Jones 1 Katrina Jones Pat Debenham Dance History 2 April 2013

The Effects of Commercialization on Dance

Public perceptions of art and its relative popularity and value are constantly changing. The public sector's perception of dance often determines what they will buy (Risner 96). In order to remain an economically valid art form, dance often changes to meet what the public denotes as popular. The influence of this economic viability and or marketability of dance is often referred to as the commercialization of dance. Because of the commercialization of dance, dancers and dance companies must continually find the balance between integrity to classical technique and aesthetics while meeting the demands of the private sector. This publicly driven commercialization of dance affects dancers, dance companies, and private dance studios. Thus, keeping the integrity of dance as an art form, while appealing to the TV-watching public is . . . a challenge (Ameu 3). Balancing the integrity of dance with commercialization is difficult because individuals and businesses must maintain economic viability. Dancers often look to the reality of earning a living. Dance companies must attract and keep audiences, and private dance studios must attract and please potential dancers and their parents all while maintaining some integrity to classical technique. Dancer, West Coaster Vanessa Thiessen, always knew she would be a dancer. From the age of ten she knew she was going to be a ballerina. She said, I like the focus on perfection crossing your fifth and making clean lines" (Peters 33). However, the reality of economic security and the desire for more freedom of expression slowly changed her mind moving her away from the traditional company.

Jones 2 Ironically, along with this move came the need for more upper body strength, causing her body as well as her dance change, having a more filled out appearance than when she was just a ballerina. (Peter ?). This draw of money and show biz likewise caused dancer Wong to hit the gym harder for commercial work. Dancers in a one-day commercial shoot can net the equivalent of a week's salary with a concert company (Holmes). Dancers are not the only ones changing due to the economics of popular dance. For example, between 1998 and 2000, Gap Clothing introduced three advertizing campaigns that used dance choreography and movement to make their brand seem more appealing to the buyers. These commercials were affective attempts to bridge the gap between entertainment and advertising, and between popular culture and art (Dunagan). The use of music and dance to create a product personality and increase public demand for a product is one example of commercialized dance that affects the public view of dance. It created a strong sense of motion that enlivens the televised dance, increasing the sense of 'liveness' by producing a visual 'feeling' of the physicality of the choreography (Dunagan). This made the advertisement more interesting to the public, but it also unknowingly changed some of the aesthetics of dance, despite it being classical Broadway and swing dance themed. The commercials provided a place where value was placed on the joy of dance and movement. In 2009, Gap launched an additional holiday commercial campaign. Its focus was also centered on dance. One of the commercials featured young girls dancing to a chant, I love my comfy sweater... talk to the moose (Gap Clothing). The commercial presented a good balance between the jazz dance aesthetic, keeping in line with technique, and presenting a quality commercial. It is comical in nature. The girls shook their sassy hips and through quirky gestural movements presented age appropriate technical skill. Another Gap commercial presented adult dancers wishing everyone a happy holidays called Go Ho Ho. It was also set to a clever chant. The dancers, however, are older and have more maturity in their movements. The technicality is basic, but every movement is performed in unison and in rhythm to the holiday chant. Most of the movements are gestural and have been simplified to add

