“The main challenge I’ve had is dealing with society’s belief that since deaf people can’t hear, they can’t dance. What people forget or do not yet know is that we all hear with our bodies before the sound enters our ears. This is not just through vibration but also through instinct and impulse.” – Jo Dunbar, deaf choreographer and dancer.
Who said deaf kids can’t dance? Or respond to music, the rhythm in the air, their feet, or in their hearts?
Not me. Not after I saw my sassy six-year-old Amelia and her fellow classmates bring their best jazz hands and a whole lot of funk (is my age showing?) to an afternoon dance concert worth remembering. For like, ever.
We knew Amelia had been working with Jo Dunbar from Deaf Can Dance every week. Some nights she’d come home and try out some sweet new freestyle moves on the lounge room rug and I felt sure she must have been watching repeats of Breakdance (no judgement) as part of her training.
She’s no private dancer. No, she demands a captive parental audience, and as usual when her rockin’ recital is done we are instructed to clap as she bows solemnly like the most respectable English gentleman in the county.
We were eager to see how this confident home practice would translate to the bright lights of the school stage. Because every event like this, no matter how small, brings with it a new sense of who our daughter is.
Standing in front of a crowd I see more of Amelia’s true self than when she is in repose or playing by herself in the garden. The shifting expression on her face, the way she moves her hands, that tiny twitch of her bottom lip that signals shyness and something else. Something far more determined.
Like sardines, we packed into a too-small multipurpose room at the school; sweaty parents stacked on top of each other like a human game of Jenga, jostling for the perfect view.
Jo introduced her drumming accompanist, Koffi Toudji – a veritable man mountain with incredible command of his instrument and the 50-odd children in the room. One wave of his giant hand was enough to magnetically draw the dancers from one side of the stage to the other.
Then we watched, as mini troupes of well-rehearsed kids with painted faces twirled onto the stage, guided by Jo’s conducting hands and the deep, resonant boom of Koffi’s drum. It was a wonderfully rich sound that seemed like it was emanating from inside the walls.
We felt it reverberate through our own bodies, and saw its impact on the smaller bodies dancing on stage. The beat was powerful and intoxicating, pounding in my chest alongside my heart doing the rest.
If my smile had stretched any wider it might have fallen off my face.
And the dancers. They came in all shapes, sizes and abilities, but they held nothing back. Deafness was no barrier to their instinctive feeling for the music, nor their sense of rhythmic movement in response to it.
If one performer lost their way, another (or a patient teacher) would quickly gather them back into a carefully choreographed circle or tap them with a reminder of what to do. They danced with passion and with pride, in themselves and each other.
Then it was Amelia’s turn. I couldn’t get a clear view of her, but I did see her little hips swinging with great verve and her intense concentration as she executed the steps she’d been practicing for weeks.
Sometimes she would get lost in her search for our faces in the crowd, but the distraction was only fleeting. She quickly got her groove back.
Then it was her turn to bang on her own little bongo and I saw the raw delight on her face when it was time to pause and shout a barbaric yawp at the rafters. She looked like a warrior and she sounded like one too.
My husband and I clutched each other’s hands and laughed loudly with pleasure at how free Amelia was, how open and entirely herself. It felt like we were stealing a glimpse of something she didn’t mean for us to see.
At the close of her last performance, Amelia stood and did her uniquely refined doff and bow. She held no feathered hat in her hand but her gesture was so expressive I imagined I saw its soft, wide brim brush the floor.
She danced with sheer joy to the thunderous beat of Koffi’s drum, and more joyfully still, to the one you can’t see; the one that beats inside her, ever constant and true.
By Melinda Hildebrandt.
Melinda is author of the blog ‘Moderate-severe / profound … quirky’ and the mother of her deaf daughter Amelia. Follow her on Twitter @drmel76
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Hartmut
July 13, 2015
In my late 1950’s years I entered a municipal ballroom dance class as a dare, if deaf people could dance without music. My dance instructor did not realize that I was doing the steps without music, just following the prescribed steps that are standard for Viennese Waltz, English Waltz, Foxtrot, and Tango and a number of other Latin American dances, as they were demonstrated visually and kinetically. I entered the advanced dancing classes as variations of the basic steps were practiced. All of this, I saw the instructor handling the record players to play the dance music. I could not feel the music at all, since the room was large to accommodate 50+ dancers. I was just dancing with the basic step sequences that I had integrated into my rhythm system. Then when I waplying my acquired dancing skills in diverse balls that the organisations that my city provided, I varied the steps freely and creatively, independent of the music that was playing. My partners mostly cooperated with my creativity to the amusement of some spectators. They must know, I was dancing off tune, but interesting and amusing to watch. My partner was a stranger, dancing with me for the first time, but she was very pliant, following my creative movements.
Music does not need to dictate body movements, but these can be performed independently of music. Music has become to assume in the audistic culture the dictating function for dance. It is the rhythm within the body that matters most. Music can follow or be written to bodily movements. Why must they follow music, why not music the body movements?
Modern Dance has attracted deaf eyes more than the classic ballets.dances, which are too ephemeral and out of reach of your understanding or empathy. You have to be a ballet dancer to empathize the contortionist ballet dances. But the Modern Dance movements are more easily understood, because you can follow the movements with your own bodies. Are the ballet dancers really synchronous with the music, I wonder? Probably not, when strictly examined. Asynchronicities between music and movement should be apparent, when closely examined along the temporal lines.
Point here is that dance, or any artistic body movements are independent of music. You can do wonderful dances without music anyway. The musical accompaniment is only accidental and became too intertwined with movement historically and culturally to give hearing people the illusion that dance cannot go without music. Why can’t music be composed following bodily movement? Music is a lot more versatile than the bodily movements.