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1. #Winter lyrical dance songs how to#
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3. #Winter lyrical dance songs professional#

There are certain things I can’t get away with.” He sees that coming back to technique as essential for career longevity. Campros disagrees and says, “I’ll go to a lyrical class regularly because I can’t cheat. Kuhnberg believes that it’s often something “kids age out of” and just dance contemporary. Bufferd thinks that it’s useful for imparting the idea of telling a story through movement and the body, and can also encourage dancers to take up space and make clearer energy lines - things that can be transferred to all other dance styles.

#Winter lyrical dance songs how to#

“It’s a great introduction to how to use technique but release from the rules a little bit,” she believes. Kuhnberg sees lyrical as a useful bridge from ballet to contemporary for young dancers. What does lyrical bring to dance education and dance art more broadly? At the same time, and even though lyrical requires a lot of stable technique, “the music does the work for you.” “You can get in your ‘feels’ and it feels good!” he says. He believes that - in contrast - lyrical is popular in studios and in competition because it can help kids, tweens and teens get in touch with their emotions through dance. Campros, disagreeing somewhat, notes that there aren’t really lyrical companies or full-length productions - although it is seen “a little bit here and there on stage…it’s just not something I’d pay to see for two hours,” he says with a little laugh.

Kuhnberg teaches mainly recreational students, so that’s not something she sees as often, she says.īufferd believes that some of what we call “contemporary” is actually interchangeable with “lyrical”, because of a centrality of storytelling and high level of emotional expression.

#Winter lyrical dance songs professional#

There may also be a difference between what a lot of competition lyrical calls for and the skills 21 st century professional dancers need to get hired and thrive professionally.

#Winter lyrical dance songs full#

“There’s some freedom within definition of style, but I’ll often see ‘lyrical’ that’s full of acrobatics and think, ‘That’s not what I expected to see.’ It can feel a bit phony, and there aren’t many jobs for those skills,” Campros explains. “Many teachers have been doing lyrical for a long time and really set the stage for its proliferation and growth.”Ĭampros believes that a lot of the lyrical at competition isn’t really lyrical, because acrobatics and other technical tricks often overshadow storytelling and emotional expression - things that lyrical, strictly speaking, should put first. “You could dance lyrical to Celine Dion or Missy Elliott or Beethoven…the possibilities are limitless,” Bufferd affirms. That brings the question of what kind of music can accompany lyrical, or typically does accompany it. Lyrical began as a way to tell a story of a particular song through movement. While it’s certainly not a scientific sample, one can see here that there’s no shared, strict definition of lyrical amongst dance teaching artists. Kuhnberg says that dance parents will often ask her what lyrical is, and her go-to definition is “ballet technique with jazz styling with a mix of storytelling tied to a song.” That usually suffices to clear up parents’ confusion, she explains.

He also believes that lyrical itself is “a style, not a technique.” With a riff on that sentiment, Bufferd says, ”Lyrical is a vibe if there’s a story to it, you’re probably dancing a derision of something that is a mature version of lyrical.”īufferd offers an analogy of an impressionist painting, particularly applicable to lyrical amongst dance forms - technique is the strokes in the painting, and style is the aesthetic effect one experiences when stepping back to see the full, clear picture. “If you don’t have that strong technical ballet base, it’s not going to feel good,” he affirms. What is lyrical? Where does it come from?īufferd sees lyrical as a derivative of jazz, “a freeing and beautiful jazz idiom.” Campros sees that jazz and ballet technical base but underscores ballet over jazz.

To get clarity on these questions, Dance Informa speaks with three teaching artists: Jen Kuhnberg of Arlington Dance Place and Cheryl A Sullivan’s School of Dance and director of OnStage Dance Company Emily Bufferd of Steps on Broadway and Broadway Dance Center (BDC) and producer of The Young Choreographer’s Festival and Eric John Campros of BDC.