Most recently dancing in Best of the musical European Arena Tour, The Illusionists LONDON, UK tour, International Tour and ITV. Dane has choreographed television adverts for the weather channel, stoptober NHS, to name a few, choreographer for cruise ship shows, pantomime 5 years consecutively, fashion shows and corporate events and for Britain’s Got Talent series 10.

Dane works very closely with ballet west Scotland, and is teaching all over the UK and Ireland and internationally, having taught in London Studio Centre, Bodywork, Italia Conti. GSA. As well as Studio 76, MADD College, Phil Winstons theatre works, Dane has taught Masterclasses in China, LA, Greece, London and Paris. Dane is creative director of Eden Dancewear and resident choreographer for all their corporate events.

https://www.canyoudancelive.com/dance-tutors/dane-bates/

Youtube Link- Dane Bates
https://www.youtube.com/watch?v=M8KoRQqF1t8

https://www.youtube.com/watch?v=rrKiBHGFaQQ

https://www.youtube.com/watch?v=B2rfGqyDj_c

Modern Jazz style- Brain Freeman
Brian L. Friedman is an American dancer and choreographer. Friedman has created the choreography for many popular music artists – such as Britney Spears, Cher, Beyoncé Knowles, and Mariah Carey – as well as for music videos, concert tours, and television and film productions.

https://en.wikipedia.org/wiki/Brian_Friedman

https://www.youtube.com/watch?v=932n5qEyOsk

https://www.youtube.com/watch?v=uVnOOmSG64M

Historical Jazz Choreographers
Jack Cole - Jazz Choreographer

He's been called the father of American jazz dancing. But Jack Cole was also the man who gave Marilyn Monroe her dance moves. Another Cole pupil, Chita Rivera - star of the original Broadway West Side Story - recalls him as a demanding choreographer but, more than 60 years on, says she'll never have cause for complaint. 

Rivera is one of the few people still to have memories of dancing with Cole in his prime. She's been a Broadway star since 1957, when she created the role of Anita in West Side Story. 

A year before that she'd appeared with Cole on TV on Sid Caesar's comedy show. They performed an extended and powerful version of the jazz standard the Beale Street Blues.

"Jack was extraordinary," Rivera says. "The style he created was like nothing else you'd seen. He could be exciting and scary and maybe you didn't always want to hang around with him - but I'm delighted we got to dance together at the beginning of my career."


Cole was born John Ewing Richter in 1911 into a blue collar family in New Jersey.

The turning point in his career came as a teenager when he started to dance with the Denishawn School of Dancing and Related Arts. Its founders Ruth St Denis and Ted Shawn had abandoned European balletic tradition to explore other cultures - especially Indian dance. 

Improbable as it seems, the Indian influence would still be visible two decades later when Cole devised Marilyn Monroe's most famous dance routine, the Diamonds Are A Girl's Best Friend sequence.

Rivera recalls how Cole performed. "Jack danced in the floor, as opposed to above the floor. It wasn't so much great balletic leaps - watch Beale St Blues online and you'll see the way Jack moved. There's a mixture of femininity there but also he dances like a guy. Strong, really strong - like a big cat. It's something you see in Rudolf Nureyev as well: they were both very, very male."


"They were enacting a Seminole (American Indian) ritual. But Jack Cole was such a sensual dancer and there was a little bit too much pelvis and too much bare chest - just too much male sensuality. So the performance stayed on the cutting-room floor but his movie career flourished as a choreographer."

Marilyn Monroe's Diamonds Are A Girl's Best Friend sequence from Gentlemen Prefer Blondes became Cole's best-known number. It's been borrowed by performers including Madonna and Kylie Minogue. For 1953 it was wildly over the top.

In a tight satin dress in shocking fuchsia, Monroe flirts with 20 or so male dancers clad in white tie and tails. Rivera says it's classic Cole. 

