TEDxMontreal
Trevor Copp and Jeff Fox: Ballroom dance that breaks gender roles
崔佛‧卡普，傑夫‧福克斯: 打破性別藩籬的國標舞
Filmed:
Readability: 4.1
686,984 views
探戈、華爾滋、狐步舞......這些經典的國際標準舞，總給人根深蒂固的印象: 男士領舞，女士跟舞。但是，崔佛‧卡普和傑夫‧福克斯認為這個刻板印象，是可以改變的。他們和舞伴婀麗達‧愛斯梅示範了新的「流動領舞」的舞蹈技巧。讓我們一起欣賞卡普和福克斯，如何在舞台上大膽地解構、改造國標舞藝術，帶來精彩迷人的演出。
Trevor Copp - Artistic director
Trevor Copp is known for innovative social justice theater that blends physicality, image and narrative. Full bioJeff Fox - Dancer
Jeff Fox is a professional dancer, competitor, choreographer who has won professional titles in American Smooth, Rhythm, Theatre Arts and Showdance. Full bio
Trevor Copp is known for innovative social justice theater that blends physicality, image and narrative. Full bioJeff Fox - Dancer
Jeff Fox is a professional dancer, competitor, choreographer who has won professional titles in American Smooth, Rhythm, Theatre Arts and Showdance. Full bio
Double-click the English transcript below to play the video.
00:18
(Music)
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(音樂)
01:45
(Applause)
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(掌聲)
01:56
Trevor Copp: When "Dancing With the Stars"
first hit the airwaves,
first hit the airwaves,
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崔佛‧卡普：當《與星共舞》
在電視上首播時，
在電視上首播時，
01:59
that is not what it looked like.
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並不是像你現在看到的那樣。
02:01
(Laughter)
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(笑聲)
02:03
Jeff and I were full-time
ballroom dance instructors
ballroom dance instructors
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當電視上的國標舞
再度引爆熱潮時，
再度引爆熱潮時，
02:06
when the big TV ballroom revival hit,
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傑夫和我還是全職的
國標舞老師，
國標舞老師，
02:09
and this was incredible.
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這太令人不可置信了。
02:13
I mean, one day we would say "foxtrot,"
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我是指，某天當我們說:「狐步舞。」
02:15
and people were like "Foxes trotting."
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人們一付:「狐狸在慢跑?」
02:18
(Laughter)
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(笑聲)
02:20
And the next day they were telling us
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然後，隔天他們竟會告訴我們
02:22
the finer points of a good feather step.
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跳好羽步的微小細節。
02:24
And this blew our minds.
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這令我們感到不可思議。
02:27
I mean, all of the ballroom dance
geeking out that we had always done
geeking out that we had always done
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對我們來說習以為常的，如
為什麼騷莎舞和競技倫巴舞不同?
02:32
on why salsa worked differently
than the competitive rumba
than the competitive rumba
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為什麼探戈的舞步與華爾茲不同?
02:36
and why tango traveled unlike the waltz,
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這些國標舞的種種一切，
突然間引起人們的關注和過度興奮，
突然間引起人們的關注和過度興奮，
02:38
all of that just hit
the public consciousness,
the public consciousness,
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02:43
and it changed everything.
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這改變了一切。
02:45
But running parallel to this excitement,
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伴隨著人們國標舞瘋潮而來的，
02:48
the excitement that suddenly,
somehow, we were cool --
somehow, we were cool --
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就是突然間，不知為何，
我們變得很酷 !
我們變得很酷 !
02:52
(Laughter)
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(笑聲)
02:55
there was also this reservation.
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我們也有這樣的猶疑，
02:57
Why this and why now?
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為何是國標舞?為何是現在?
03:01
Jeff Fox: When Trevor and I
would get together for training seminars
would get together for training seminars
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傑夫‧福克斯：當崔佛和我
因為訓練課程
因為訓練課程
或好玩而聚在一起練舞時，
03:04
or just for fun,
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我們將對方拋出去、接回來，
輪流交換，
輪流交換，
03:05
we'd toss each other around, mix it up,
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這可讓我們相互喘口氣，
不用從頭領舞到尾。
不用從頭領舞到尾。
03:07
take a break from having
to lead all the time.
to lead all the time.
