BASE GROOVE MANIFESTO

Is dancing jazz a patriotic act? I begin here, because every time I broach this provocative, exasperating question I arrive at different places. As a United States art form, jazz dance brings us into an embodied experience of the country’s history, including the enslavement of West Africans, oppressive regulation of artistic practices and expression of enslaved peoples, and appropriation and “fusion” of the art form and it’s many descendants. Jazz is firmly rooted in the traditions of West Africa, with strong influences from Latin America, the Caribbean, Ireland and Europe. Jazz dance is the embodiment of rhythmic prowess, creative curiosity, community cultivation and energetic exchange. It is no wonder that the art form and it’s descendants are magnetic; the rhythms and dynamic expressive qualities call dancers to clubs, studios, theatrical stages, living rooms, television sets, concert stages and more. The practice of jazz-based forms is incredibly evocative for me. I am invigorated by the potential of rhythm, I find connection to my community, I am humbled by those who have created and developed the form, I find complicated sense of home. Continuous engagement with jazz dance history in relationship to my movement practice yields a daily questioning: what is my role, place, and validity in this art form as a white woman? What kind of jazz is being taught, performed, and discussed in our country today? Is dancing jazz a patriotic act?

I approach jazz by exploring connections between three main areas; relationship with rhythm, relationship with others and relationship with the ground. When we relate to rhythm, we’re recognizing musicality, swing, accent and syncopation. Jazz’s connection to others encompasses the improvisational underpinnings, social tradition, and conversational nature with sound and fellow dancers. Jazz’s connection to the ground involves—specifically for my work—the how we relate to the earth, weight shift and momentum. At the intersections of these three expansive relationships, I find groove. 

My singular body engages with multiple styles within the jazz dance continuum including historical vernacular, social dance, hip hop styles, West African dance, musical theatre, and tap. Additionally, my practice in contemporary dance, improvisation and ballet is held within this body. Whenever I dance, I engage with the knowledge from all of these embodied practices.

Therefore, my jazz dance practice of connecting and relating within the form also honors the multiplicity of embodied knowledge within my body, the dancers' bodies, and the form itself. Jazz is a form of innovation, however it is not without purity or definition. I see the label of "jazz" applied to many movement styles, which brings me pause and concern for the lack of recognition and respect for the history from which the music and movement was developed. Therefore, I choose to refer to my specific practice with language that is unique to my specific approach. The foundation, or the base, of my practice is built on the embodiment of jazz dance knowledge, and the momentum within the practice is the continuous seeking of groove.  

Base Groove: Rooted in rhythm, we physicalize the pulse inherent within the diverse lineage and impact of jazz music and movement. While honoring traditional jazz music and steps, we situate the practice within our current bodies, focusing on quality, style, connection and musicality.