Jazz Dance: A History of the Roots and Branches

15. Frank Hatchett’s Jazz Dance

15 Frank Hatchett’s Jazz Dance Bob Boross Frank Hatchett’s name instantly refers to what is hot and fresh in the world of jazz dance. As a teacher and choreographer for more than thirty years, Hatchett has been a driving force in taking the latest steps and trends from street and social dance and translating them into a jazz dance style he calls VOP. From the 1960s’ Twist to the 1990s’ hip-hop, Frank Hatchett has been the conduit from the street to the commercial stage. The unenlightened dancer or observer may jump to the conclusion that Hatchett spends his time picking up on what street dancers are doing and merely transporting their steps to the dance studio. In reality, his style is based on strong concert and ethnic dance techniques. To become proficient in VOP, a dancer must possess technique as well as attitude and flair. As Hatchett said in a November 1999 interview with me at New York’s Broadway Dance Center, where he leads three classes daily, “You can be a dancer today by just knowing the latest steps. But to me you can see the difference in a dancer that has a knowledge of the older styles. I think that it just makes a stronger, more secure dancer.”1 In an effort to shed more light on his thoughts on VOP, jazz dance, and the proper training of a jazz dancer, Frank has written a textbook with Nancy Myers Gitlin that reveals the building blocks of his life’s work. In Frank Hatchett’s Jazz Dance, some surprising revelations are offered that may cause novices to rethink their methods of dance training and provide a blueprint for teachers who are trying to give their students the best training possible.2 Hatchett began his dance career as a boy in a local Connecticut dance studio. Realizing the need to learn from the best, he sought out teachers known for their success in creating working dancers, like Philadelphia’s 109 Eleanor Harris. Harris assisted Hatchett in finding work in the Atlantic City and Las Vegas revues. Soon after, though, Hatchett boldly opened his own dance studio in a converted Massachusetts storefront in order to teach, find security, and give back to his community. The rapid success of his studio encouraged him to venture to New York where he studied the meticulous, strength-building technique of modern dance pioneer Katherine Dunham. He advanced his knowledge with classes in African, East Indian, and Caribbean dance. It was only after he had established a strong foundation of dance technique that he branched out to develop a signature style that emanated from his soul. His possession of strong technique channeled the feelings in his heart. Hatchett’s VOP attitude then found its NYC home when he began teaching at Jo Jo’s Dance Factory in 1980.3 It flourished in 1984 when he became a coowner in a new studio at that very same location—the legendary Broadway Dance Center. So although today’s observer sees present-day street dance movements when observing his class, Hatchett’s life work springs from a career solidly based on dedication, drive, love for teaching, and a detailed knowledge of classic dance methods. As a teacher, Hatchett expects his students to have technique from studies in ballet, modern, jazz, and ethnic dance classes. From there, he works to develop the student’s ability to VOP. What is VOP? In Frank Hatchett’s Jazz Dance, VOP is described as “a unique energy put into dance as well as life, a spirit, an attitude,” and as a way to “communicate with an audience, to make the audience feel part of the dance experience.”4 VOP is an individual Figure 15.1. Frank Hatchett coaching a young dancer at a Broadway Dance Center workshop event. Photo courtesy of Broadway Dance Center. 110 · Bob Boross interpretation of jazz or other rhythmic music that comes from the dancer’s soul. This description places VOP in agreement with a defining characteristic of jazz dance, where the dancer is encouraged to react individually to musical influences and elicit movements that either reflect the rhythmic structure of the music or display the dancer’s personal reaction to the music. VOP demands a marriage of the movement and the music. Therefore, the ability to feel music on a personal and emotional level, as well as to display that feeling with clarity, confidence...