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03:10
We even came up with a system
for switching lead and follow
for switching lead and follow
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我們甚至在跳舞當中，
想出了一套可以相互輪流、公平地
03:12
while we were dancing,
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03:14
as a way of taking turns and playing fair.
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領舞與跟舞的方法。
03:16
It wasn't until we used that system
as part of a performance
as part of a performance
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直到有次在一個小型活動中，
我們將輪流領舞的方法帶入演出中，
03:19
in a small festival
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03:20
that we got an important tap
on the shoulder.
on the shoulder.
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這套方法才受到重量級的關注。
03:22
Lisa O'Connell, a dramaturge
and director of a playwright center,
and director of a playwright center,
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麗莎‧歐康乃爾－戲劇家兼
劇作中心主任，
劇作中心主任，
03:25
pulled us aside after the show and said,
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於演出後把我們拉到一旁說道:
03:28
"Do you have any idea
how political that was?"
how political that was?"
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「你們知道這有多具政治意涵嗎」
03:30
(Laughter)
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(笑聲)
03:32
So that began an eight-year
collaboration to create a play
collaboration to create a play
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從此我們展開了8年的合作，
並打造了一齣戲劇，
並打造了一齣戲劇，
03:35
which not only further developed
our system for switching
our system for switching
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這不僅進一步開發了輪流領舞的系統，
03:38
but also explored the impact
of being locked into a single role,
of being locked into a single role,
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而且也能探究被侷限在單一角色，
更甚者，
03:42
and what's worse,
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被單一角色畫地自限所帶來的影響。
03:43
being defined by that single role.
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03:45
TC: Because, of course,
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崔佛：當然，因為
03:47
classic Latin and ballroom dancing
isn't just a system of dancing;
isn't just a system of dancing;
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傳統的拉丁和國標舞
不僅只是一套舞蹈系統；
不僅只是一套舞蹈系統；
03:52
it's a way of thinking, of being,
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它是一種思維、存在、
人際間互動連結的展現方式，
03:55
of relating to each other
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記錄了整個時期的價值觀。
03:57
that captured a whole period's values.
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04:00
There's one thing that stayed
consistent, though:
consistent, though:
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然而，有一件事卻始終不變：
04:02
the man leads
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男士領舞，
04:04
and the woman follows.
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女士跟舞。
04:06
So street salsa, championship tango,
it's all the same --
it's all the same --
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所以，從街邊的騷莎舞
到探戈舞錦標賽，全都一樣，
到探戈舞錦標賽，全都一樣，
04:08
he leads, she follows.
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他領舞，她跟舞。
04:11
So this was gender training.
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這是性別的訓練，
04:13
You weren't just learning to dance --
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你不只是學習跳舞，
04:15
you were learning to "man" and to "woman."
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你還要學習「男性」與「女性」，
04:19
It's a relic.
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這是傳統的遺風。
04:21
And in the way of relics,
you don't throw it out,
you don't throw it out,
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傳統的遺風，
不代表我們要將之捨棄，
不代表我們要將之捨棄，
04:23
but you need to know
that this is the past.
that this is the past.
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但，我們要知道那是過去式了。
04:26
This isn't the present.
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並不適合現在。
04:28
It's like Shakespeare:
respect it, revive it -- great!
respect it, revive it -- great!
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就像莎士比亞：
尊重它，復興它 ── 很好!
尊重它，復興它 ── 很好!
04:31
But know that this is history.
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但是，這是歷史。
04:33
This doesn't represent how we think today.
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它不代表現代人們的思維。
04:37
So we asked ourselves:
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所以我們捫心自問：
04:38
If you strip it all down,
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假如你追根究底，
04:40
what is at the core of partner dancing?
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雙人舞的核心特質是什麼?
04:44
JF: Well, the core principle
of partner dancing
of partner dancing
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傑夫：雙人舞的核心原則是
04:46
is that one person leads,
the other one follows.
the other one follows.