"Jack was demanding but rightly so. He dictated every last detail of how he wanted you to twist an arm or the exact shape you needed with your hands. I remember once he worked with us for hours on how a particular handclap should sound.

https://www.bbc.co.uk/news/entertainment-arts-47814968

Youtube clip-
https://www.youtube.com/watch?v=ZcwwcPvoCjU

Cole’s movement is typified by huge leaps from deep pliés, rapid direction changes, long knee slides, syncopation and isolations of the head, arms and fingers. His rigorous warm-up is legendary—it included push-ups against a wall—and he auditioned dancers with a ballet barre. 

Much of his work features a dynamic soloist (often female), backed by an all-male corps of dancers. This formula popularized the femme fatale vision—female strength, rooted in sexuality. 

https://www.dance-teacher.com/history-lesson-plan-jack-cole-2392429308.html

Suzi Taylor-Historical Lyrical Jazz 

The beginning of Suzi Taylor’s lyrical jazz class closely resembles a ballet barre—except there isn’t a physical barre to cling to and there aren’t pauses for rest between exercises. It’s a strenuous, nonstop warm-up packed with all the tools of classical technique: pliés with port de bras, rond de jambe en l’air and fondu. At one point, Taylor, sweaty from leading the class full-out, runs around the room to shape students’ feet as they balance in sur le cou-de-pied. It isn’t until an hour in that the dancers get to take on her choreography full of expansive shapes and gooey transitions.

Technicians like Taylor are rare in today’s choreography-obsessed industry, where classes outside the codified forms quite rarely reach beyond the stretch-and-learn-a-combo equation. “Style has become a technique and it drives me crazy,” says Taylor, who teaches with New York City Dance Alliance and at Steps on Broadway. “You almost have to threaten kids to take ballet these days.”

When she first moved to New York, the term lyrical, a subset of jazz, was just becoming a brand. The style budded in California, where Taylor studied under Doug Caldwell, one of lyrical’s early teachers. And though many stamp her class with the label, Taylor doesn’t often use it herself. “When they decided to name it lyrical, I was like, ‘What the heck is that?’” she says. “I always found that a weird thing to call it. Sure, I use music with lyrics sometimes, but often I don’t. What really got people interested in my class was the floorwork and exploring movement that was familiar, but not necessarily ‘big and jazzy.’”

Taylor says she understands that since then, dance trends and training have shifted—e.g. the often indefinable style of contemporary has become a mainstream favorite. “There’s some beautiful contemporary work happening professionally that I really admire, but I worry when young dancers attempt it and don’t understand where the movements are coming from. It takes them out of the process of training, and that’s not doing much to prepare them for their professional life.”

This fall, Taylor became an adjunct professor at Pace University’s commercial BFA program. And while she loves the vibrant communities at Steps and NYCDA, she’s excited to work with students at a different stage in their dancing. “It’s hard to find a consistency of people who want to train,” she says. “I’m a teacher, and I like this work because I want to see the changes that happen with them.” 

Suzi Taylor trained in Southern California with Douglas Caldwell, Jaime Rogers and Philip and Charles Fuller before moving to New York City. There, she studied at The Ailey School and with Doug Wassel, David Howard and Finis Jhung. She has been teaching at Steps on Broadway for 25 years and is a founding teacher at New York City Dance Alliance. In fall 2013, she joined the dance faculty at Pace University.

https://www.dance-teacher.com/suzi-taylor-2392454870.html

Youtube Clips-
https://www.youtube.com/watch?v=xEicpyGFhN8

https://www.youtube.com/watch?v=5sf6chjydpg


Additional Research- 
Ballet is the original dance form. Ballet usually tells a story. It makes dance more interesting to watch-- especially for people who don't really understand dance. Americans have been involved in much of the change that dance has gone through in the last century.

Jazz dance originates from the Africans and showcases each dancer's individual style. Jazz then evolved to Broadway jazz. The movements in this form of jazz are more exaggerated than original jazz dance.