Jones 3 clarity to the cinematography. This commercial represented some loss in artist license and the brilliance of technical skill; however, it did present a level of collaboration between the arts. Overall it worked well as an advertisement, but not a choreographic work. Gap hasn't been the only one to introduce dance centered advertizing campaigns. Both Nike and Ford Cars have produced similar movement based advertisement campaigns. However, both of these campaigns focused on producing an artist product as well as a clever, affective advertizement. Nike did a series of dance battles between classically trained ballet dancers and hip hop artists (NIKE). The juxtaposition of the different movement qualities provided an interesting artistic choice. The movement itself was full body and required technical skill in both genres. The battle began with the dancers doing their individual thing and concluded with a collaboration of the two movement qualities and aesthetics(NIKE). In this way, Nike produced a commercial that was not only an effective marketing tool, but also a true portrayal of the dance aesthetic. Ford performed the collaboration of dance and advertisement while maintaining the aesthetic integrity of the companies involved in their advertising campaigns (Ford Cars). The two companies involvedfirst a hip hop dance crew, Jabbawockeez, and second a modern dance company, Pilobolus are both popular innovative dance groups. In the first commercial, Jabbawockeez through dance compares the power of Ford's V8 and V6 engines (Ford Cars). The choreography is interesting and professional because it is keeps the original aesthetics of the company while serving to advertise for Ford cars. The second company, Pilobolus is known for its innovative ability to combine bodies to create complicated shapes. The slogan for the commercial was A car is not a car, until it is powered by you (Ford Cars). The movement and choreography showed the dancers as individuals, and then they literally created several different models of cars with their bodies. This empowered not only the advertising power of the commercial but also the integrity of Pilobolus Dance Theatre. This balance between aesthetic dance and popular dance is a concern for choreographers and companies as well. It is a common concern among dancers that in order to deliver a popular product

Jones 4 for the audience, the product itself must be reduced down to entertainment value. This means that because of the requirements of commercialization, sometimes the aesthetic value must be reduced to produce a product. Regardless of this concern, the fact remains, tickets must be sold and the audience must enjoy the show. Mia Michaels a popular choreographer for So You Think You Can Dance said the following concerning commercialization and dance: "I definitely always go for creative and artistic but I'm very much aware of our audience, too, so I don't go to the point where it's just so internal that they wouldn't get it (Lisa)." There is importance in being artistic and being innovative, but not at the cost of the audience's ability to relate to the production itself. Concert dance, especially modern, at times can become distant to the audience because the existence of the fourth wall. The fourth wall most often exists because the initiation for the movement is too internal. Commercialized dance on the other hand at times is looking to WOW the audience with tricks and not simple techniques. Michaels gives a warning to young artists saying, I don't like all the tricks. If I were to sit down with any of those dancers and talk about what I would like to see [in their solos], it would not be what I'm seeing. It would be a much more unique voice and vocabulary," says Michaels. "I think the balance is crucial" (Lisa). Artist voice, when lost in performance, may have the same ability to wow the audience but as a sport and show of physicality instead of an art form (Lisa). In order, for the aesthetic value of dance to remain, there must be some integrity to classical technique along with the element of innovation and some element of entertainment. However, the public audience often only perceives dance as what they most often see. There is more to the dance world than what is on TV. Robson says that to appeal to the TV watching public while maintaining the integrity of dance will be a challenge. "What comes along with good opportunities for choreographers in big prime-time situations is a responsibility to fight to keep integrity in the work," he says. "I think that's happening right now and it's in a good place, but [as with] everything in the biggest pop-culture scenes, it can

Jones 5 start to be just an exploitation it can become just surface and just entertainment (Lisa). The challenge is in maintaining the marketability of dance, while also maintaining the integrity of the art form. Historically dance in America, unlike Europe has vastly developed in fad dance and variety shows like Vaudeville and Ziegfeld's Follies. It has always had a strong entertainment base and slowly developed a strong technical base as seen in the evolution of ragtime dance into modern social dance. Robinson argues in her paper, The Refinement of Ragtime Dancing and the Mass Production and Marketing of Modern Social Dance that the transformation from ragtime to modern social dance was influenced by more than aesthetics alone. She suggests that radical changes made to ragtime were grounded in both commercial interests and race politics (Robinson). Dance professionals in the early twentieth century were creative and innovative in developing a way to market their technical dance abilities. Using both mass production and marketing strategies, these professionals reformulated ragtime dancing into a product that could be more easily sold to a wider, and wealthier, American public, that envisaged itself as 'refined.' In order to accomplish this effectively, dance professional had to discover how to repackage dance in a teachable way. The steps had to become more quantifiable, simpler, and refined. Robinson reiterates that formerly ragtime dancing required extensive improvisation and embodied creativityskills that are not easily learned other than through the shared body experience. Before ragtime dancing became commercialized, dancers were for the most part self-taught, self-managed creative agents. As the modern dance industry grew, the knowledge of the art of ragtime was put in the hand of teachers. In the development of the industry, modern social dancers surrendered much of their creativity and choice making to a fixed lexicon of dance steps to be learned in a piece metal fashion (Robinson). These chaotic periods of changes from an unstructured improvisational movement styles to quantifiable, codified steps can be found in all of the genres of dance. In this way dance becomes less of an art and more of a commodity to be packaged and sold (Robinson).

