www.buffalo.edu

Jack Cole

Creation of Theatrical Jazz Dance

Creation of Icons and images

Fusion of world dance styles

Father of American Jazz Dance

Marilyn Monroe (Diamonds are a

Girls Best Friend)

Gwen Verdon

Rita Hayworth

Betty Grable

Anne Miller

I. Pre History -The African Tradition & Diaspora

the initial blend racial survival.

II. Dance from 1900 - 1940 The Vernacular,

evolved into show dance.

III. Dance from 1940s the Cole influence into show/concert dance.

IV. New Hybrids (1980 to present) Hip Hop Phenomena

As an extension of Blue Lake Fine Arts Camps summer camp program, the Blue Lake International

Program continues the organizations philosophy of encouraging creativity and motivating young people to

achieve in the arts. The Blue Lake International Exchange Program couples this philosophy with the

mission of creating international understanding through the arts. Like the contagious feeling of enthusiasm

at summer camp, international students soon become anxious to meet their host families, and begin

sharing this truly unique experience of international ambassadorship

Constantly evolving and redefining itself

Socially

Entering the Golden Age in Hollywood

Creation of Theatrical Jazz Dance

Setting a new standard in dance

There is no such thing as a bad Jack Cole Dancer (Billman, 3:30)

Betty Grable was known in Hollywood for simply being beautiful and not

working too hard, Cole changed her work ethic because he was so

demanding. (Walker, 4:00)

In seven years he taught us much more than danceWorking with him

was a college education Gwen Verdon

Columbia Pictures

Designated dance Director at Columbia Pictures, Cole had very specific

needs:

Troupe of dancers under contract

Rehearsal space

Learning space

First and only Contract Dance Company (Billman, 3:55)

Historically

Great Depression

Beginning developing towards the end of the Depression

Summer of 1933 Left Dennishawn (and the shelter of the Berkshire

mountains) to write his own chapter in the story of American Dance (Loney,

57)

1933- Prohibition ended (21st amendment)

After Prohibition, new clubs were opening there was a need for flash, glitter, for

entertainment that dazzled, but which didnt discourage drinking (Loney, 70)

The Rainbow Room (Loney, 75)

Upscale restaurant and nightclub started in the 1930s, showcasing acts

and new innovations of the time

Cole performed at the Rainbow Room, and how other artists initially saw

his work, later to be influenced

World War II 1939-1945

Continued to work in musical theater and commercial dance.

Culturally

Coupling of authentic ethnic dance with jazz accompaniment (Cole used these

influences to heighten and theatricalize the dances)

East Indian

Balinese

Afro-American

Comedia del Arte

Popo the Puppet (Billman, 8:20)

Fusion Blending of World Dance Forms (Ralabate, 1)

Known as the father of American jazz dance, by combining all of these worldly

influences with what he already knew of modern dance with Dennishawn.

In history, America was formed with the influence of many cultures and

traditions and still holds as a free country, where Jack Cole has done the same

for dance by mimicking the historical structure of America through dance and

movement.

Prohibition ending

More sexual influence in culture

Jack Cole was known as a sexually driven man, often having nude dance

classes (Ralabate, 16)

Music

Early inspirations

Benny Goodman

Duke Ellington

Matt Mattox, a protg of Jack Cole, trained with him for 7 years.

Mattox had a strong background in ballet and through Jack Cole

became interested in developing jazz dance. Because of his

balletic background, he brought more technical aspects to the

form. His technique emphasizes the coordination of multiple body

parts with polyrhythmic music. In the Matt Mattox technique the

most well known step is entitled the Mattox lunge. As Jack Cole

was responsible for more of the theatrical aspects of jazz dance,

Mattox put more emphasis on the solidification of the technical

aspects and creating exercises to further jazz dance. In efforts to

transform and solidify the jazz dance form, Mattox made great

strides in creating a system of exercises to train jazz dancers

during the embryonic stage of theatrical jazz dance. Although he

was not the only teacher to do so, it is evident that his technique

method was intricate and it most clearly integrated the jazz dance

concepts of isolation and propulsive rhythm. Through my research

I have found a series of 47 videos entitled Matt Mattox jazz dance

technique, that show the entirety of the Mattox technique. These

videos are a great resource for jazz dance and for its future

development.

