in the old theater of Vilnius on December 14, 15. the premiere of the jazz dance and music performance "Lindyhopera" will take place. What is Lindyhopera? This is the music performed live by the vintage jazz ensemble "The Schwings Band", jazzing bodies that almost speak with a voice, a sense of freedom and frenzy, the grace and elegance radiated by the dance.
Elzė Višnevskytė, the choreographer and author of the performance, is a pioneer of lindy hop performances. The artist's work, educational and academic activities focus on African-American culture, the history of jazz, looking for new forms, raising the question, why is jazz relevant today?
What prompted the creation of the play "Lindyhopera", how did the idea itself come about?
As a creator, I am always looking for new ways to talk about dance, to show it from different angles. Jazz dancing is known to many as a fun community gathering, social activity, but rarely seen on a theater stage. The desire to tell stories through jazz has been there for a long time. It just so happened that Ana Ablamonova, curator of opera and music of the Vilnius Old Theater and producer of the play, and composer Remis Rančys had been working on a similar idea for some time.
We wanted to bring lindyhop into today's world, to present it as a living and modern art form that speaks for today, about us. Lindyhop is often perceived as a dance of the past, but really jazz, lindyhop is very versatile, adaptable, and embodies a sense of freedom and community. Jazz is not a relic of the past - it has its place in today's context as well, it can speak about the inner journey and searches of today's man.
I am inspired by the fact that jazz can reflect the interaction of freedom and structure, constantly inviting us to dialogue. On the dance stage, I try to raise questions - what does jazz tell us today, what themes can we reveal through it? Everyone is looking for their place, wants to be heard, and jazz, with its improvisational power, provides an opportunity to talk about oneself, about relationships with others, about freedom, even in a highly structured society.
In "Lindyhopera", I aim to show that jazz is alive and can be modern - it is not only related to history, but also reflects the present, desires, challenges. This performance invites you to feel jazz not as something distant, but as a part of yourself, as a living organism that develops together with us.
The names of your performances are intriguing. The show "Partners" delved into the topic of relationships, and what is behind the name "Lindyhoperos"? What is the connection between lindyhop and opera?
Both opera and lindy hop have different associations. The name "Lindyhoperos" combines two seemingly incompatible areas. In Latin, the word opera means "work". The title contains the idea of a performance - lindy hop can become a "work", and opera can become a dance, theater. The structure of Lindyhop in this case is interesting in its parallels with opera: it has clearly defined forms, but also provides a lot of space for improvisation and personal choices.
"Partners" gave the audience the opportunity to experience the dancers' intimate journey through the dynamics of relationships. Are you trying to convey the same openness and authenticity in the Lindyhopera production?
Yes, the jazz language demands authenticity and expression, pure energy from both the creator and the performer. Dance in general is a very revealing, body language. Authenticity is an important element of Lindyhopera. We want the viewer to see a diverse body, its real movement, personal stories, not just technique or polished aesthetics. Individuality is one of the most important elements in African American dance - if you dance like someone else, you will be criticized. Each dancer brings to the stage his own experience, emotions, as well as fears and hesitations, which become an integral part of the performance. In this respect, "Lindyhopera" continues the line of openness of the play "Partners" and seeks an even deeper connection with the audience.
What does the creative partnership with The Schwings Band and composer Remi Rančius mean to you? How do you combine music and dance to become a unified narrative vehicle?
The music of The Schwings Band has an authenticity and vitality that just makes you move. Most of the pieces performed by the group are original compositions by Remi, which tell stories by themselves and evoke different moods. We have known Remi for many years, I highly appreciate his work and musical sense. In the creative process, we combine the stories of music and dance to complement each other. There is a lot of play in the process, trying to visualize musical ideas through the movement of the actors. While creating the choreography, I constantly listened to the music of The Schwings Band, I chose pieces that stirred something in me.
In jazz, the theme of freedom and limits also has an important historical dimension. Jazz dance was born in the context of slavery and segregation. From work songs, spirits, ring shouts to blues, tap and lindy hop. Dance and music of freedom and expression born in captivity. Swing has a clearly defined musical form and structure, musicians know and follow it, but there is room for improvisation and self-expression. In the 1930s, swing's heyday, African Americans also lived in tension between the segregationist Jim Crow laws and the freedom to dance and improvise. Thus, he had the opportunity to feel free in a free society.
While creating "Lindyhopper" I was looking for a way to raise the question about the present - what structures restrict us today, when we feel free and when we want to break free.
What role does improvisation play in the play? Are there certain moments when you give the dancers more freedom?
Improvisation is an important part of Lindyhopera. There are scenes where I gave the dancers more freedom - to find the most authentic ways to move. Some actors are real jazz musicians without knowing it. Lindyhop is a live dance, and improvisation adds authenticity to the energy. We want the audience to feel that the dancers are not only performers, but also creators.
How do the actors of Vilnius Old Theater succeed in mastering lindy hop? What would you emphasize when working with drama actors instead of professional dancers?
There are challenges and beauty in working with drama actors. From actors without jazz dance experience, lindy hop requires a lot of courage and relaxation, you need to learn quickly. After a few months of intensive work, you can already see how the actors' movements are changing on stage. Technique and jazz rhythms gradually grow into bodies, and then you can move towards freedom and expression. The process requires a lot of trust, this kind of performance is new for both me and the actors.
What emotions and ideas will the audience take away from "Lindyhopera"?
"Lindyhopera" invites you to expression and movement, not to limit yourself, shows the intuitive nature of jazz, evokes the desire to clap, clap as soon as you hear the music. I hope that after the performance, the audience will leave and say "you know, maybe I can dance too...", and this will be the greatest success and compliment for me.
Ingrida Ragelskienė spoke
