Gavin Dorrian on Influence
REFERENCES FOR THE VIDEO
MODERN COMPARISONS TO JUBA'S DANCE
By Thomas Morgan Jones
I had the distinct pleasure of interviewing internationally renowned dancer, choreographer, and ballet master, Gavin Dorrian for the Juba Project. He was in Toronto in December of 2006 and agreed to give an interview during his short two week stay. In preparation for the interview, he made use of the projects website to read the (contemporary) critics responses to Juba, along with a paper by Professor Stephen Johnson of the University of Toronto. Gavin's immediate interest in the material made for many stimulating conversations leading up to the interview regarding historical contexts for dance, Juba as a personality, dance style, and influence.
In preparation for our discussions I researched all of the styles of dance mentioned or implied in the critic's writings about Juba. These styles included (but were not limited to) highland flings, jigs, and reels, tap, whirling dervishes, step dancing, quadrilles, and a special focus on ballet of the period in Europe.
Despite all of my research efforts concerning dance of the period, of the many questions I asked Gavin during his one-hour on-camera interview the most resonant and salient seemed to be concerning dancers he had witnessed in his lifetime that were beyond description. What was it about these dancers that made them so engaging? Why were they unique and indescribable? Was it their personality, their training, their company, their individual style, their passion? What were the qualities that stood out?
The dancers he describes are from a later period in history, but their mark on dance as an art form and their personal style of performance set them apart from their contemporaries in the same way that Juba was set apart from his. In highlighting their individuality one can guess and marvel at the critics descriptions of Juba in a new way. As Gavin explains, training and prowess were a very important part of these dancers power. He goes on to explain that it was their 'wild abandon' (as one Juba description says) that set them apart. Gavin expresses that a dancer's commitment to their performance, to themselves, without concern for looking 'beautiful' or keeping strong lines and technique (although both are ingrained strongly in the dancer before they are able to make them malleable) creates an incredibly powerful show.
Of all the quotes describing Juba's dance, the one quote that stood out to Gavin more strongly than the others was "Surely he cannot be flesh and blood…or how could he turn, and twine, and twist, and twirl, and hop, and jump, and kick, and throw his feet…Heels or toes, on feet or on knees, on the ground or off, it is all the same to Juba…"
The clips provided describe a) Bob Fosse, b) Lynn Seymour and Marcia Haydee, and c) the Nicholas Brothers. All four of these dancers seem appropriate case studies for comparison with Juba given the sensation they caused amongst the dance world, and their lasting impact on the dance community and consciousness.
Bob Fosse
Fosse is known for his simplistic yet highly stylized choreography. This style focuses heavily on isolations of the body, often focusing on one body part moving at a time exclusively for effect. He was the first director and choreographer for the musical Chicago and was the director and choreographer for the film adaptation of Cabaret starring Liza Minnelli.
Lynn Seymour
A Canadian born dancer of Scottish descent, Seymour was given a scholarship to the Sadler's Wells Ballet School in 1953 where she was classmates with Marcia Haydee. Four years later she became a member of the touring Royal Ballet. Her most celebrated collaborations were with dancer/choreographer Sir Kenneth Macmillan.
Marcia Haydee
A Brazilian born dancer (1939), Haydee began her career with the Grand Ballet du Marquis de Cuevas, and later moved to the Stuttgart Ballet. Throughout her career she worked with (and created roles for) famed choreographers Sir Kenneth Macmillan, and John Cranko.
The Nicholas Brothers
The Nicholas Brothers are made up of Fayard (born 1914), and Harold (1921-2000). They were well known tap dancing virtuosos on stage and screen, making their Broadway debut with the Ziegfeld Follies in 1936. They performed in America, Europe, and for troops in Viet Nam. They have been honoured with a star on the Walk of Fame and received an honorary doctorate from Harvard University.
Gavin's vast experience with dance of all styles both in Glasgow and internationally (as a dancer, choreographer, and acclaimed instructor) give him a unique perspective from which to contribute to the ongoing discussion of Juba's importance to dance. Gavin himself, as one can see from the interview, is a man of talent, dedication, and extraordinary passion for his art form. Who better to discuss an indescribable dancer than an indescribable dancer?
Below is Gavin's CV so that the viewer/reader may become more familiar with his contribution to (and work in) dance to date.
GAVIN DORRIAN
Gavin Dorrian was born in Glasgow, Scotland. He began studying Dance and Theatre at the Royal Scottish Academy of Music and Drama, making his professional debut as an actor in Luigi Pirandello’s SIX CHARACTERS IN SEARCH OF AN AUTHOR, at the Glasgow Citizens’ Theatre.