Dance is no longer just disciplined ballet. It is now a category that contains styles like lyrical and jazz. However, ballet will always be the first form of dance. It is the foundation of all other styles of dance.

Lyrical dance forms have an important base in ballet. It is expressive and dynamic, and commonly set to music with vocals.

Dance is an independent art form. You might view dance differently from someone else. But dance has changed significantly since the start of ballet.

https://prezi.com/uvsgwvts8eiv/how-has-dance-changed-over-time/



The Qualities of Lyrical Dance

One of the most prevalent qualities of lyrical dance is the continuation of movement. The choreography is usually designed to have the movements flow very naturally and smoothly into each other, with little or no stopping or moments of stillness. While sharp movements such as contractions or spiking with limbs can be integrated for emphasis at certain parts of the dance, usually the movements are flowing, "carving" and "arcing", with many curving pathways created and merging into each other.

https://dance.lovetoknow.com/Lyrical_Dancing

History

Jazz dance originated from the African American vernacular dance of the late 1800s to the mid-1900s. An early popular "jazz dancer" was vaudeville star Joe Frisco in the 1910s. He danced in a loose-limbed style close to the ground while juggling his derby, hat and cigar.
Until the middle of 1950s, the term "jazz dance" often referred to tap dance, because tap dancing (set to jazz music) was the main performance dance of the era. During the later jazz age, popular forms of jazz dance were the Cakewalk, Black Bottom, Charleston, Jitterbug, Boogie Woogie, Swing dancing and the related Lindy Hop.

After the 1950, pioneers such as Katherine Dunham took the essence of Caribbean traditional dance and made it into a performing art. With the growing domination of other forms of entertainment music, jazz dance evolved on Broadway into a new, smooth style taught today and known as Modern Jazz, while tap dance continued to evolve on its own. The performance style was popularized by Bob Fosse’s work, such as Chicago, Cabaret, Damn Yankees, and The Pajama Game.

Today, jazz dance is present in many different venues and different forms. Jazz dance thrives in dance schools and remains an essential part of musical theater choreography; it is sometimes interwoven with other dance styles as appropriate for the particular show. Jazz dancing can be seen in some music videos, and even a number of Las Vegas showgirls are jazz dancers. Jazz Dance can also be seen on the hit show, "So You Think You Can Dance", and is performed by dance companies around the world.

Technique
Technique is the foundation for all dance movement. A strong technical foundation enables a dancer to focus on the stylistic and performance aspects of dance. Technique is essential for jumps and turns, where correct posture is essential to properly execute such moves. Also, jazz dancers' strong and sharp movements are greatly aided by a good background in ballet technique.

Center control is important in jazz technique. The body's center is the focal point from which all movement emanates, thus making it possible to maintain balance while executing powerful movements.

Jazz classes require some form of moderate intensity stretching in order to warm up the muscles and help prevent injuries. Some techniques used in the warm up consist of elongating leg muscles and strengthening the core.
Notable Directors, Dancers, and Choreographers

http://www.danceconnectionrochester.com/dance/jazz-dance



Early Life of Bob Fosse 

Robert Louis "Bob" Fosse was born on June 23, 1927, in Chicago, Illinois. Fosse was one of six children and grew up surrounded by dance and theater. At the age of 13, he teamed up with another young dancer, Charles Grass. The talented couple toured throughout Chicago theaters as "The Riff Brothers." A couple of years later, Fosse was hired to star in a show called "Tough Situation" which toured a number of military and naval bases. Fosse believed that he perfected his performance technique during his time with the show.

Dance Career of Bob Fosse 

After taking years of acting classes, Fosse moved to Hollywood to begin a film career. He appeared in several films including "Give A Girl A Break", "The Affairs of Dobie Gillis" and "Kiss Me Kate." Fosse's film career was cut short due to premature baldness, so he turned to choreography. In 1954 he successfully choreographed "The Pajama Game." Fosse went on to direct five feature films, including "Cabaret", which won eight Academy Awards. Under his direction, "All That Jazz" won four Academy Awards, earning Fosse his third Oscar nomination.

