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Rowan Brunt30301891

Michael Jackson Dance EssayPADWD1001

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Michael Jackson Essay

Michael Jackson is seen as one of the defining catalysts of pop music of the 20th

Century. From a young age this man was a force to be recogned with in the music

business, with his early days as lead vocalist of The Jackson Five to the much loved

1980’s where his solo career took over. Beat It and Thriller are two of his most

popular songs but it was not just the catchy tune but the breathtaking dancing and

prominent video that make Michael Jackson so memorable.

The 1980’s in American history brought forth many important and new aspects to the

art scene that even today we still recognise. In the arts the racial line was beginning to

blur with major black artists of the USA storming the scene such as Prince and the

disco queen Donna Summer. Even the world of Broadway was changing with the

Tony Awards being dominated by the mowtown musical DreamGirls, It was within

this new world of rock and new found pop music that MTV was born.

MTV was born in the early 1980s to mimic the popularisation of the top 40 radio

stations but in the accessible format of television. Music videos were essentially the

capitalisation of artist realising they can create videos of their songs that would

accompany and reach a larger audience via MTV. The marriage of dance and lyric

was what gave MTV the fire it needed, at home audiences not only learning the lyrics

but also copying there favourite moves from the clip. Michael Jackson is one of the

most famous examples of a unique dance style associated with music, which is still

present today. In the early days of MTV between 1980 and early 1983 there were few

black artists present on MTV, some say as it was designed as a rock channel and

didn’t match the vibes of ‘black music’ or it was just blatant racism. Buzz Brindle is

quoted to have said:

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“ MTV was originally designed to be a rock music channel. It was difficult for MTV to

find African American artists whose music fit the channel’s format that leaned toward

rock at the outset”1

Though large artists such as Donna Summer and Prince were in the main rotation,

most recording companies refused to take the financial risk of producing a black artist

video, as there was no guarantee of airtime let alone a return. Even a self funded

Michael Jackson ran into a few blockades before his Billie Jean music video broke

through with MTV playing it on medium rotation, which was only granted once he hit

#1 on the Billboard Charts. The release of Beat It in early 1983 saw the two videos

kept on medium/ heavy rotation for a short time before being ceased in the summer.

By now many other artists were already being featured in heavy rotation, which

subsequently saw the release of more R&B and pop videos. The premier of Thriller

saw a whole new level of music video standard set with the 13 minute ‘mini movie’

featuring full choreographed ensemble, voice overs/ sound effects, special effect make

up as well as the insatiable Michael Jackson powerful vocals and performance

charisma at the helm.

The first of Michael Jackson’s breakthrough singles Beat It began “breaking the

colour revolution” in commercial MTV. Michael Peters, a young and upcoming

choreographer, lead the creative team of Beat It in February 1982. Michael Peter’s

choreography at a glance can be put into direct comparison to Jerome Robbins West

Side Story, most notably the opening Prologue scene. Similar to Robbins, Peter’s

choreography is a direct extension of the storyline focusing on a more masculine

1 Marks, Craig & Tannebaum Rob, I want My MTV, Penguin Books, 2011 pg.166

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undertone mixed with warfare styled punctuated moves. The storyline presented

through choreography is the frustration felt by two gangs in what seems to be a lower

socio economic area of America. The music presents it self with sharp accents,

clipped vocals in a higher register and a lower undertone as a base throughout the

piece. Much of the choreography of Jackson’s is not so set but regardless he has an

innate ability to hit moves sharply, which adds to the anticipation and angst of the

chorus. The café scene is all about the way Jacksons angles himself and the in

between moves that ooze before a sharp hit. Many off the physical hits, an extension

of regular gestures, leave audience wondering is this a moment of frustration against

the violence or endorsing. Jackson directs his movements outward leaving the

audience now just passive to the scene unfolding but rather responsible in some way.

The next scene is the more complex section of choreography as the two gangs come

together for the first time. The groups converge; leaders bound and weapons are

drawn. In response the remaining members lunge back and prepare building the

anticipation of what will unfold. The back and forth choreography represents the force

that comes into play in gang warfare, members drawn in by circumstance not by want.

