when experiencing new ways of moving. An efficient dancer should be accepting in nature and dance should be an area of equal significance; a lesson which should be taught from baby steps. This is all very world peace - esque, but there is such a lot of potential out there in both ballet and modern dancers. I suppose with the help of science I'm defending my honour as modern dancer, and spreading the creative love onwards to other genres in the hope of giving dance, as a whole, an upgrade. And perhaps also promoting the use of creativity tests on future potential SYTYCD contemporary dancers... No? Some Doris Humphrey trivia perhaps...?
 

 

And what a great shame... "Many dancers however, don't know how to improvise. They don't know their own way of moving because they have often been rigidly trained to move in one way or style only." Lloyd Newson, interviewed by Jo Butterworth 18th August 1998 in Dance makers portfolio: conversations with choreographers, p124. Edited by Jo Butterworth and Gill Clarke, 1998 Centre for Dance and Theatre Studies at Bretton Hall.