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一個人領舞，另一個人跟舞。
04:49
The machine works the same,
regardless of who's playing which role.
regardless of who's playing which role.
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機器的運作亦同，不管是誰在操作它。
04:52
The physics of movement doesn't really
give a crap about your gender.
give a crap about your gender.
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物理的運動現象也不會
因為你的性別而有所改變。
因為你的性別而有所改變。
04:55
(Laughter)
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(笑聲)
04:56
So if we were to update the existing form,
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假如我們要讓現有的模式
更合乎時代，
更合乎時代，
04:58
we would need to make it
more representative
more representative
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我們就要讓之間的互動
更具代表性，
更具代表性，
05:00
of how we interact here, now, in 2015.
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在2015年的現在。
05:04
When you watch ballroom,
don't just watch what's there.
don't just watch what's there.
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當你們觀賞國標舞時，
不要只是看那裡有什麼，
不要只是看那裡有什麼，
05:07
Watch what's not.
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而是要看那裡少了什麼。
05:09
The couple is always
only a man or a woman.
only a man or a woman.
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雙人舞的搭檔，總是一男一女。
05:12
Together.
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一起。
05:13
Only.
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就這樣。
05:14
Ever.
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一成不變。
05:15
So, same-sex and gender nonconformist
couples just disappear.
couples just disappear.
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相同性別、不落俗套的搭檔
卻不存在。
卻不存在。
05:19
In most mainstream international
ballroom competitions,
ballroom competitions,
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絕大多數主流的世界國標舞競賽中，
05:22
same-sex couples are rarely
recognized on the floor,
recognized on the floor,
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同性的舞伴極少在舞池上被認可，
05:25
and in many cases,
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從多數的例子來看，
05:26
the rules prohibit them completely.
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大會的規則是完全禁止的。
05:28
TC: Try this: Google-image,
"professional Latin dancer,"
"professional Latin dancer,"
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崔佛：試著在估狗--圖片搜尋
"專業拉丁舞者"，
"專業拉丁舞者"，
05:33
and then look for an actual Latino person.
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然後尋找一位真正的拉丁裔舞者。
05:35
(Laughter)
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(笑聲)
05:37
You'll be there for days.
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你將會花上好幾天。
05:39
What you will get is page after page
of white, straight Russian couples
of white, straight Russian couples
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因為，你看到的會是一頁接著一頁的
白皮膚、純正的俄國舞者，
白皮膚、純正的俄國舞者，
05:43
spray-tanned the point of mahogany.
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全身使用定色噴霧噴成小麥色。
05:45
(Laughter)
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(笑聲)
05:47
There are no black people,
there are no Asians,
there are no Asians,
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沒有黑人、沒有亞洲人、
05:49
no mixed-race couples,
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沒有跨種族的搭檔，
05:50
so basically, non-white people
just disappeared.
just disappeared.
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所以基本上，沒有非白人的舞者。
05:54
Even within the white-straight-
couple-only paradigm --
couple-only paradigm --
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即便是在只有純白人搭檔的
唯一制式範例中，
唯一制式範例中，
06:00
she can't be taller,
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她不能比較高，
06:01
he can't be shorter.
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他不能比較矮。
06:02
She can't be bolder,
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她不能大膽些，
06:05
he can't be gentler.
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他不能溫柔些。
06:07
If you were to take a ballroom dance
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假如將那刻板範例的國標舞，
06:09
and translate that into a conversation
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轉化成對話
演繹成電影，
06:11
and drop that into a movie,
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在文化層面上，
我們絕不會容許這樣的現象。
我們絕不會容許這樣的現象。
06:13
we, as a culture,
would never stand for this.
would never stand for this.
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06:16
He dictates, she reacts.
