Debunking the myths that are "Old School"...It's Time to Set the Record Straight

I love young talent. I do. I find it inspiring to watch young artists at work regardless of what area they excel in. As someone who has adjudicated countless dance competitions, I also find it very exciting to watch young, up and coming choreographers present their work. I can say without hesitation that I've had the privilege of seeing some of the most awe inspiring work presented across this country by numerous choreographers, many of which that with any luck, we may all hear about in the future.

But as much as I'm inspired by young talent, I've found myself lately being fascinated with the great teachers, dancers, and choreographers of the past. The people if you will, who have paved the way for dancers today. We are so fortunate to have at our disposal, the internet and the avail of channels like you tube. They have provided me not only with entertainment, but knowledge of the past, and a glimpse in to the future. Most recently I have been fascinated by a set of interviews on YouTube with some of

A Chorus Line Finale

the original Fosse dancers. To hear them talk with such affection about what it was like to work with Fosse when he first started to choreograph for the Broadway stage is riveting. I've also had an affection for the musical A Chorus Line, (and respectively, the documentary titled Every Little Step, which follows the casting process for the Broadway revival),  ever since I was a young boy. It was the very first musical I had ever seen live, and I remember sitting in the Queen Elizabeth Theatre in Vancouver being awe struck with what was happening on the stage. That show was truly a game changer for me, and as far as I was concerned, I was going to become a dancer no matter what!

Most recently, when speaking with a colleague, she had told me that some of her students had told her that they weren't really that keen on jazz any more as it's "Old School." Now, being the solid, grounded teacher that she is, she informed them without hesitation, that what they are doing in class is relevant, no matter what the popular opinion of the day may be. To me, that says that that particular teacher is solid in their resolve to make sure her students get an all around dance education....something that at times, seems to have slipped by the wayside.

Yours truly as a young dancer/teacher teaching in the 80's

Admittedly, when I was a young dancer, I too had preferences, ironically mine was jazz. Not that I didn't love other disciplines, I did. I studied tap, and once I turned seventeen I studied ballet, pas de deux, modern, and jazz in a professional school, but really, the jazz was where I lived. The difference being, as a young dancer, even though my preference was jazz, I had always regarded all of the training and all of the knowledge I was garnering to be of the utmost importance and value. Somehow, I knew, that somewhere down the road, that all the classes I was taking would serve me at some point in my future... even National Dance, and I'm happy to report that they have. Along with the skills I was receiving, I was always enthralled by stories from my various teachers about the dancers, teachers, and choreographers that they had worked with, how could I not be, I was fortunate enough to have teachers like David Adams, the first Premiere Danseur of The National Ballet of Canada, who danced all over the world with some of the great dancers of the day such as Margot Fonteyn and Rudolph Nuryev. I used to love his stories about coaching them in their pas de deux work. I also had teachers who were former dancers with the Alberta Ballet and I always took great pleasure in all their stories about all the wonderful, and not so wonderful, experiences they had had in their professional lives. My jazz teacher would often talk about her trips to Los Angeles, and it was always with great enthusiasm that she'd share with us, all that she had learnt. This was a great time in my life, and looking back, I can honestly say that I was blessed with all the training I had received. Now, along with all these really hip, happening, classes I had, I also had what some may regard as the "Oldest School of Them All" classes...that's right, I studied Cechetti syllabus. Now many regard Cechetti as being old fashioned in it's style, and to a degree, it is. But one can not argue that the syllabus is extremely sound and very strengthening. To this day, I could not be more grateful for my old school Cechetti classes. They have served me well and the "Old School" training I received in my youth, has enabled me to maintain my career for much longer than anticipated.

Dance Legends David Adams and Lynn Seymour

So for all you young dancers who feel that jazz may be done, old school, a thing of the past, I urge you to think again. In dance, everything is cyclical and everything enjoys popularity at different times. I have witnessed the decline in popularity in  tap, only to see it make a big resurgence in the last couple of decades. Many don't realize that the musical Chicago when first produced on Broadway opened opposite A Chorus Line. Chicago originally played for 936 performances, (June 1975 to August 1977),  and A Chorus Line played for 6,137 performances,  ( July 1975 to April 1990), fifteen years later. Most definitely, A Chorus Line was clearly the musical of it's time, but years later, the style of Bob Fosse had once again gained so much popularity that when revived for Broadway in 1996, Chicago was the hottest ticket in town, and has now become the third longest running show in Broadway history.
Many young dancers these days regard contemporary as new, but really, contemporary has roots that go back many, many years. If one takes the time to research choreographers like Maurice Bejart, Pina Bausche or Edouard Locke, you'll find that contemporary has been around for much longer than one would think.

The older I get, the more I realize how important it is to respect our past and to gain the knowledge of where we come from. Now, admittedly, even at this stage of the game, I'd love to work with all the hot, up and coming choreographers and directors, who wouldn't. But as much as I'd love to work with these blossoming young talents, I have a great desire to work with some of the old masters as well. Directors and choreographers  such as Bob Avian, (among many other things, assisted Michael Bennett on the original Chorus Line then went on to direct the revival), or Gower Champion, (who's career dates back to 1930 and in 1980 he directed, choreographed, and won the Tony that year for 42nd Street.) the things I would learn, and the stories they could tell would be mind blowing. Being Canadian, the choreographer/director I really regret never having had the opportunity to work with is Brian McDonald. (I met Brian when I was a scholarship student at the Banff Centre for the Arts where he was artistic director of the dance program.) To this day, in my mind, he remains the most productive and versatile choreographer this country has ever seen. His career has spanned ballet companies, opera, musical theatre, you name it he's done it. What an education and an honour that would be!

Most recently, I have had requests from dancers to teach some 1980's style jazz combinations in my open class. (Ironic given the tone of this blog post.) Which makes me wonder...is 80's becoming kitsch? Well, if it is, so be it....we had a blast, and most dancers were surprised as to the level of skill these 80's style combinations required. One thing I realized in teaching these stylized combinations was this; that just like dance today, in the 80's we kicked, jumped, turned, contracted, did isolations, you name it, we did it.  The list is endless and not unlike dancers today, we did all this with great energy and enthusiasm. So maybe what we did some thirty odd years ago may be slightly different in it's style, but no matter what the style, the technique remains the same, and that technique is old school.

So, next time you want to roll your eyes at the thought of doing whatever form of dance, be it jazz, tap, ballet, contemporary, or yes, even national, do know that maybe, just maybe, this could somehow serve you well in your future. If your teacher wants to go back to basics or try something new, trust that what he or she is doing is all for your benefit, and that not only will you learn something, you may just surprise yourself and enjoy it!  Remember...styles may come and go, but a strong foundation, rooted in ballet, will serve you for as long as you're able to dance. Why? Because it's "Old School."

Sincerely Stephen Scott Findlay
A.K.A. The Oldest Male Chorus dancer in Toronto

                                                   Some original 80's choreography