Anaïs Sékiné hooked this up on the facey and I think it’s grand.
As I said there, I really like the bit where she says that young people have a responsibility to preserve artistic heritage. I think that’s a cool thing: it tells young people they are important and capable of looking after something important. That dance and art are important, and not just a right, but a responsibility.
And as I listened more, I got more excited. This is such a great interview! I like the bit about having to have ‘clean rhythms’. I think I might have given the impression in my post about Sea of Rhythm that tappers are kind of slack about timing, and that anything goes. No. WRONG.
Being disciplined was quite central to all the classes at Sea Of Rhythm, working with African and tap dancers. There was a strong emphasis on being really tight in your rhythms. And we all had to dance in front of the WHOLE group, quite often, and if you weren’t right, if you weren’t tight, you were told, “No, do it again.”…. “No, not right, try again.” It was very different to lindy hop classes, where there’s a lot of kid-glove action, and students are really babied a lot.
…I think this is my favourite part of a ‘rhythm based’ approach to teaching and learning lindy hop: you need to step up and be precise. And then you’re allowed to improvise. But improvisation is NOT just making shit up: it’s clear, concise decisions.
…and I liked Mickey’s story about being apprenticed to Norma: having to fetch coffee and do jobs. That’s a real dance apprenticeship, that teaches you how to be part of the group, before you get to dance. This reminds me of a story an Indian temple dancer told me about learning to dance: she had to be apprenticed to a master for a long time, doing tasks like making food, cleaning, taking care of the master’s needs. This was at once a matter of learning humility, but also a matter of learning the day to day movements that would later inform her dancing. How to move like a temple dancer, even before you learn to dance.