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他命令主導，她回應跟隨。
06:20
No relationship -- gay,
straight or anything --
straight or anything --
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這樣的互動，不管在任何關係上──
同性戀、異性戀或其他關係──
同性戀、異性戀或其他關係──
06:23
that we would regard as remotely healthy
or functional looks like that,
or functional looks like that,
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我們都會認為是不健康、不可行的。
06:28
and yet somehow,
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然而，不知何故，
06:29
you put it on prime time,
you slap some makeup on it,
you slap some makeup on it,
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你把它放在黃金時段，
妝點上胭脂彩粉，
妝點上胭脂彩粉，
06:32
throw the glitter on, put it out there
as movement, not as text,
as movement, not as text,
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灑上晶亮的五顏六色，
以動作的形式而非本質內涵來展現，
以動作的形式而非本質內涵來展現，
06:36
and we, as a culture,
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在文化上，
我們觀賞它並給予掌聲。
06:38
tune in and clap.
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06:41
We are applauding our own absence.
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我們在為自己的缺席而鼓掌。
06:46
Too many people have disappeared
from partner dancing.
from partner dancing.
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有太多人在雙人舞中缺席。
06:50
(Music)
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(音樂)
07:34
(Applause)
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(掌聲)
07:40
JF: Now, you just saw
two men dancing together.
two men dancing together.
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傑夫：現在，你看到
兩個男人在跳舞。
兩個男人在跳舞。
07:43
(Laughter)
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(笑聲)
你覺得它看起來......
07:44
And you thought it looked ...
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07:46
a little strange.
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有點奇怪。
07:48
Interesting -- appealing, even --
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有趣、甚至有魅力......
07:50
but a little bit odd.
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但是有點古怪。
07:52
Even avid followers of the same-sex
ballroom circuit can attest
ballroom circuit can attest
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即便同性國標舞聯合會的
狂熱追隨者，可以證明
狂熱追隨者，可以證明
07:55
that while same-sex partner dancing
can be dynamic and strong and exciting,
can be dynamic and strong and exciting,
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與同性舞伴共舞是充滿活力、
張力和令人振奮的，
張力和令人振奮的，
07:59
it just doesn't quite seem to fit.
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但看起來就是不怎麼搭。
08:02
Aesthetically speaking,
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以美學的角度來看，
08:03
if Alida and I take the classic
closed ballroom hold ...
closed ballroom hold ...
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假如婀麗達和我做出貼身握抱...
08:09
this is considered beautiful.
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大家會覺得很美。
08:14
(Laughter)
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(笑聲)
但，為什麼這個就不美了呢?
08:16
But why not this?
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08:17
(Laughter)
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(笑聲)
08:19
See, the standard image that the leader
must be larger and masculine
must be larger and masculine
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看吧，領舞者必須身材高大些、
具男子氣概，
具男子氣概，
08:23
and the follower smaller and feminine --
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跟舞者則須嬌小些、具女人味的
制式印象──
制式印象──
08:25
this is a stumbling point.
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這就是障礙點。
08:27
TC: So we wanted to look at this
from a totally different angle.
from a totally different angle.
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崔佛：我們想從全然不同的角度
來審視這件事。
來審視這件事。
08:33
So, what if we could keep
the idea of lead and follow
the idea of lead and follow
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如果我們保留住領舞和跟舞的觀念，
08:37
but toss the idea that this
was connected to gender?
was connected to gender?
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但是捨棄掉性別的概念，
會是如何呢?
會是如何呢?
08:40
Further, what if a couple
could lead and follow each other
could lead and follow each other
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更甚者，如果舞伴間可以
交替領舞和跟舞，又會如何呢?
08:45
and then switch?
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08:47
And then switch back?
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然後再互換?
08:49
What if it could be like a conversation,
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如果可以將它變成一種溝通、對話，
08:52
taking turns listening and speaking,
just like we do in life?
just like we do in life?
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就像日常生活中彼此相互地
傾聽與訴說呢?
傾聽與訴說呢?
08:56
What if we could dance like that?
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如果我們能夠像那樣地跳著舞呢?
09:00
We call it "Liquid Lead Dancing."
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我們稱它做「流動領舞」。
09:04
JF: Let's try this with a Latin dance,
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傑夫：讓我們試著用這方法
來跳拉丁舞，
來跳拉丁舞，
09:07
salsa.
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騷莎。
09:08
In salsa, there's a key transitional step,
called the cross-body lead.
called the cross-body lead.