Jones 6 Because dance could be packaged and sold and because of the media demand for dance, commercialization plays a large role in the dance education industry. If hip hop is what is in demand or what is popular today, then dance studios will respond by providing more hip hop opportunities at their businesses. Risner in his dance education study, Dance Education Matter Rebuilding Postsecondary Dance Education for Twenty-First Century Relevance and Resonance, comments on the need for dance education programs to extend beyond their current confines. He feels that postsecondary dance programs need to provide more aims such as teaching, learning, pedagogy, community engagement, and cultural understanding. He believes that this will serve more students than we currently do with the hyperprofessionalized, exclusive BFA environment (Risner 96). Dance education needs a broader focus to develop an understanding of how the process of commercialization in dance affects studio marketing. This is important because the principle of supply and demand affects the private sector. For example, in order to meet the demands of operating costs, private dance schools must provide a product that people are willing to buy. Risner states, economic reality intrudes and influence both its artistic and educational values (99). It is therefore important that the commercial and concert sector continue to develop a standard of excellence in technical ability and artistry because this will provide a base standard for dance education. Acknowledging the commerce based framework in the private dance sector allows dance instructors to be aware and compromise with a pattern of commercialization (Risner 99). In other words, dance instructors in the private sector have the challenge of developing programs that attract the customers (dancers and their parents) and producing work that has artistic and educational integrity. Risner believes that we can develop strong private sector dance programs if these marketing patterns and strategies are more openly addressed in post-secondary dance education (100). Marketing patterns also affect the type of studio that can be openedeither a dance school or a commercial private studio. A dance school is often a non-profit organization that shows a clear vision and mission for their charitable purpose and artistic philosophy (Brooksher 8). Commercial private studios generally consists of Los Vegas or Los Angeles style jazz (Brooksher 8).

Jones 7 Commercial studios tend to focus on competition performance in hip-hop and jazz and often only offer low-quality classes in traditional classical ballet. They are for profit and often have a show biz mentality. Conversely, the dance school is more focused on technique of classical ballet, character, and tap (Brooksher 8). However, dance schools often depend on charitable contributions and grants to remain economically vibrant in part because more of the general public is attracted to the tricks and show biz quality of the private studio. This pattern is really what we know as commercialization of dance. Rockwell in his article for the New York Times explains, Life in dance today comes from the blurring of traditions and techniques. He comments that large ballet companies are having to diversify their repertoire to entice today's audience. These companies are constantly looking for new choreographers: Christopher Wheeldon can't do everything (1). There is often an overlap in genres as companies choose modern choreographers to produce or reproduce works. According to Rockwell, Mr. Morris's Sylvia was a lovely addition to the last season at the San Francisco Ballet. Trisha Brown's new works based on poetry by Czeslaw Milosz and Edna St. Vincent Millay is called O zlozony/ O composite. It was set on the Paris Opera Ballet and gained vast approval from the audience (Rockwell 1). Choreographers like Mrs. Brown, who is 86, realize the importance of crossing boundaries to create diverse productions and draw variety into the audience. William Foresight's In the Middle Somewhat Elevate, captures the balance of classical technique and innovative original movement that wow the audience with more than a few fouett turns. Rockwell reiterates that choreographers remain more open to popular impulses and vital currents in the other arts (1). The influence of popular culture and media is vital to the marketability of dance because it is the audience that decides what is in demand. The ebbs and flows of the entertainment world are paralleled in the dance world because both are audience dependent. Therefore, concert dance is continually affected by commercial dance, but commercial dance is not always influenced by concert dance. This lack of symmetry in the flow of influence between concert and commercial dance could eventually

