Ballroom dance that breaks gender roles
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0:07 - 0:13(Music)
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1:34 - 1:38(Applause)
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1:44 - 1:47Trevor Copp: When "Dancing With the Stars"
first hit the airwaves, -
1:47 - 1:50that is not what it looked like.
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1:50 - 1:51(Laughter)
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1:51 - 1:54Jeff and I were full-time
ballroom dance instructors -
1:54 - 1:58when the big TV ballroom revival hit,
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1:58 - 2:01and this was incredible.
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2:01 - 2:04I mean, one day we would say "foxtrot,"
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2:04 - 2:07and people were like "Foxes trotting."
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2:07 - 2:09(Laughter)
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2:09 - 2:11And the next day they were telling us
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2:11 - 2:13the finer points of a good feather step.
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2:13 - 2:15And this blew our minds.
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2:15 - 2:21I mean, all of the ballroom dance
geeking out that we had always done -
2:21 - 2:24on why salsa worked differently
than the competitive rumba -
2:24 - 2:27and why tango traveled unlike the waltz,
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2:27 - 2:31all of that just hit
the public consciousness, -
2:31 - 2:33and it changed everything.
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2:34 - 2:36But running parallel to this excitement,
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2:36 - 2:41the excitement that suddenly,
somehow, we were cool -- -
2:41 - 2:43(Laughter)
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2:43 - 2:45there was also this reservation.
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2:46 - 2:48Why this and why now?
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2:50 - 2:53Jeff Fox: When Trevor and I
would get together for training seminars -
2:53 - 2:54or just for fun,
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2:54 - 2:56we'd toss each other around, mix it up,
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2:56 - 2:58take a break from having
to lead all the time. -
2:58 - 3:01We even came up with a system
for switching lead and follow -
3:01 - 3:02while we were dancing,
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3:02 - 3:04as a way of taking turns and playing fair.
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3:04 - 3:07It wasn't until we used that system
as part of a performance -
3:07 - 3:08in a small festival
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3:08 - 3:10that we got an important tap
on the shoulder. -
3:10 - 3:14Lisa O'Connell, a dramaturge
and director of a playwright center, -
3:14 - 3:16pulled us aside after the show and said,
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3:16 - 3:19"Do you have any idea
how political that was?" -
3:19 - 3:21(Laughter)
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3:21 - 3:24So that began an eight-year
collaboration to create a play -
3:24 - 3:26which not only further developed
our system for switching -
3:26 - 3:30but also explored the impact
of being locked into a single role, -
3:30 - 3:31and what's worse,
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3:31 - 3:34being defined by that single role.
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3:34 - 3:35TC: Because, of course,
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3:36 - 3:40classic Latin and ballroom dancing
isn't just a system of dancing; -
3:41 - 3:43it's a way of thinking, of being,
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3:44 - 3:46of relating to each other
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3:46 - 3:48that captured a whole period's values.
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3:49 - 3:51There's one thing that stayed
consistent, though: -
3:51 - 3:52the man leads
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3:52 - 3:54and the woman follows.
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3:54 - 3:57So street salsa, championship tango,
it's all the same -- -
3:57 - 3:59he leads, she follows.
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3:59 - 4:01So this was gender training.
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4:02 - 4:03You weren't just learning to dance --
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4:03 - 4:06you were learning to "man" and to "woman."
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4:08 - 4:09It's a relic.
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4:10 - 4:12And in the way of relics,
you don't throw it out, -
4:12 - 4:14but you need to know
that this is the past. -
4:14 - 4:16This isn't the present.
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4:17 - 4:20It's like Shakespeare:
respect it, revive it -- great! -
4:20 - 4:21But know that this is history.
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4:21 - 4:24This doesn't represent how we think today.
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4:25 - 4:27So we asked ourselves:
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4:27 - 4:28If you strip it all down,
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4:29 - 4:31what is at the core of partner dancing?
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4:32 - 4:34JF: Well, the core principle
of partner dancing -
4:34 - 4:37is that one person leads,
the other one follows. -
4:37 - 4:40The machine works the same,
regardless of who's playing which role. -
4:40 - 4:44The physics of movement doesn't really
give a crap about your gender. -
4:44 - 4:45(Laughter)
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4:45 - 4:47So if we were to update the existing form,
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4:47 - 4:49we would need to make it
more representative -
4:49 - 4:51of how we interact here, now, in 2015.
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4:52 - 4:55When you watch ballroom,
don't just watch what's there. -
4:56 - 4:57Watch what's not.
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4:57 - 5:00The couple is always
only a man and a woman. -
5:00 - 5:01Together.
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5:01 - 5:03Only.
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5:03 - 5:04Ever.
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5:04 - 5:08So, same-sex and gender nonconformist
couples just disappear. -
5:08 - 5:11In most mainstream international
ballroom competitions, -
5:11 - 5:13same-sex couples are rarely
recognized on the floor, -
5:13 - 5:14and in many cases,
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5:14 - 5:16the rules prohibit them completely.
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5:16 - 5:21TC: Try this: Google-image,
"professional Latin dancer," -
5:22 - 5:24and then look for an actual Latino person.