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騷莎中有一個重要的過渡舞步，
稱為身體交錯引導。
稱為身體交錯引導。
09:12
We use it as punctuation
to break up the improvisation.
to break up the improvisation.
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我們把它當成標點符號
來分解即興發揮。
來分解即興發揮。
09:14
It can be a little tricky to spot
if you're not used to looking for it,
if you're not used to looking for it,
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如果你不習慣去注意它的話，
會比較難看出來。
會比較難看出來。
09:18
so here it is.
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就像這樣。
09:25
One more time for the cheap seats.
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再一次，給坐在後面的觀眾。
09:26
(Laughter)
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(笑聲)
09:32
And here's the action one more time,
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再做一次動作給大家看，
09:34
nice and slow.
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放慢步調。
09:40
Now, if we apply liquid-lead thinking
to this transitional step,
to this transitional step,
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現在，如果我們將流動領舞的思維
應用在過渡舞步的話，
應用在過渡舞步的話，
09:44
the cross-body lead becomes a point
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身體交錯引導，
09:46
where the lead and the follow can switch.
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將會是領舞與跟舞的關鍵轉換點。
09:48
The person following can elect
to take over the lead,
to take over the lead,
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跟舞者可以成為領舞者，
09:51
or the person leading can choose
to surrender it,
to surrender it,
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而領舞者換位成為跟舞者，
09:53
essentially making it
a counter-cross-body lead.
a counter-cross-body lead.
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實際上就是相對的身體交錯引導。
09:56
Here's how that looks in slow motion.
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慢動作看起來是這樣的。
10:05
And here's how it looked
when we danced it in the opening dance.
when we danced it in the opening dance.
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在開場舞中，它看起是這樣的。
10:14
With this simple tweak,
the dance moves from being a dictation
the dance moves from being a dictation
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一個簡單的扭轉動作，
舞蹈就從主導
舞蹈就從主導
10:18
to a negotiation.
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變成了協商。
10:19
Anyone can lead. Anyone can follow.
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任何人都可以領舞；
任何人都可以跟舞。
任何人都可以跟舞。
10:22
And more importantly,
you can change your mind.
you can change your mind.
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更重要的是，
你可以改變心意。
你可以改變心意。
10:25
Now, this is only one example
of how this applies,
of how this applies,
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這只是其中的一個例子，
10:27
but once the blinkers come off,
anything can happen.
anything can happen.
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一旦燈光熄滅，
任何事都可能發生。
任何事都可能發生。
10:31
TC: Let's look at how Liquid Lead thinking
could apply to a classic waltz.
could apply to a classic waltz.
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崔佛：讓我們看看流動領舞的思維，
如何應用在經典的華爾滋上。
如何應用在經典的華爾滋上。
10:36
Because, of course,
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當然，因為
10:37
it isn't just a system of switching leads;
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它不僅只是輪流領舞的系統，
10:40
it's a way of thinking
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它是一種思維方式，
10:41
that can actually make
the dance itself more efficient.
the dance itself more efficient.
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可讓舞跳起來更輕鬆優美。
10:44
So: the waltz.
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華爾滋
10:46
The waltz is a turning dance.
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華爾滋是一種旋轉的舞蹈。
10:48
This means that for the lead,
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這表示領舞者，
10:50
you spend half of the dance
traveling backwards,
traveling backwards,
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一半的時間都是背對行進的方向，
10:53
completely blind.
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完全看不到背後的動線。
10:55
And because of the follower's position,
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因為跟舞者的位置，
10:57
basically, no one can see
where they're going.
where they're going.
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基本上，沒有人知道
他們要跳去哪裡。
他們要跳去哪裡。
11:00
(Laughter)
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(笑聲)
11:02
So you're out here on the floor,
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你在舞池的這裡，
11:04
and then imagine that coming right at you.
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然後想像他們向你逼近的情形。
11:06
JF: Raaaaaah!
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傑夫: (低吼聲)
11:08
(Laughter)
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(笑聲)
11:09
TC: There are actually a lot
of accidents out there
of accidents out there
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崔佛：實際上，因為這個視覺的盲點，
11:13
that happen as a result
of this blind spot.
of this blind spot.