Jones 8 provide devastating affects on the aesthetics of dance. This is because of the influence of media and entertainment does not always support the classical technique or aesthetics. In order to maintain the standard of the art form, classical technique and aesthetics need to be valued in commercial dance. It is the classical techniques that provide the base for commercial dance. In Jen Peters article, Ballet as a Spring Board, she explains that a strong base in classical training enables dancers to have strength and line in commercial dance. She does, however, acknowledge that switching careers is never easyballet dancers may need to find freedom in movement and become fearless risk takers in other performance style. There are some difficulties associated with changing from concert to commercial, but there is more money in commercial. The question she asks classically trained dancers is Can you possibly be fulfilled doing music videos and fast food commercials? The question is real. The artistic and technical precision of a Foresight or Balanchine ballet is a vastly different aesthetic from the latest Justin Bieber music video. Both have value they are just simply different. Classically trained ballet dancer Vanessa Thiessen made the jump from classical to commercial. She says, I don't try to deny my ballet backgroundI'm very proud of it I'm combining it with freedom and reality. Thiessen is not the only one that was drawn to the bright lights and glamor of showbiz. Lynorris Fvans was attracted to Cirque du Soleil. He states, Television, acrobatic stunts, modern dance, circus productions, and musicalswith a ballet foundation, an open mind and perseverance, no direction is out of reach (Peters 33). Both Thiessen and Fvans comment on the way their body image has changed after making the change from classical. He comments, I like the way my body feels when I train classically. It frees my body and allows me to do anything. But commercially I look better filled out (Peter 33). Thiessen commented on the thin aesthetic of classical ballet and how her arms appear to be those bodybuilder. One thing that classical should take from commercial is the focus on movement and not on body image. Overall commercial dance is more accepting of several different body types. A study done in

Jones 9 Los Angeles shows the devastating effects of poor body image in dancers. Heiland states that very few dancers can maintain the ideal thinness throughout their careers. The message of thinness is evasive throughout the media. This in culmination with the everyday practices of dance instruction can cause negative body image and in extreme cases eating disorders. Heiland comments about the media's message saying, It triggers, 'never good enough,' 'my body isn't mine,' 'my body can't be beautiful,' and 'I can't do anything right.' These thoughts are negative and seldom help the dancer's dancing. The relationship between self and body is often muddled together in the mind of a dancer. Professional ballet is not just something that you do: in a very deep sense it is who you are. Because there is such a connection between the dance and the individual dancer, dancers are continually looking for innovative ways of expression. Another cycle started in the commercialization of dance by the development of the modern dance. Modern dance developed as an out let for those dancers who were tired of the constraints of classical ballet, but didn't want the thoughtlessness of entertainment commercialism. These dancers didn't want to be known as entertainers but preferred to be considered artists (Brown 2). One pioneers in modern was Loie Fuller who was a stage craft innovator and inventor. She used visual effect more than story telling to impress audiences and give a visual performance (Brown 2). Isadora Duncan, another pioneer in modern and the founder of American modern dance was self taught, let go of the corset, slippers, and tutu of conventional ballet dress, used the classical music of Beethoven, Chopin, Gluck and Wagner, and danced on concert stages and in opera houses (Brown 2). She wanted the body free to move expressively with musicality and dynamic subtlety. Later, due to public demand, she established her own school of dance. This passion for her work spread to America in the 1920's as both audience and dancers embraced this new form of serious theatrical dancing, one of the most historically significant student dancers being Martha Graham (Brown 4). Once respectability for the dance had been gained, the second generation of dancers included artists such as Erick Hawkins, Merce Cunningham, Paul Taylor, Jose Limon, Katherine Dunham and

