Krystal & Maddie
This video when analyzed through the lens of gender and sexuality is very telling of the way society views women and of the way that women view themselves. Her movements are not gender specific and this is a routine that anyone with a background in modern Jazz dancing can do. With that being said, our analysis does not seek to explore that. We do want to explore however, the dancer's attire, her song choice, and the camera and lighting choices that make this video so evocative.
Gender and Sexuality
The dancer in the above video is dressed in standard dance attire. However, over that she adorns what appears to be a man's shirt which is clearly oversized on her body. This image of the shirt is resonant because it is widely produced in the media to communicate a woman's post coital cover-up. She is even seen leaving a bed in the opening sequence before the dance begins (0:09). When she starts her choreography it is to the tune of Jesse J's Nobody's perfect. The dancer appears very strong, capable, and powerful as she dances gracefully around the room. She expresses the emotions the song is trying to voice though her movement. She moves around the one spotlight of natural light from a window in the room which signifies how’s she standing in the light and owning up to her flaws. Towards the ending of the video she runs towards that window and stands right in the light with her hand on the glass and her body is almost embracing the window. That move itself shows a woman's empowerment by depicting her control over not only herself but of her surroundings in some way. Emphasizing the statement for the story she was telling throughout the dance.
Nonetheless, upon further inspection of the lyrics it becomes very apparent that the purpose of her dancing is to win back the affections of a man. The camera angles at (0:17), (0:45), and (1:46) are very focused on the dancer's backside in this attire. She is doing things in these moments that accentuate the arch in her back or the visible bottom half of her butt. The film angles for each cut of the scene help with the storytelling because it shows her as more of an emotional woman and shows off her sexuality which her attire accentuates.
Although her purpose of reconciliation is noble, her attire and some of the ways that she is filmed in it suggests that the only way to win a man back is through reminders of sexual encounters and making oneself vulnerable through this stereotypical image of post coital bliss. Thus, the video perpetuates the idea of female objectification in that way.
Nonetheless, upon further inspection of the lyrics it becomes very apparent that the purpose of her dancing is to win back the affections of a man. The camera angles at (0:17), (0:45), and (1:46) are very focused on the dancer's backside in this attire. She is doing things in these moments that accentuate the arch in her back or the visible bottom half of her butt. The film angles for each cut of the scene help with the storytelling because it shows her as more of an emotional woman and shows off her sexuality which her attire accentuates.
Although her purpose of reconciliation is noble, her attire and some of the ways that she is filmed in it suggests that the only way to win a man back is through reminders of sexual encounters and making oneself vulnerable through this stereotypical image of post coital bliss. Thus, the video perpetuates the idea of female objectification in that way.
Betsy & Stefanie
Gender and Sexuality
Gender and sexuality is something that is very important in jazz dance. In this video, it showcases males and females performing a modern and untraditional jazz dance with influences of hiphop and contemporary dance.
While this video demonstrates traditional gender roles in dance, there are considerably less than the multitude of other jazz dance pieces. The female is still shown off by the male, aiding the female into lifts and spins, though most of the choreography was done in unison, regardless of gender.
Where most jazz dances are very feminine and sexual, often performing more flirty and seductive movements and expressions, the females in this video have a more powerful and feministic presence. As said above, gender roles still exist in this piece, especially in their costumes; the female costumes are meant to show off their bodies; their bras show through the cutoff armpit holes in their oversized shirts, but the loose fitting shirts and the untamed hair adds an edge that is not typical or considered “feminine,” especially in jazz dance.
As per usual gender roles, the men are meant to be the stronger and more powerful dancers, while the women show off their flexibility, grace and effortless movements. This dance is designed to be smooth, sharp and powerful.
One of the most interesting things about this video is how it isn’t a traditional jazz dance. The influences of hiphop and contemporary dance are very vivid, especially stylistically, yet gender roles still show through, even in a piece that is more gender neutral than most jazz dance choreography.
While this video demonstrates traditional gender roles in dance, there are considerably less than the multitude of other jazz dance pieces. The female is still shown off by the male, aiding the female into lifts and spins, though most of the choreography was done in unison, regardless of gender.
Where most jazz dances are very feminine and sexual, often performing more flirty and seductive movements and expressions, the females in this video have a more powerful and feministic presence. As said above, gender roles still exist in this piece, especially in their costumes; the female costumes are meant to show off their bodies; their bras show through the cutoff armpit holes in their oversized shirts, but the loose fitting shirts and the untamed hair adds an edge that is not typical or considered “feminine,” especially in jazz dance.
As per usual gender roles, the men are meant to be the stronger and more powerful dancers, while the women show off their flexibility, grace and effortless movements. This dance is designed to be smooth, sharp and powerful.
One of the most interesting things about this video is how it isn’t a traditional jazz dance. The influences of hiphop and contemporary dance are very vivid, especially stylistically, yet gender roles still show through, even in a piece that is more gender neutral than most jazz dance choreography.