Concentrating on Dance, he moved to London for a period of three years’ intensive tuition with Andrew Hardie (an ex-pupil of Nicholas Legat) and Valerie Swinnard (ex-Ballet Rambert), after which he joined the Scottish Ballet (Artistic Director: Peter Darrell) with whom he remained for four years.
Leaving the Scottish Ballet, Gavin Dorrian was awarded a Scottish Arts Council Bursary to study Classical Ballet in New York with Stanley Williams, at the School of American Ballet, and Contemporary Dance with Murray Louis of the Alwin Nickolais Dance Theatre.
Joining the Iranian National Ballet (Artistic Director: Ali Pourfarrokh) Gavin Dorrian danced Soloist roles in a varied repertoire including SERENADE (Chor. George Balanchine) ; CARMINA BURANA (Chor. John Butler) ; Nicholas Beriosoff’s stagings of THE SLEEPING BEAUTY ; ROMEO & JULIET ; THE NUTCRACKER.
Paris-based, he studied with Gilbert Mayer, of the Paris Opera, (Classical Ballet) ; Jacqueline Finnaert (Barre au Sol) ; Peter Goss (Contemporary) ; Michael Owens and Molly Molloy (Jazz).
Returning to Britain, Gavin Dorrian joined the Royal Opera Ballet, Covent Garden.
On completion of a six month tour of Italy with Balletto-Classico Gavin Dorrian joined the ballet company of the Teatro alla Scala, Milan dancing Soloist roles.
In 1984, Gavin Dorrian joined the contemporary dance company Ballet- Theatre Russillo (Artistic Director: Joseph Russillo), resident company of the Centre Choreographique National de Toulouse (France). The company toured internationally, including a two-week season at the Joyce Theatre, New York.
A founder member of London City Ballet (Artistic Director: Harold King), Gavin Dorrian returned to the company in 1985/87, touring Britain, Finland, Jordan, and Cyprus.
In October 1986, Gavin Dorrian guested with the Charleston Ballet (U.S.A.) in BEAUTY & THE BEAST, dancing the dual role of The Beast/Prince (Chor. Andre Van Damme).
Leaving London City Ballet, Gavin Dorrian joined Vienna Festival Ballet (Artistic Director: Peter Mallek), as Soloist Dancer/Ballet Master. This was followed by Television work and Guest-teaching in Ireland ; an extensive tour of Europe with Wiener Ballett-Theater (Artistic Director: Gunther Falusy).
After a national tour, culminating in performances at the 1989 Edinburgh International Festival, of A PORTRAIT OF ANNA PAVLOVA, for Ballet Creations of London, Gavin Dorrian returned to Ireland to teach at the Irish National College of Dance. Using both professional dancers and graduating students, he devised a Dance-In-Education/Outreach Programme, which was seen by over 44 schools in the Dublin area. In September 1990, he joined the faculty of the College of Dance, Dublin, as Principal Male Teacher on the Professional Diploma Course in Dance, teaching Contemporary and Classical Ballet Technique, Repertoire, Pas de Deux, and with particular responsibility for the training of male students. In 1995, he assumed the post of Artistic Director.
While an Executive of the Dance Council of Ireland (1991/93), Gavin Dorrian instigated the Irish Youth Dance Company’s productions of ANCIENT AIRS & DANCES, and THE AGE OF ANXIETY.
Throughout 1992/93, Gavin Dorrian was Dance Assistant on the Abbey Theatre (Dublin, Ireland) production of Brian Friel's DANCING AT LUNGHASA (Dir: Patrick Mason ; Chor: Terry John Bates) at the Plymouth Theatre, New York, and the subsequent national tours of Ireland and Australia.
He was, also, Rehearsal Director on FUSCHIA, and FREEDOM'S GAIT for Dance Theatre of Ireland (www.dancetheatreireland.com).
In June, 1993, Gavin Dorrian visited Russia at the invitation of the Director of the State Choreographic Institute, Perm (Artistic Director: Ludmilla Sakharova), to observe teaching methods, and attend the graduation of Irish students completing three years’ training at the school as part of a cultural exchange between Ireland and Russia.