Dance Style of Bob Fosse 

Fosse's unique jazz dance style was stylish, sexy, and easily recognized. After growing up in cabaret nightclubs, the nature of Fosse's signature style was sexually suggestive. Three of his dance trademarks included turned-in knees, sideways shuffling, and rolled shoulders.

Most Fosse dancers say that the biggest challenge they face when learning his choreography is figuring out how to execute the detailed movements. “The work is fragile,” says legendary Fosse protégé Ann Reinking. “If you don’t do it with the specificity it needs, it can fall apart.” For example, “There’s something amazing about the beginning of his ‘Rich Man’s Frug’ from Sweet Charity,” says Nikka Graff Lanzarone, who plays Velma in Chicago on Broadway. “Really, all they’re doing is walking, but the way they’re walking [with rigid posture and their noses toward the ceiling] is telling you everything you need to know about the characters. It relies on such tiny details. And you have no tricks to hide behind, so you have to get them all exactly right.”

Fosse dancers must be able to isolate everything, right down to their eyeballs, elbows and fingers. When a Fosse dancer learns to focus her energy in stillness, she can grab the audience with a simple flutter of her fingers. “It should look like you’re not working at all—but you’ll come off stage sweating,” says Lanzarone.

Desmond Richardson, the co-founder of Complexions Contemporary Ballet who was nominated for a Tony Award for his performance in the musical revue Fosse, says he struggled with Fosse’s usage of hands and arms. “Your elbows are often back, and your hands are splayed forward,” he explains. “I could do it, but I wasn’t accustomed to it—it took some time. My arms would be really sore afterward. But now it’s in my body.”

Repetition is the key to mastering these small movements. “Fosse would take one count of eight and make you do it over and over and over,” says Broadway and Fosse veteran Rachelle Rak. “Something happens after all that repetition. Suddenly it feels good—you know, that feeling when you get something.”

Students learn "Rich Man's Frug" in Diana Laurenson's Fosse workshop at Broadway Dance Center in NYC. Photo courtesy Broadway Dance Center.

Fosse performers must tell a story. “Bob never called us dancers. He would always call us his actors, because everything he did came from an acting standpoint—from an idea or emotion,” says Diana Laurenson, a master theater dance teacher at Broadway Dance Center who worked personally with Fosse. “Every move you make is infused with character and story.”

It’s crucial that you develop an ability to control your movement while still maintaining a strong sense of intention. Laurenson warns against over-dancing. “Sometimes less is more,” she says. “There are moments in Fosse’s choreography when you don’t throw it in their laps. You want them to sit forward and come to you.” Reinking adds: “You’re almost quiet, and yet you come off as powerful—not necessarily big, but powerful. It’s as if you are doing a Shakespearean soliloquy. ‘To be or not to be’ has to be strong. The great actors don’t shout it, but it is strong.”

The best way to develop your control is to keep training in modern, jazz, tap and especially ballet. Some of the best Fosse dancers were ballet dancers first, including Reinking, Richardson and Elizabeth Parkinson. “I found that the same quality that was asked of me as a ballet dancer was asked of me as a Fosse dancer: That adherence and dedication to the line, and to making that line look good,” says Reinking. “You have to have the same clear, well-trained eye to perform Mr. Fosse’s work.”

 

Bob Fosse used a variety of unique phrases to describe his signature movements, and many of these terms are still around today. Here, Broadway and Fosse veteran Rachelle Rak shares a few of her favorites to help you prep for your next Fosse class.

 “Slow burn”: An intense gaze that shifts slowly from one side of the stage to the other or from back to front. See it in Cabaret as Liza Minnelli faces upstage, then slowly turns in her chair to look at the audience before she sings “Mein Herr.”