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5:24 - 5:25(Laughter)
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5:25 - 5:27You'll be there for days.
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5:27 - 5:31What you will get is page after page
of white, straight Russian couples -
5:31 - 5:33spray-tanned to the point of mahogany.
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5:33 - 5:35(Laughter)
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5:35 - 5:37There are no black people,
there are no Asians, -
5:37 - 5:39no mixed-race couples,
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5:39 - 5:42so basically, non-white people
just disappeared. -
5:43 - 5:47Even within the white-straight-
couple-only paradigm -- -
5:48 - 5:49she can't be taller,
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5:49 - 5:51he can't be shorter.
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5:51 - 5:53She can't be bolder,
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5:53 - 5:54he can't be gentler.
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5:55 - 5:57If you were to take a ballroom dance
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5:58 - 6:00and translate that into a conversation
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6:00 - 6:01and drop that into a movie,
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6:01 - 6:05we, as a culture,
would never stand for this. -
6:05 - 6:08He dictates, she reacts.
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6:09 - 6:12No relationship -- gay,
straight or anything -- -
6:12 - 6:16that we would regard as remotely healthy
or functional looks like that, -
6:16 - 6:18and yet somehow,
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6:18 - 6:20you put it on prime time,
you slap some makeup on it, -
6:20 - 6:24throw the glitter on, put it out there
as movement, not as text, -
6:25 - 6:27and we, as a culture,
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6:27 - 6:28tune in and clap.
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6:30 - 6:33We are applauding our own absence.
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6:34 - 6:37Too many people have disappeared
from partner dancing. -
6:38 - 6:43(Music)
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7:22 - 7:27(Applause)
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7:29 - 7:31JF: Now, you just saw
two men dancing together. -
7:32 - 7:33(Laughter)
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7:33 - 7:34And you thought it looked ...
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7:34 - 7:36a little strange.
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7:36 - 7:38Interesting -- appealing, even --
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7:38 - 7:40but a little bit odd.
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7:40 - 7:43Even avid followers of the same-sex
ballroom circuit can attest -
7:43 - 7:47that while same-sex partner dancing
can be dynamic and strong and exciting, -
7:48 - 7:50it just doesn't quite seem to fit.
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7:50 - 7:52Aesthetically speaking,
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7:52 - 7:56if Alida and I take the classic
closed ballroom hold ... -
7:58 - 7:59this is considered beautiful.
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8:02 - 8:04(Laughter)
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8:05 - 8:06But why not this?
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8:06 - 8:08(Laughter)
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8:08 - 8:11See, the standard image that the leader
must be larger and masculine -
8:11 - 8:13and the follower smaller and feminine --
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8:14 - 8:15this is a stumbling point.
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8:16 - 8:20TC: So we wanted to look at this
from a totally different angle. -
8:21 - 8:25So, what if we could keep
the idea of lead and follow -
8:25 - 8:28but toss the idea that this
was connected to gender? -
8:29 - 8:34Further, what if a couple
could lead and follow each other -
8:34 - 8:35and then switch?
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8:36 - 8:37And then switch back?
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8:38 - 8:40What if it could be like a conversation,
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8:41 - 8:44taking turns listening and speaking,
just like we do in life? -
8:44 - 8:47What if we could dance like that?
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8:48 - 8:51We call it "Liquid Lead Dancing."
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8:53 - 8:54JF: Let's try this with a Latin dance,
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8:55 - 8:56salsa.
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8:57 - 9:00In salsa, there's a key transitional step,
called the cross-body lead. -
9:00 - 9:03We use it as punctuation
to break up the improvisation. -
9:03 - 9:06It can be a little tricky to spot
if you're not used to looking for it, -
9:06 - 9:08so here it is.
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9:13 - 9:15One more time for the cheap seats.
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9:15 - 9:17(Laughter)
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9:20 - 9:22And here's the action one more time,
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9:22 - 9:24nice and slow.
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9:29 - 9:33Now, if we apply liquid-lead thinking
to this transitional step, -
9:33 - 9:35the cross-body lead becomes a point
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9:35 - 9:37where the lead and the follow can switch.
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9:37 - 9:39The person following can elect
to take over the lead, -
9:39 - 9:42or the person leading can choose
to surrender it, -
9:42 - 9:44essentially making it
a counter-cross-body lead. -
9:44 - 9:46Here's how that looks in slow motion.
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9:54 - 9:57And here's how it looked
when we danced it in the opening dance. -
10:03 - 10:06With this simple tweak,
the dance moves from being a dictation -
10:06 - 10:07to a negotiation.
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10:08 - 10:10Anyone can lead. Anyone can follow.
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10:10 - 10:13And more importantly,
you can change your mind. -
10:14 - 10:16Now, this is only one example
of how this applies, -
10:16 - 10:19but once the blinkers come off,
anything can happen. -
10:19 - 10:24TC: Let's look at how Liquid Lead thinking
could apply to a classic waltz. -
10:24 - 10:26Because, of course,
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10:26 - 10:28it isn't just a system of switching leads;
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10:28 - 10:29it's a way of thinking
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10:29 - 10:33that can actually make
the dance itself more efficient. -
10:33 - 10:34So: the waltz.