As a choreographer, Gavin Dorrian’s professional credits include: THE BACCHAE (1991 Cardiff Arts Festival, Wales) ; Resident Choreographer, for four seasons, to Wexford Festival Opera, Ireland, (Artistic Director: Elaine Padmore) ; LA TRAVIATA and DIE FLEDERMAUS (Opera Ireland) ; the film version of W.B.Yeats’ THE CAT ON THE MOON (Dir. Patrick Bergin) ; PRIDE & PREJUDICE (The Gate Theatre, Dublin) ; SHAKESPEARE IN THE PARK (Dublin), for three seasons ; Irving Berlin’s SHOWBOAT (College of Music, Dublin) ; THE GONDOLIERS (The National Concert Hall, Dublin) ; the dance and live-action sequences for the feature-length film cartoon THUMBELINA (Twentieth Century Fox Film Corporation, Hollywood, U.S.A.) ; Trade/Fashion Shows/Corporate Entertainment (U.K. & Ireland).
As Artistic Consultant to Ballet Promotions Ireland Ltd., Gavin Dorrian co-ordinated the 1995 European tour of the Tatarstan State Ballet of Russia.
In May 1997, and 1998, at the invitation of the Russian Ministry of Culture and with financial support from the Arts Council of Ireland, Gavin Dorrian represented Ireland at the prestigious annual RUDOLF NUREYEV INTERNATIONAL DANCE FESTIVAL, in Kazan, capital of the Republic of Tatarstan, in Eastern Russia.
During 1998/99, as Company Teacher/Rehearsal Director to the European Ballet (Artistic Director: Stanislav Tchassov) he toured the U.K. and Ireland with CINDERELLA (Chor.Tchassov), followed by Guest-teaching in Italy.
In demand as a Guest-teacher, companies with whom he has worked include BALLET GULBENKIAN, Portugal (Artistic Director: Iracity Cardoso ; www.musica.gulbenkian.pt/ballet) : THE CHARLESTON BALLET, U.S.A. (Artistic Director: Andre Van Damme ; www.thecharlestonballet.com) : N.N.D./GALLILI DANCE, Dance Foundation of the Northern Netherlands (Artistic Director: Itzik Galili ; www.nnd.nl) : BALLETT - BASEL, Switzerland (Artistic Director: Richard Wherlock ; www.theater-basel.ch).
Future engagements include:
THE CURVE FOUNDATION, Scotland (Artistic Director: Ross Cooper ; www.curvefoundation.org) : The Diana, Princess of Wales Memorial Award for Young People “ Scotland “.
Gavin Dorrian is, also, currently an appointed Specialist Advisor in Dance to the Scottish Arts Council (www.scottisharts.org.uk), and Dance Artist in Residence on the Enterprise/Outreach Programme at Govan High School, Glasgow, Scotland (Head Teacher: Ian White).
MODERN COMPARISONS TO JUBA'S DANCE
By Thomas Morgan Jones
I had the distinct pleasure of interviewing internationally renowned dancer, choreographer, and ballet master, Gavin Dorrian for the Juba Project. He was in Toronto in December of 2006 and agreed to give an interview during his short two week stay. In preparation for the interview, he made use of the projects website to read the (contemporary) critics responses to Juba, along with a paper by Professor Stephen Johnson of the University of Toronto. Gavin's immediate interest in the material made for many stimulating conversations leading up to the interview regarding historical contexts for dance, Juba as a personality, dance style, and influence.
In preparation for our discussions I researched all of the styles of dance mentioned or implied in the critic's writings about Juba. These styles included (but were not limited to) highland flings, jigs, and reels, tap, whirling dervishes, step dancing, quadrilles, and a special focus on ballet of the period in Europe.
Despite all of my research efforts concerning dance of the period, of the many questions I asked Gavin during his one-hour on-camera interview the most resonant and salient seemed to be concerning dancers he had witnessed in his lifetime that were beyond description. What was it about these dancers that made them so engaging? Why were they unique and indescribable? Was it their personality, their training, their company, their individual style, their passion? What were the qualities that stood out?
The dancers he describes are from a later period in history, but their mark on dance as an art form and their personal style of performance set them apart from their contemporaries in the same way that Juba was set apart from his. In highlighting their individuality one can guess and marvel at the critics descriptions of Juba in a new way. As Gavin explains, training and prowess were a very important part of these dancers power. He goes on to explain that it was their 'wild abandon' (as one Juba description says) that set them apart. Gavin expresses that a dancer's commitment to their performance, to themselves, without concern for looking 'beautiful' or keeping strong lines and technique (although both are ingrained strongly in the dancer before they are able to make them malleable) creates an incredibly powerful show.
Of all the quotes describing Juba's dance, the one quote that stood out to Gavin more strongly than the others was "Surely he cannot be flesh and blood…or how could he turn, and twine, and twist, and twirl, and hop, and jump, and kick, and throw his feet…Heels or toes, on feet or on knees, on the ground or off, it is all the same to Juba…"
The clips provided describe a) Bob Fosse, b) Lynn Seymour and Marcia Haydee, and c) the Nicholas Brothers. All four of these dancers seem appropriate case studies for comparison with Juba given the sensation they caused amongst the dance world, and their lasting impact on the dance community and consciousness.