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造成很多的意外。
11:16
But what if the partners
were to just allow for
were to just allow for
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但是，如果可以暫時讓舞伴
變換一下姿勢呢?
11:19
a switch of posture for a moment?
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11:21
A lot of accidents could be avoided.
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可以避免很多意外的發生。
11:24
Even if one person led the whole dance
but allowed this switch to happen,
but allowed this switch to happen,
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即便只有一個人領完整首舞曲，
但是允許舞伴們互換姿勢，
但是允許舞伴們互換姿勢，
11:29
it would be a lot safer,
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不僅跳起來更加安全，
11:30
while at the same time,
offering new aesthetics into the waltz.
offering new aesthetics into the waltz.
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同時，也將新的審美觀帶入華爾滋。
11:34
Because physics doesn't give a damn
about your gender.
about your gender.
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因為物理學才不在乎你的性別。
11:37
(Laughter)
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(笑聲)
11:40
JF: Now, we've danced Liquid Lead
in clubs, convention centers
in clubs, convention centers
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傑夫：現在，我們在俱樂部、
會議中心表演流動領舞，
會議中心表演流動領舞，
11:43
and as part of "First Dance,"
the play we created with Lisa,
the play we created with Lisa,
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還有在北美與歐洲的舞台上，
它成為我們和麗莎一起創作
「第一支舞」舞台劇的一部分。
「第一支舞」舞台劇的一部分。
11:46
on stages in North America and in Europe.
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11:48
And it never fails to engage.
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從不缺乏參與的人們。
11:50
I mean, beyond the unusual sight
of seeing two men dancing together,
of seeing two men dancing together,
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我是說，在罕見的兩個男人共舞的
畫面之外，
畫面之外，
11:54
it always evokes and engages.
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它總能喚起人們的參與和互動。
11:57
But why?
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但，為什麼?
11:58
The secret lies in what made
Lisa see our initial demonstration
Lisa see our initial demonstration
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秘訣就在於當初麗莎洞悉到
我們最初示範時的政治意涵。
12:01
as "political."
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12:02
It wasn't just that we were
switching lead and follow;
switching lead and follow;
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它不僅只是大家表面上看到
輪流地領舞和跟舞，
輪流地領舞和跟舞，
12:05
it's that we stayed consistent
in our presence, our personality
in our presence, our personality
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而是不論我們的角色為何，
我們的本質、個性與力度展現，
始終如一。
始終如一。
12:08
and our power, regardless
of which role we were playing.
of which role we were playing.
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12:11
We were still us.
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我們還是最真實的自我。
12:13
And that's where the true freedom lies --
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那是真正自由的所在，
12:15
not just the freedom to switch roles,
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不是只有舞伴角色的互換而已，
12:17
but the freedom from being defined
by whichever role you're playing,
by whichever role you're playing,
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而是不論你的角色如何被界定，
12:21
the freedom to always remain
true to yourself.
true to yourself.
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你始終都忠於自我的表現。
忘掉領舞或跟舞者
應該看起來要像什麼樣子，
應該看起來要像什麼樣子，
12:24
Forget what a lead is supposed
to look like, or a follow.
to look like, or a follow.
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12:27
Be a masculine follow
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做個有男子氣概的跟舞者，
12:29
or a feminine lead.
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或女人味十足的領舞者。
12:30
Just be yourself.
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做你自己。
12:32
Obviously, this applies
off the dance floor as well,
off the dance floor as well,
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顯然，這也適用與舞池之外，
12:35
but on the floor, it gives us
the perfect opportunity
the perfect opportunity
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但在舞池上，
它給了我們絕妙的機會
它給了我們絕妙的機會
12:38
to update an old paradigm,
reinvigorate an old relic,
reinvigorate an old relic,
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來創新舊有的典型，
復興優良的遺風，
復興優良的遺風，
12:41
and make it more representative
of our era and our current way of being.
of our era and our current way of being.
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使其在當今時代更具有代表性。
12:46
TC: Jeff and I dance partner dancing
all the time with women and men
all the time with women and men
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崔佛：傑夫和我一直與男性或女性
搭檔雙人舞，
搭檔雙人舞，
12:49
and we love it.