Kayla & Greg
Ability & Disability
Physical disability can play a huge role in Jazz dance. Someone with a disability can use it to their advantage, and still be able to perform and express themselves through dance. The video features Mr. Antoine Hunter, a jazz dancer and instructor who pushes his philosophy that though being deaf can be challenging, it can’t stop you from expressing yourself through physical movement. The video shows Hunter explaining his multiple setbacks as a deaf dancer. He illustrates that like many deaf people, he felt left out and alienated by his peers while growing up (0:04-0:16). Another setback is the most obvious of them all: the fact that he has little to no hearing. Antoine explains in the video that although he is deaf, he has many ways of turning his disabilities into strengths. In regards to his problem with relating to people, he concludes at (0:18) that dance helped him find his purpose and helped him to relate to his peers. In regards to his actual disability, he shows us in the video that he utilizes sign language as a way of communicating. He teaches jazz dance classes by signing. From 1:09 to 1:27, Hunter shows us that he teaches jazz dance to deaf teens. Hunter talks about his feet can feel the vibrations of the beats to the music. He states, “Playing the music very loud is how I remember the vibrations that connects to my feet, as well as my body" (0:34 to 1:07). Drums, music or even clapping can help deaf dancers learn when to start and stop to the noises. Sign language, vibrations, and teaching becomes extremely helpful for the students as well as Hunter too. He explains, “It becomes a place where I don't feel rejected or ignored.” Hunter leads as an example of someone who will not allow anything to get in the way of his artistic vision and passion.
Sam & Kawaun
Appropriation
Jazz is a strange animal . The evolution of jazz has changed inevitably over time. Especially in a ingenious appropriated manner to culture . The Appropriation in our video analyst would be comparing how different the songs were when they were changed . John Coltrane played a song called " My Favorite Things " with the funky , sexy sound of the Saxophone . When he played that song it sounded like what jazz was meant to be ; Beautiful , mysterious , soulful , story-telling and love . Another video I found was " Sound of Music " the musical movie . In the video it's a scene where it's about 6-7 Caucasian children in the bed with a Caucasian woman singing the song " My Favorite Things " . The song she sang sounded more slowed down , less soulful and in the form of a bedtime lullaby . In all honesty Music is always going to change . That's whats so ingenious about it , it expands in different styles and genres . People can only take your music to make it better or worse. John Coltrane was a black musician and the new verision of his song "My Favorite Things" was created by two white men, Richard Rodgers and Oscar Hammerstein II. The new song was a different take but was still a form of jazz. It just goes to show, how jazz is loved by all people.
Natalie & Cam
Appropriation
Cultural Appropriation is defined as the “adoption” of a culture into another culture. In almost every form of dance, cultural appropriation plays a big part on America’s pop-culture. One example of such is the Jazz style of dance.
The origins of jazz music and dance are found in the rhythms and movements brought to America by African Slaves. In the 1900’s Jazz Dance was a leisure time activity for African Americans. There has been a lot of discussion in various dance forums about how certain people shouldn’t dance certain dances, because it could be classified as cultural appropriation.
At 1:12, this video shows six dancers from the Joffrey Ballet School in New York City and their Jazz Intensive Program. In this program, dancers focus on Jazz dance forms to better prepare themselves for professionally produced theater performances. In this video, you will only see white dancers. This is an example of appropriation because Jazz was an informal form of dance created and performed by African Americans and now it is formally performed by high class dancers of mostly white, but also various races.
We focused on the portion of the video above from 1:12 to 5:44. During this period the song All that Jazz from the musical Chicago plays in the background. Chicago is choreographed by famous American dancer, musical theater choreographer, director, screenwriter, film director and actor, Bob Fosse. He is known from creating some of the most popular dance poses known within Jazz Dance which are shown throughout this video. Bob Fosse was a high-middle class white male and it can only be considered appropriation that his be one of the most well-known names of Jazz Dance and performance when Jazz dance originated from the African American lower class.
The origins of jazz music and dance are found in the rhythms and movements brought to America by African Slaves. In the 1900’s Jazz Dance was a leisure time activity for African Americans. There has been a lot of discussion in various dance forums about how certain people shouldn’t dance certain dances, because it could be classified as cultural appropriation.
At 1:12, this video shows six dancers from the Joffrey Ballet School in New York City and their Jazz Intensive Program. In this program, dancers focus on Jazz dance forms to better prepare themselves for professionally produced theater performances. In this video, you will only see white dancers. This is an example of appropriation because Jazz was an informal form of dance created and performed by African Americans and now it is formally performed by high class dancers of mostly white, but also various races.
We focused on the portion of the video above from 1:12 to 5:44. During this period the song All that Jazz from the musical Chicago plays in the background. Chicago is choreographed by famous American dancer, musical theater choreographer, director, screenwriter, film director and actor, Bob Fosse. He is known from creating some of the most popular dance poses known within Jazz Dance which are shown throughout this video. Bob Fosse was a high-middle class white male and it can only be considered appropriation that his be one of the most well-known names of Jazz Dance and performance when Jazz dance originated from the African American lower class.
Laman
Race and Class
Race and social class hold a strong placement within medias. these differences and stereotypes are especially represented through visual medias such as music videos. Within the music video, Blood Orange by Chamakay, class and race is presented through what is understood as an "African" perspective. In this particular video, black males are involved with drug use and are surrounded by women. The setting also affected how class may be perceived as it seems to be middle class to less advantaged with a dim color tone. The artist also seems to be in a local neighborhood as he communicates with the people around him in a comfortable manner. This video is upbeat with a realistic setting, although it is stereotyped. "Stereotypes of blacks as lazy, stupid, foolish, cowardly, submissive, irresponsible, childish, violent, sub-human, and animal-like, are rampant in today's society" (stanford.edu).