As Jackson enters, he enters with a smooth sharp click and calming presence shown

by a solid centre of gravity with the outward extensions of the clicks. The constant

beat of his clicks has almost a calming effect on the gangs. Jackson breaks the gangs

up and initiates a set of choreography that is the base for the remainder of the song.

Long arm extensions punching high and fists pulled inwards shows opposition forces

at play creating confusion. The wide and free stance within the choreography is to

symbolise masculinity, not the normal constrictions of ballet and femineity associated.

This is also seen in the arm and body movement, which breaks the natural centre of

ballet and creates an oddly sexual feeling to the choreography. The outward

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sexualisation is typical in male culture with presenting overt movements to secure

bravado in one self. The use of sharp, strong movement is paired with contraction and

release to show a resolution with the gangs. While performing the choreography

towards the end the audience sees Jackson beginning to connect the groups. It is from

this moment on we have found unity with movement that is performed out to the

camera. The audience expect gang fight but instead see unity through the power of

dance.

Thriller is seen as the pinnacle of music videos and during its time in the early 1980’s

helped springboard Michael Jackson into the limelight not just as a singer but an

artist. Michael Jackson and John Landis created the faux horror video in a true

collaboration, with Michael Peters returning to choreograph the piece. Premiering in

December 1983 the video portrays a horror like scene, setting up the eerie scene with

help of Vincent Prince, a classic horror film narrator, narrating the piece at both the

start and throughout the piece.

The initial choreography is not so set but it is accentuated body movements of

Jackson taunting his girlfriend. Much of the choreography is on a low centre of

gravity, almost stooping to be at her level as to intimidate. Every 4 counts there is a

sharp snap that Jackson always hits in a certain way, which breaks up the smoother

movements. The movement is simple which makes Jacksons sharp accents seem even

more eratict to the audience in comparison. As the main choreography sets in the

zombies move forward on the syncopated beat. First shoulder isolation is added on a

strong down beat, the beginning of the zombies awakening cornering audience. Peters

has used changing weight placement as a main influence in his choreography giving

strength to musical accents. The first section is mainly focussed on the release of the

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neck and head paired with a Fosse style stance. As the movement advances the head is

always pin pointing the audience staring down the camera giving a feeling that

audience is being stalked. The unconventional use of the hip isolation thrusting,

clawing hands and a slight backwards lean pushes past the typical dance conventions

and lends itself to more of a hip hop feel. An interesting part of the choreography is

the clap lunge slide. It is not terribly innovated but straight away tells the audience of

the characterisations, lifeless zombies unable to control their body. Suddenly as the

chorus progresses the choreography is energised further with quick feet movements

and joint isolations reiterating the physiology of the zombies. As if the zombies are

getting ready to attack the choreography gains a strange animalistic feel with bent

knees, arched backs and a lower centre of gravity. The audience feels a build of

adrenaline as the ‘ugly’ choreography quickens and builds; everything is more

weighted now and direct. The zombies turn and the climax builds after the vocal

chorus and as they stalk forward we feel the change of intent left frightened and

confused.

Michael Jackson has earned his right as the ‘King of Pop’ with many artists still

drawing influence from his career, dance style and star quality. Lady Gaga herself is

seen as the new age Jackson, creating music but also a bankable identity. Jacksons

unique dance style, though completely untrained, is still present in popular music

videos today. Peter’s choreography of Thriller and Beat It became easily identifiable

and made the music more accessible. Similarly the choreography of Single Ladies by

Beyoncé is easily recognisable, drawing from traditional Fosse and new age J-Setting,

making it the sensation it is today. Peters regularly used traditional dance conventions

from jazz and broke lines, used isolations and character extension, which ultimately

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created the branch of hip hop that we see today. Much of this hip-hop styling went on

to be associated with African American culture. Jackson opened doorways by using

his unique music videos to spark interest in a new music wave that may have gone

unrecognised and ultimately break the culture prejudice of the time.

Jackson’s legacy is still present today in modern pop culture from his dance styling to

his unique pop vocalisations. The world of MTV was burst open by his ground

breaking work on Thriller and defied cultural indifference with his work on Beat It.

Michael Jackson’s stamp on musical society is the way he matched choreography

with characterisation and his new wave of pop music.

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“Michael Jackson- Thriller” YouTube, 13:42, posted by “michaeljacksonVEVO”.

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