Bob Fosse
Fosse is known for his simplistic yet highly stylized choreography. This style focuses heavily on isolations of the body, often focusing on one body part moving at a time exclusively for effect. He was the first director and choreographer for the musical Chicago and was the director and choreographer for the film adaptation of Cabaret starring Liza Minnelli.
Lynn Seymour
A Canadian born dancer of Scottish descent, Seymour was given a scholarship to the Sadler's Wells Ballet School in 1953 where she was classmates with Marcia Haydee. Four years later she became a member of the touring Royal Ballet. Her most celebrated collaborations were with dancer/choreographer Sir Kenneth Macmillan.
Marcia Haydee
A Brazilian born dancer (1939), Haydee began her career with the Grand Ballet du Marquis de Cuevas, and later moved to the Stuttgart Ballet. Throughout her career she worked with (and created roles for) famed choreographers Sir Kenneth Macmillan, and John Cranko.
The Nicholas Brothers
The Nicholas Brothers are made up of Fayard (born 1914), and Harold (1921-2000). They were well known tap dancing virtuosos on stage and screen, making their Broadway debut with the Ziegfeld Follies in 1936. They performed in America, Europe, and for troops in Viet Nam. They have been honoured with a star on the Walk of Fame and received an honorary doctorate from Harvard University.
Gavin's vast experience with dance of all styles both in Glasgow and internationally (as a dancer, choreographer, and acclaimed instructor) give him a unique perspective from which to contribute to the ongoing discussion of Juba's importance to dance. Gavin himself, as one can see from the interview, is a man of talent, dedication, and extraordinary passion for his art form. Who better to discuss an indescribable dancer than an indescribable dancer?
Below is Gavin's CV so that the viewer/reader may become more familiar with his contribution to (and work in) dance to date.
GAVIN DORRIAN
Gavin Dorrian was born in Glasgow, Scotland. He began studying Dance and Theatre at the Royal Scottish Academy of Music and Drama, making his professional debut as an actor in Luigi Pirandello’s SIX CHARACTERS IN SEARCH OF AN AUTHOR, at the Glasgow Citizens’ Theatre.
Concentrating on Dance, he moved to London for a period of three years’ intensive tuition with Andrew Hardie (an ex-pupil of Nicholas Legat) and Valerie Swinnard (ex-Ballet Rambert), after which he joined the Scottish Ballet (Artistic Director: Peter Darrell) with whom he remained for four years.
Leaving the Scottish Ballet, Gavin Dorrian was awarded a Scottish Arts Council Bursary to study Classical Ballet in New York with Stanley Williams, at the School of American Ballet, and Contemporary Dance with Murray Louis of the Alwin Nickolais Dance Theatre.
Joining the Iranian National Ballet (Artistic Director: Ali Pourfarrokh) Gavin Dorrian danced Soloist roles in a varied repertoire including SERENADE (Chor. George Balanchine) ; CARMINA BURANA (Chor. John Butler) ; Nicholas Beriosoff’s stagings of THE SLEEPING BEAUTY ; ROMEO & JULIET ; THE NUTCRACKER.
Paris-based, he studied with Gilbert Mayer, of the Paris Opera, (Classical Ballet) ; Jacqueline Finnaert (Barre au Sol) ; Peter Goss (Contemporary) ; Michael Owens and Molly Molloy (Jazz).
Returning to Britain, Gavin Dorrian joined the Royal Opera Ballet, Covent Garden.
On completion of a six month tour of Italy with Balletto-Classico Gavin Dorrian joined the ballet company of the Teatro alla Scala, Milan dancing Soloist roles.
In 1984, Gavin Dorrian joined the contemporary dance company Ballet- Theatre Russillo (Artistic Director: Joseph Russillo), resident company of the Centre Choreographique National de Toulouse (France). The company toured internationally, including a two-week season at the Joyce Theatre, New York.
A founder member of London City Ballet (Artistic Director: Harold King), Gavin Dorrian returned to the company in 1985/87, touring Britain, Finland, Jordan, and Cyprus.
In October 1986, Gavin Dorrian guested with the Charleston Ballet (U.S.A.) in BEAUTY & THE BEAST, dancing the dual role of The Beast/Prince (Chor. Andre Van Damme).
Leaving London City Ballet, Gavin Dorrian joined Vienna Festival Ballet (Artistic Director: Peter Mallek), as Soloist Dancer/Ballet Master. This was followed by Television work and Guest-teaching in Ireland ; an extensive tour of Europe with Wiener Ballett-Theater (Artistic Director: Gunther Falusy).