Luigi, in his twenties faced a detrimental car accident in which

he was told he would never be able to walk again, let alone

dance. Luigi developed his warm up exercises as a method of

therapy for his body and mind to heal. The phrase that carried

him through was never stop moving, which is now vital to what

his teaching has become. Luigi was able to use his physical

handicaps to further his passion for jazz and learned how to

feel from the inside out. Opposition is an important component

to what Luigi teaches. This is evident in his exercises such as

the oppositional rib stretches, as well as his simple yet very

complex Luigi walks.

Choreography: Ashley Peters

The final presentation of this work with be

shown in the Zodiaque Dance Ensemble

Concert.

April 19th -21st , Center For the Arts, Black Box

Theater

Lighting and Costume Design: Andrew Garvis

Dancers: Kaitlyn Bontrager, Maria

Cwiklinski, Naomi Pitts and EvanMatthew

Stewart

Music: To Forgive not Forget Outside

The company is a pre-professional education/training/performance programs. Their range of

performance includes modern, contemporary, jazz, tap, traditional, classical, experimental, popular,

abstract, and dramatic dance etc.

Companys mission statement: Rooted in a tradition of dance excellence founded by Linda Swiniuch in

1973, and comprised with artistic diversity of faculty and student backgrounds, talent and experiences,

we seek to share valuable educational knowledge and professional experiences - to develop intelligent

resourceful working artists that promote the fullest understanding of dance and its respectful place in

art and culture.

As a second company to the Dance Departments Zodiaque Dance Company, the Zodiaque Dance

Ensemble gives underclassmen the opportunity to experience involvement in a professional company

setting, working with student choreographers, faculty and guest artists.

Touring Countries:

Belgium

Denmark

Germany

France

Michigan, USA

Blue Lake Fine Arts Camp, a summer school of the arts located on a 1,300 acre

campus in Michigans Manistee National Forest, offers fine arts education for all

ages. Each summer, the principal camp program annually serves more than 5,400

gifted elementary, junior high, and high school students with diverse programs in

music, art, dance, and drama while offering more than 175 performances during its

Summer Arts Festival.

Through an extensive application process I was chosen to be an International Ballet Ensemble

Counselor at Blue Lake Fine Arts Camp. This position required performance of a self-

choreographed work to be performed in a concert throughout Europe, as well as managing 30

high school ballet students who also performed abroad.

My proposal submission: PART I (Personal Statement): Discuss your interest in choreography and/or in the development of your

choreographic skills. (Why do you want to choreograph for ZDE?)

PART II: Discuss your proposed idea/concept for your work

I would like to further develop the solo that I performed across Europe this past summer. MI Dispiace

Ma is the name of the piece that I performed through France, Germany, Denmark and Belgium. I really

enjoyed this piece and I feel that it has potential for further development on ZDE.

The initial theme in creating this work was working to create concert dance out of a style that is

influential in todays world of dance. My challenge in creating this piece, at least as a solo, was to

differentiate maturity in choreography of concert dance and to not get stuck in the present. I think what

categorized my piece, as concert dance was a high level of performance. The piece is about strength of

being your own person, and not taking crap from anyone. It is about overcoming obstacles, and

showing that you can rise above. I want to display a high level of technique for the dancers, as well as a

high level of performance. The style of this piece is more of a hard-hitting jazz/ borderline hip-hop.

I am interested in gaining the experience of setting a solo on a group and I would love the experience of

setting this on the Zodiaque Dance Ensemble.

PART III: Please submit a sample of your workno more than 5 minutes.

Selected choreographers need to expand upon and develop their original choreographic concept into an official

dance work in progress.

For this choreographic project , I was provided with a Faculty Mentor, Joyce Lichtenberger, who acted as my advisor.

Works in Progress Showcase (WIPS)

February 28, 2013

March 28, 2013

Once the piece has become a more substantial project, choreographers are required to present their

choreographic work to a panel of professionals in the field. Here choreographers receive constructive

criticism on their work in preparation for the final showing in the April concert.

Seduction of Cools: Evolution of Jazz Dance Through Research and Choreography