“Live like you’ll die tomorrow, work like you don’t need the money, and dance like nobody’s watching.”

–Bob Fosse

When you say Fosse to a dancer, a very distinct image comes to mind. He was a revolutionary in the world of dance.

Sweet Charity (1969)
Directed by Bob Fosse
Shown on set: Bob Fosse

Bob Fosse (pronounced FAH-see) was recognized as a child prodigy by his parents early on and placed in formal lessons where he rigorously studied the art of tap dancing. He was small as  a child and often suffered from health problems; yet because of his consistent hard work, he was dancing professionally before he graduated high school. The sleazy atmosphere of the nightclubs at which he entertained and the sexual dance routines he was a part of–a style of dance often referred to as vaudeville, or a type of entertainment popular in the twentieth century featuring burlesque comedy, song, and dance–greatly influenced the style of his choreography. He introduced a completely new and revolutionary style of dance; the hip thrusts he included were unseen before his time. He included various aspects of vaudeville as well, such as hunched shoulders and turned in feet. The hands were also very important in his choreography. He often dressed his dancers in all black with only white gloves and derbies. Although the people of the sixties and seventies clearly enjoyed the routines that mirrored society’s own newfound sexual freedom, directors often asked him to tone down the controversial parts of his choreography, claiming they were too suggestive.

He soon choreographed The Pajama Game, for which he won his first Tony Award for Best Choreography. Damn Yankees, his next major choreographed work during, won him even more awards and fame; however, directors soon began to criticize the sexual and controversial nature of Fosse’s choreography. Fosse soon realized that in order to have complete control over the final routine that went on the stage, he would have to direct his works himself. He began to write and choreograph his own musicals, including Pippin, Sweet Charity, and Cabaret. The 1972 version of Cabaret won eight Academy Awards.

Chicago, however, is my favorite of Fosse’s musicals. Set in Chicago during the twenties, it follows the life of a woman who shot and killed her lover as she attempts to use the fame of being a high profile killer to her advantage while simultaneously competing with all the other female murderers for the attention of the media in order to convince the public of their lies. It’s an amazing satire that reveals the twisted nature of mankind, particularly in the twenties. Their obsession and glamorization of murder only shows how twisted they truly were, and by the end of the musical, you don’t really know whether to cringe or to celebrate. Although morally terrible, it clearly demonstrates Fosse’s talent as not only a choreographer, but also as a writer.

Clearly, Fosse was a crucial contributor to the dance world. He will forever go down in history as a revolutionary of the dance world.

Source 1: http://www.pbs.org/wnet/broadway/stars/bob-fosse/

Source 2: http://www.biography.com/people/bob-fosse-9299517#dancing-career

Dance is a language in and of itself. Language barriers are nothing when it comes to the emotion that can be conveyed through dance. It connects people within and across a culture and has served in many rituals across the world for centuries. Dance is one of the great loves of my life. I danced for fourteen years of my life and made some of my closest friends through it. I began as a fumbling four-year-old, with my eyes always on the teacher to remember the next step. By the time I was eight, I was beginning to remember more complex choreography on my own. At ten, I finally got my splits. When I was twelve, I got my first pair of pointe shoes; and a week later, I had gotten my first blister: a memory that I am now fond of. At sixteen, I had my first tap solo in the recital. My first gradation wasn’t from high school, but from dance at my last recital; I cried because I knew I would miss my friends and teachers who had supported me for fourteen years of my life. Dance has been a huge part of my life for fourteen of the eighteen years I’ve been alive.

Dance, however, is not only a hobby of many, but also a form of cultural expression across the world. India in particular is famous for their many ritualistic dances. In Tamil Nadu of southern India, the Bharatanatyam, originally a dance of the temple women, is often used to tell spiritual stories of the Hindu religion. The dancer keeps their knees bent and uses their feet to keep the rhythm while the hands move through a complex series of gestures that are symbolic and tell a story of the gods. Another dance that also originated in the temples but was adopted by the people is the Kathak of northern India, which is typically a dance of love and performed by both men and women. Intricate footwork is accentuated by bells while dramatized hand gestures compose the rest of the dance.

In many Latin American countries, Carnival is a large holiday that takes place at some point during the weeks leading up to Ash Wednesday. It is their last chance to be uninhibited before the impending Lent, the forty days during which Catholics give up something of value to them in a show of gratitude for Christ giving up His life for them. This celebration often includes large parades that include lively group dances in extravagant costumes. A more ritualistic dance of the Latin American countries is la danza de Moros y Cristianos, or the dance of Moors and Christians. This dance tells either the story of the Spanish kicking the Muslims out of Spain or the Spanish overthrowing various native inhabitants, depending on location.

In various African tribes and countries, dance plays a large role in religion and life achievements. The Nmane of Ghana is a dance of love performed only by women for the bride at her wedding. There are dances for rights of passage and coming of age as well. Various Griotic dances, performed only by the village historian. The village historian tells stories through song and dance; these dances have become a historical document of sorts.

I have only touched on these three cultures and what dance means to them. There are so many more countries and tribes in our vast world that communicate through dance, a language without words. It truly amazes me how dance can not only speak within a culture, but can also communicate across cultures. This is one of the many reasons I’m so passionate about it. It is truly a form of communication that should be cherished.

Sources

Indian dance: http://www.britannica.com/list/6-classical-dances-of-india

Latin American dance: http://www.britannica.com/art/Latin-American-dance#toc279308

African dance: http://www.newworldencyclopedia.org/entry/African_dance#Ceremonial_dance