Since 1970 Hip Hop and Contemporary dance have managed to firmly plant roots in the dance world. And waiting in the wings, we are now seeing Jazz dance re-emerge from the seeds of some mighty dance spirits. It was the fusion of Jazz Music with Modern, Ethnic and Ballet that inspired the fiery and musical Jack Cole to push his dance passion. Out of his singular invention such greats were inspired to invent their own, and invent they did. Brilliant teachers and choreographers like Lester Horton, Luigi, Matt Mattox, Katherine Dunham, Claude Thompson, Gus Giordano, Alvin Ailey, Donald McKayle, Jerry Robbins, Bob Fosse, Michael Bennett, to say nothing of Kelly and Astaire and so many more. A golden era of dance to be sure and true inventive geniuses of the vernacular, often debating over whether it was Modern or Jazz, but all contributed. Soon to come were decades of creative and original mentees; Michael Peters, Lester Wilson, Jaime Rogers, Hama, Joe Tremaine, Toni Basil, Paula Abdul, Vince Paterson and let us not forget the Jackson’s. All added to the gumbo that was Jazz dance.
Of course, a gazillion artists have been left out. Many of our brilliant jazz choreographer/teachers/dancers during the 70’s, 80’s and 90’s left us during the AIDS tragedy before they could plant their emerging legacies. This difficult memory left a kind of vacuum that now, after only 40 plus years, is slowly resurging with a few more tools to work with. Those of us who saw this history as it happened are finally hopeful to see an emerging generation of dancers and choreographers who want to enliven this history.
On May 26, 2024, Artistic Director Jeff Hendrix’s welcomed his audience to the 3rd Annual Jazz Dance Conference West at CSU-Dominguez Hills. There were classes throughout the day with the hope of inspiring the students, friends and audience in the direction of this strong legacy. It was clear our young dancers wanted to find “something new”…an alternative to breast beating Contemporary dance, all too often accompanied by white noise. It was also clear the students were excavating the roots of Jazz dance, with renewed enthusiasm.
After classes, there was a program of a variety of Jazz creations by seasoned and young choreographers and dancers. Takeshi Hamagaki, HAMA (as all lovingly address him), was honored with a “Lifetime Achievement Award, “along with a tribute to him on video that showed his work. Such honoring is so well deserved for the many years he mentored, supported, inspired and made space for aspiring dancers and choreographers. A short slide-show was a reminder of his own dance prowess. After coming from Japan at the suggestion of Jaime Rogers, Hama found his way to Luigi’s classes in New York. There he found a mentor, a friend and someone who always believed in his talent.
With that lovely tribute, the evening proceeded with offerings by Hama, L.A. Jazz Company (Jackie Sleight), CSUDH (Jeff Hendrix), Spectrum Dance (Janell Burgess), Jose Costas, Chris Smith/Latrice Postell, BrockusRED (Deborah Brockus) and Nannette Brodie Dance Theatre.
It was a melding of students of Cal State Dominguez Hills, with several works of note by seasoned Jazz dance pros. A number of creatives presented their work, having been influenced by a generation of Jazz dance greats.
To start the evening of dance, Hama’s unmistakable style, in “Take Five,” with its smooth gliding dynamic moves and changes allowed us to sit back and enjoy the design and classic jazz dance base that inspired so many to go onto notoriety as choreographers, dancers and teachers.
Deborah Brockus and BrockusRED, has been committed to preserving and reinvigorating Jazz dance with her company. Her contribution for the evening was “Ascension,” with Jolyn Rae and Mara Hancock being particularly strong female representatives in the piece
Janelle Burgess, a marvelous dancer/performer appears to be the heart of the Spectrum Dance company as the company’s Artistic Director and featured dancer. It is clear that the direction of the company is to honor and promote Jazz dance. However, in Jingo, the company appeared separate from Burgess and her partner. It was disconnected, with the leads working separately from the company dancers. Even though the dancers worked very hard, this piece appeared as two separate events, in spite of dancing together.
Most noteworthy was Jackie Sleight’s L.A. Jazz Company which was assembled one short year ago, encouraged by Jeff Hendrix to perform for the 2nd Annual Jazz Dance Conference West. This year Sleight’s contribution was the stunning, El Gato Triste, music by Chuck Mangioni. The dancers, who were unnamed in the program, showed the power, style, musicality and technique, that brought back Jazz in all its musical glory and elan. Sienna Lyon’s, Wish I didn’t Miss You, performed with chairs, heels and one male dancer…in heels, delighted and mesmerized the audience with outrageous moves and commitment. And with Bella Maria performed by the remarkable Brandon Leffler and Daisy McMillan, clearly impelled the LA Jazz Company to show stopping status.
Jeff Hendrix, “To the Bone” and Nannette Brodie’s “Mambo” allowed students to rub elbows with the pros, making this a lovely integration of mentors and mentees to introduce and inspire new young dancers to the legacy of Jazz Dance.
Thank you Jeff for making this possible to develop a new audience of Jazz dance lovers and to honor those who made sure it did not fade away.
This review was edited to correct error on 6/3/2024.
Written by Joanne DiVito for LA Dance Chronicle.
Featured image: Jackie Sleight/Will Thomas’s Los Angeles Jazz Company – Photo by Denise Leitner