The jazz dance professor on the fundamentals of Jump Rhythm Technique and her piece, What We Do with Time, part of Dallas Dances.
Dallas — Just like every young dancer Brandi Coleman grew up learning all the basic dance techniques, including ballet, jazz, modern and hip-hop. It wasn’t until Coleman went to the Jazz Dance World Congress in 1992 and saw Billy Siegenfeld’s choreography for the first time that she realized she wanted to focus primarily on jazz. More specifically, she wanted to learn Siegenfeld’s Jump Rhythm® Technique. So, when she heard Siegenfeld was teaching at Jacobs’ Pillow along with fellow jazz choreographer Danny Buraczeski, Coleman knew she needed to go.
“This was a pivotal point for me,” Coleman says about her time at Jacob’s Pillow. “Up to this point I have had a variety of dance training, but this experience at Jacob’s Pillow working with both Danny and Billy really solidified my innate response, love and passion for jazz dance and specifically moving rhythmically and musically.”
“Jump Rhythm Technique just felt good innately to me both in the physicality and in my heart and soul.”
Today, Coleman is an artist-in-residence in jazz dance at Southern Methodist University and is also the associate artistic director of Jump Rhythm Jazz Project (JRJP), an Emmy Award-winning performing and teaching company that celebrates the communal core of jazz performance, including dancing, singing and storytelling in rhythmically syncopated conversations. She also holds a B.A. in dance from Northeastern Illinois in Chicago and an MFA in performing arts/dance from the University of Wisconsin-Milwaukee.
To put it simply Coleman says the goal of Jump Rhythm Technique is to turn the body into a percussive instrument. “So, it’s using the musical construct of jazz music, meaning we’re trying to play syncopation and swing in the body, but we are also trying to understand what it feels like to feel rhythm in the body and to shape energy over approaching movement from how my body looks in space. We do address shape, but we address time first.”
When explaining the fundamentals of Jump Rhythm Technique to her students Coleman uses a comprehensive step by step process. “So, in Jump Rhythm Technique we first say what is the rhythm. Then we improvise to that rhythm. Then we clarify the rhythm. Then we clarify the emotional intention behind the rhythm. And then we clarify where in space we do that rhythm.”
Coleman points out that the technique also involves a lot of vocalization, which she says is hard for many dancers because the perception is usually that dancers are to be seen and not heard. So, she usually starts out by asking the dancers questions so they can hear their voices out loud and then she has them sing the Alphabet percussively and then rhythmically. From there she has them start scat singing, which audiences will get to experience firsthand at Dallas Dances this Sunday in Coleman’s What We Do With Time.
“Rhythm and emotion primarily inform the movement and the narrative of the piece,” Coleman says. “It is a quirky, humorous comment on being stressed. It’s about meeting deadlines and missing deadlines and anticipating deadlines that you know you can’t or won’t make. It’s a universal theme that I anticipate anyone and everyone can empathize with.”
This profile was originally posted on TheaterJones.com.
I asked Brandi if she thought classical jazz was a dying off and she told me that this is misconception because in order grow jazz dance has had to align with pop culture, which is where new styles like jazz funk and lyrical jazz come into play. So, classical jazz isn’t dying. It is just changing as is natural with all dance forms. She uses the imagery of branches to example these newer styles of jazz, which she said I could read about in the book “Jazz: A History of the Roots and Branches” by Lindsay Guarino and Wendy Oliver.
Like the dance history nerd I am I immediately purchased this book on Amazon and it should be here in a day or two. I am looking forward to reading and will definitely put up a post about my thoughts on the book as soon as I am done reading it. Here is a link to the book if you will she purchase it too