After a national tour, culminating in performances at the 1989 Edinburgh International Festival, of A PORTRAIT OF ANNA PAVLOVA, for Ballet Creations of London, Gavin Dorrian returned to Ireland to teach at the Irish National College of Dance. Using both professional dancers and graduating students, he devised a Dance-In-Education/Outreach Programme, which was seen by over 44 schools in the Dublin area. In September 1990, he joined the faculty of the College of Dance, Dublin, as Principal Male Teacher on the Professional Diploma Course in Dance, teaching Contemporary and Classical Ballet Technique, Repertoire, Pas de Deux, and with particular responsibility for the training of male students. In 1995, he assumed the post of Artistic Director.
While an Executive of the Dance Council of Ireland (1991/93), Gavin Dorrian instigated the Irish Youth Dance Company’s productions of ANCIENT AIRS & DANCES, and THE AGE OF ANXIETY.
Throughout 1992/93, Gavin Dorrian was Dance Assistant on the Abbey Theatre (Dublin, Ireland) production of Brian Friel's DANCING AT LUNGHASA (Dir: Patrick Mason ; Chor: Terry John Bates) at the Plymouth Theatre, New York, and the subsequent national tours of Ireland and Australia.
He was, also, Rehearsal Director on FUSCHIA, and FREEDOM'S GAIT for Dance Theatre of Ireland (www.dancetheatreireland.com).
In June, 1993, Gavin Dorrian visited Russia at the invitation of the Director of the State Choreographic Institute, Perm (Artistic Director: Ludmilla Sakharova), to observe teaching methods, and attend the graduation of Irish students completing three years’ training at the school as part of a cultural exchange between Ireland and Russia.
As a choreographer, Gavin Dorrian’s professional credits include: THE BACCHAE (1991 Cardiff Arts Festival, Wales) ; Resident Choreographer, for four seasons, to Wexford Festival Opera, Ireland, (Artistic Director: Elaine Padmore) ; LA TRAVIATA and DIE FLEDERMAUS (Opera Ireland) ; the film version of W.B.Yeats’ THE CAT ON THE MOON (Dir. Patrick Bergin) ; PRIDE & PREJUDICE (The Gate Theatre, Dublin) ; SHAKESPEARE IN THE PARK (Dublin), for three seasons ; Irving Berlin’s SHOWBOAT (College of Music, Dublin) ; THE GONDOLIERS (The National Concert Hall, Dublin) ; the dance and live-action sequences for the feature-length film cartoon THUMBELINA (Twentieth Century Fox Film Corporation, Hollywood, U.S.A.) ; Trade/Fashion Shows/Corporate Entertainment (U.K. & Ireland).
As Artistic Consultant to Ballet Promotions Ireland Ltd., Gavin Dorrian co-ordinated the 1995 European tour of the Tatarstan State Ballet of Russia.
In May 1997, and 1998, at the invitation of the Russian Ministry of Culture and with financial support from the Arts Council of Ireland, Gavin Dorrian represented Ireland at the prestigious annual RUDOLF NUREYEV INTERNATIONAL DANCE FESTIVAL, in Kazan, capital of the Republic of Tatarstan, in Eastern Russia.
During 1998/99, as Company Teacher/Rehearsal Director to the European Ballet (Artistic Director: Stanislav Tchassov) he toured the U.K. and Ireland with CINDERELLA (Chor.Tchassov), followed by Guest-teaching in Italy.
In demand as a Guest-teacher, companies with whom he has worked include BALLET GULBENKIAN, Portugal (Artistic Director: Iracity Cardoso ; www.musica.gulbenkian.pt/ballet) : THE CHARLESTON BALLET, U.S.A. (Artistic Director: Andre Van Damme ; www.thecharlestonballet.com) : N.N.D./GALLILI DANCE, Dance Foundation of the Northern Netherlands (Artistic Director: Itzik Galili ; www.nnd.nl) : BALLETT - BASEL, Switzerland (Artistic Director: Richard Wherlock ; www.theater-basel.ch).
Future engagements include:
THE CURVE FOUNDATION, Scotland (Artistic Director: Ross Cooper ; www.curvefoundation.org) : The Diana, Princess of Wales Memorial Award for Young People “ Scotland “.
Gavin Dorrian is, also, currently an appointed Specialist Advisor in Dance to the Scottish Arts Council (www.scottisharts.org.uk), and Dance Artist in Residence on the Enterprise/Outreach Programme at Govan High School, Glasgow, Scotland (Head Teacher: Ian White).