 “Broken doll walk”: A pigeon-toed walk downstage. Your elbows are glued to your torso, jazz hands reach out to your sides and your hips swing slightly. See it in “Bye Bye Blackbird” in Fosseas the dancers sing “Here I go, swingin’ low.”

 “Crescent jump”: A jump in place with one leg in parallel coupé and the other straight. Jazz hands extend high above your head as you reach far to one side, making a “C” with your body. See it in “Sing Sing Sing” in Fosse—the dancers do it over and over again during the climax of the music.

 “Soft-boiled-egg hand”: A cupped-hand position. Imagine that you’re holding an egg just tight enough to avoid dropping or crushing it. See it in “Bye Bye Blackbird” in Fosse.

 

Straight from The PULSE On Tour, Brian Friedman, Producer/Director/Choreographer/Fashion Designer is one of the hottest directors for some of today’s most popular concert tours, music videos, commercials and films. His moves and style are beyond grand, graceful and captivating, which make him a true original in his field.

Brian Friedman is one of the hottest directors for some of today’s most popular concert tours, music videos, commercials and films. His moves and style are beyond grand, graceful and captivating, which make him a true original in his field. 

Friedman has choreographed some of the most known music videos and performances such as Britney Spears’ Toxic and Slave 4 U, My Love Is Like Wo by Mya, The One by PRINCE, *NSYNC’s Dirty Pop, and many more for artists such as Beyonce, Usher, Pink, Brittany Murphy, Hilary Duff, and Christina Milian. 

As a dancer, his silver screen credits include both Charlie’s Angels and Charlie’s Angels: Full Throttle, You Got Served, She’s All that, Austin Powers: Gold Member, Uptown Girls, and more. Friedman has also choreographed for countless television shows including Will & Grace, The Tonight Show with Jay Leno, David Letterman, The Ellen DeGeneres Show, Oprah, That 70’s Show, MTV VMA’s, VH1 DIVAS LIVE, and Billboard Music Awards. 

Friedman's dance training began at age 11 in his hometown of Scottsdale, AZ. He later starred in Newsies, and Kids Incorporated, and owned his own dance studio before he was 16. As a young dancer, Friedman worked with such artists as Michael Jackson, Paula Abdul, Celine Dion, Melissa Etheridge, Salt ‘N Pepa, and Patti LaBelle. 

Friedman has been nominated for four MTV Video Music Awards, 2 Music Video Production Awards and five American Choreography Awards. This young innovator created FREESTYLE, an interactive instructional dance DVD that teaches audiences original choreography and the moves that made him famous. He also tours around the world mentoring thousands of students and teaching his own dance technique. After two seasons of SYTYCD he was exported overseas to London to star in Simon Cowell’s hit UK show, Grease Is the Word. Following Grease was London's The X Factor. 

 https://www.broadwaydancecenter.com/faculty/brian-friedman

This flamboyant, extravagant dance style, which Brian Friedman helped create and popularize, is all over the commercial dance scene. Friedman was one of the first choreographers to use the style and initially referred to it as “ganking.” Using Britney Spears as his muse, he created his own recipe for a “ganky stew,” which he describes as “a mixture of drag queen performance, vogueing, house and thrashy jazz.” He adds: “It has to be powerful and dominant, almost like you’re getting into a fight with a dance move. Mash it, stab it, kill it and then walk away with confidence.”

Working with Marguerite Derricks as a kid developed my sense of cleanliness. She was very specific about hand placement and stylistic choices—that's where I got my Fosse influence. Jamie King was all about musicality and speed. He moved so quickly choreographing, pulling out sounds in the music the normal ear wouldn't hear and making them part of the choreography. I worked with Kenny Ortega when I was very young. He'd create organic movements, which was a completely unfamiliar process to me as a competitive dancer. I didn't know you could make up moves that weren't already part of someone else's vocabulary. I found my own vocabulary thanks to my mentors, Marguerite, Jamie, and Kenny.