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我們很喜歡這樣。
12:51
But we dance with a consciousness
that this is a historic form
that this is a historic form
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但我們跳舞時意識到，
這是具歷史意義的呈現形式，
這是具歷史意義的呈現形式，
12:55
that can produce silence
and produce invisibility
and produce invisibility
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可使人們忘掉並無視於
制式的角色認同，
制式的角色認同，
盡情地享受跳舞的樂趣。
13:00
across the spectrum of identity
that we enjoy today.
that we enjoy today.
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13:03
We invented Liquid Lead
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我們創造了流動領舞，
13:05
as a way of stripping out
all the ideas that don't belong to us
all the ideas that don't belong to us
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褪去了所有不屬於我們的想法，
13:10
and taking partner dancing back
to what it really always was:
to what it really always was:
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讓雙人舞回歸到它最真的本質：
13:15
the fine art of taking care of each other.
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那就是
相互關懷、照顧的藝術。
相互關懷、照顧的藝術。
13:20
(Music)
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(音樂)
15:20
(Applause)
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(掌聲)
ABOUT THE SPEAKERS
Trevor Copp - Artistic directorTrevor Copp is known for innovative social justice theater that blends physicality, image and narrative.
Why you should listen
Trevor Copp was a full-time ballroom dance instructor and regional Fred Astaire's Canada American Style Latin/Ballroom Champion. He retired from teaching to pursue his love of theater and now runs Tottering Biped Theatre, a professional theater company emphasizing social justice and highly physical work in Burlington, Ontario, Canada. Copp has performed in over 30 international cities and theater festivals. The salsa scene keeps him dancing, however. Locally, he coaches the World Salsa Champions, and internationally he's an avid salsa tourist, having danced it in 13 countries so far.
Copp and Jeff Fox met as colleagues during their shared tenure with Fred Astaire's Canada and remained friends after Copp retired from teaching. They would dance at social occasions where they developed their "playing fair" method of sharing the lead, which caught the eye of local dramaturge, Lisa O’Connell. Thus began the theatrical collaboration which led to the creation of a full-length Ballroom Dance/Theatre production, "First Dance," about the development of the first dance for a same sex wedding. Through building the show they formalized their "Liquid Lead" concept and continue to tour the piece at regional professional theaters, festivals and even as part of an international dance festival in Tirana, Albania. In 2015 Alida Esmail, a former student of Copp's, championed the TEDx Montreal proposal and graciously volunteered to help the Fox and Copp demonstrate their work on the TEDx stage.
Trevor Copp | Speaker | TED.com
Jeff Fox - Dancer
Jeff Fox is a professional dancer, competitor, choreographer who has won professional titles in American Smooth, Rhythm, Theatre Arts and Showdance.
Why you should listen
After graduating with an honors degree in psychology, Jeff Fox entered the world of dance in the fall of 2000 almost by accident, investigating an ad out of curiosity, and he hasn't looked back. Working as a full-time instructor, choreographer and competitor, Fox has taught hundreds of students and won professional titles in American Smooth, Rhythm, Theatre Arts and Showdance. In addition to his ballroom work, Fox is a double black belt martial artist and creates lyrical contemporary work focusing on the universal experiences we all share, which has been featured in festivals across southern Ontario, Canada.
Fox and Trevor Copp met as colleagues during their shared tenure with Fred Astaire's Canada and remained friends after Copp retired from teaching. They would dance at social occasions where they developed their "playing fair" method of sharing the lead, which caught the eye of local dramaturge, Lisa O’Connell. Thus began the theatrical collaboration which led to the creation of a full-length Ballroom Dance/Theatre production, "First Dance," about the development of the first dance for a same sex wedding. Through building the show they formalized their "Liquid Lead" concept and continue to tour the piece at regional professional theaters, festivals and even as part of an international dance festival in Tirana, Albania. In 2015 Alida Esmail, a former student of Copp's, championed the TEDx Montreal proposal and graciously volunteered to help the Fox and Copp demonstrate their work on the TEDx stage.
Jeff Fox | Speaker | TED.com