Jones 10 others (Brown 7). Each of these artists developed their own form of technique, which because of their popularity were later commercialized and taught. In fact, modern dance today is much more sophisticated, both in technique and technology, than the dance begun by its pioneers (Brown 11). This is in large part because of the codification of the dance as it became popular enough to sell to students of dance and their parents. However, all dance forms including ballet were not left unchanged by the audience appealing fluency of modern dance. Fluency in all dance forms has become important. Many ballet companies in addition to doing classical ballet theater have performed the choreographed works of a more contemporary nature, appealing to a larger general audience necessary to attract more of the general public to performances. This can be seen in the works of well know choreographer, Mark Morris whose whose work is included in the repertory of the San Francisco Ballet, American Ballet Theatre, Paris Opera Ballet, Boston Ballet, Pacific Northwest Ballet, Dutch National Ballet, New Zealand Ballet, Houston Ballet, and The Royal Ballet (Brown 11). It is in these dances that the lines between modern and other dance forms become more blurred. Perhaps it is also where the best balance can be obtained as dancers maintain their integrity to the training of classical ballet, but build on it to express feelings and ideas in a manner both more expressive for the dancer and more appealing to a larger general audience. Here the dancer can feel the artist. While dancers continue to strive for this balance of art versus commercialism, the commercialization of dance has had both positive and negative effects in commercial and classical genres. Some of these effects are changing the way choreographers, dancers, and audiences view the art. As the perspective of the dance world changes, the art form itself changes. The influence of this economic viability and or marketability of dance is often referred to as the commercialization of dance. Further discussion on the future of dance and what changes should be avoided or made to increase

Jones 11 longevity of the art form are needed to create a true balance between the innovative commercialization of dance and the purity of traditional aesthetics.

Jones 12 Works Cited Ameu, Lisa. "The Real Deal." Dance Spirit Nov. 2007: n. pag. International Bibliography of Theatre and Dance. Web. 25 Mar. 2013. Bohen, Colleen. "Pace's NEW Commercial Dance Major." International Bibliography of Theatre and Dance. EBSCO, 2011. Web. 25 Mar. 2013. Brooksher, Natasha. How to Find the Best Dance Studio for Your Dancer. Mesa: Southwest Classical Dance Institute, 2005. Print. Brown, Pei-San. History of Modern Dance. Austin: Ballet Austin, n.d. Print. Dunagan, Colleen. "Performing the Commodity-Sign: Dancing in the Gap." Dance Research Journal 39.2 (2007): n. pag. International Bibliography of Theatre and Dance. Web. 25 Mar. 2013. Ford Cars. Advertisement. YouTube. ChrisMcGroarty, 12 July 2012. Web. 2 Apr. 2013. <http://www.youtube.com/watch?v=jweQxdGx10U>. Ford Cars. Advertisement. YouTube. JBWKZG8GXP, 15 Mar. 2013. Web. 2 Apr. 2013. <http://www.youtube.com/watch?v=mrObclx5tvA>. Gap Clothing. Advertisement. YouTube. AliciaMortonRocks, 1 Dec. 2009. Web. 2 Apr. 2013. <http://www.youtube.com/watch?v=ffRlqiIE4J4>. Gap Clothing. Advertisement. YouTube. Johnnorris555, 13 Dec. 2009. Web. 2 Apr. 2013. <http://www.youtube.com/watch?v=Vy-5bOox6pU>. Holmes, Kathryn. "From Classical to Commercail." Dance Spirit 13.4 (2009): n. pag. International Bibliography of Theatre and Dance. Web. 25 Mar. 2013. NIKE. Advertisement. YouTube. Topviral, 20 June 2008. Web. 2 Apr. 2013. <http://www.youtube.com/watch?v=_GoZT3RI0iE>. Peters, Jen. "Ballet as Springboard." Dance Magazine May 2012: 32-35. International Bibliography of Theatre and Dance. Web. 25 Mar. 2013.

Jones 13 Risner, Doug. "Dance Education Matters: Rebuilding Postsecondary Dance Education for Twenty-First Century Relevance and Resonance." Journal of Dance Education 10.4 (2010): 95-110. International Bibliography of Theatre and Dance with Full Text. Web. 25 Mar. 2013. Rockwell, John. "The Intimate, Unified Universe of Dance." The Intimate, Unified Universe of Dance 9 Jan. 2005: n. pag. Print.