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10:35 - 10:37The waltz is a turning dance.
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10:37 - 10:39This means that for the lead,
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10:39 - 10:42you spend half of the dance
traveling backwards, -
10:42 - 10:43completely blind.
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10:43 - 10:46And because of the follower's position,
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10:46 - 10:49basically, no one can see
where they're going. -
10:49 - 10:50(Laughter)
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10:50 - 10:52So you're out here on the floor,
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10:52 - 10:55and then imagine that coming right at you.
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10:55 - 10:56JF: Raaaaaah!
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10:56 - 10:58(Laughter)
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10:58 - 11:01TC: There are actually a lot
of accidents out there -
11:01 - 11:03that happen as a result
of this blind spot. -
11:04 - 11:07But what if the partners
were to just allow for -
11:07 - 11:09a switch of posture for a moment?
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11:10 - 11:12A lot of accidents could be avoided.
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11:12 - 11:17Even if one person led the whole dance
but allowed this switch to happen, -
11:17 - 11:19it would be a lot safer,
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11:19 - 11:22while at the same time,
offering new aesthetics into the waltz. -
11:22 - 11:26Because physics doesn't give a damn
about your gender. -
11:26 - 11:27(Laughter)
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11:28 - 11:31JF: Now, we've danced Liquid Lead
in clubs, convention centers -
11:31 - 11:34and as part of "First Dance,"
the play we created with Lisa, -
11:34 - 11:36on stages in North America and in Europe.
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11:36 - 11:38And it never fails to engage.
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11:39 - 11:42I mean, beyond the unusual sight
of seeing two men dancing together, -
11:42 - 11:45it always evokes and engages.
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11:45 - 11:46But why?
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11:46 - 11:50The secret lies in what made
Lisa see our initial demonstration -
11:50 - 11:51as "political."
-
11:51 - 11:54It wasn't just that we were
switching lead and follow; -
11:54 - 11:57it's that we stayed consistent
in our presence, our personality -
11:57 - 12:00and our power, regardless
of which role we were playing. -
12:00 - 12:01We were still us.
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12:02 - 12:04And that's where the true freedom lies --
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12:04 - 12:06not just the freedom to switch roles,
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12:06 - 12:10but the freedom from being defined
by whichever role you're playing, -
12:10 - 12:12the freedom to always remain
true to yourself. -
12:12 - 12:16Forget what a lead is supposed
to look like, or a follow. -
12:16 - 12:17Be a masculine follow
-
12:17 - 12:18or a feminine lead.
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12:19 - 12:20Just be yourself.
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12:21 - 12:24Obviously, this applies
off the dance floor as well, -
12:24 - 12:26but on the floor, it gives us
the perfect opportunity -
12:26 - 12:29to update an old paradigm,
reinvigorate an old relic, -
12:29 - 12:34and make it more representative
of our era and our current way of being. -
12:35 - 12:38TC: Jeff and I dance partner dancing
all the time with women and men -
12:38 - 12:39and we love it.
-
12:39 - 12:44But we dance with a consciousness
that this is a historic form -
12:44 - 12:48that can produce silence
and produce invisibility -
12:48 - 12:51across the spectrum of identity
that we enjoy today. -
12:52 - 12:53We invented Liquid Lead
-
12:53 - 12:59as a way of stripping out
all the ideas that don't belong to us -
12:59 - 13:03and taking partner dancing back
to what it really always was: -
13:04 - 13:07the fine art of taking care of each other.
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13:09 - 13:15(Music)
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15:09 - 15:21(Applause)
- Title:
- Ballroom dance that breaks gender roles
- Speaker:
- Trevor Copp, Jeff Fox
- Description:
-
Tango, waltz, foxtrot ... these classic ballroom dances quietly perpetuate an outdated idea: that the man always leads and the woman always follows. That's an idea worth changing, say Trevor Copp and Jeff Fox, as they demonstrate their new "Liquid Lead" dance technique, along with fellow dancer Alida Esmail. Watch as Copp and Fox captivate and command the stage, while boldly deconstructing and transforming the art of ballroom dance.
- Video Language:
- English
- Team:
- closed TED
- Project:
- TEDTalks
- Duration:
- 15:33
Brian Greene commented on English subtitles for Ballroom dance that breaks gender roles | ||
Brian Greene edited English subtitles for Ballroom dance that breaks gender roles | ||
Brian Greene edited English subtitles for Ballroom dance that breaks gender roles | ||
Brian Greene edited English subtitles for Ballroom dance that breaks gender roles | ||
Brian Greene approved English subtitles for Ballroom dance that breaks gender roles | ||
Brian Greene edited English subtitles for Ballroom dance that breaks gender roles | ||
Camille Martínez accepted English subtitles for Ballroom dance that breaks gender roles | ||
Camille Martínez edited English subtitles for Ballroom dance that breaks gender roles |
Brian Greene
The subtitle beginning at 5:31 was corrected on 12/6/16.
5:31
spray-tanned the point of mahogany.
was changed to:
spray-tanned to the point of mahogany.