We’re speaking today with Jaye Allison, the extraordinarily accomplished performance artist who’s career has spanned 40 years. She’s the author of the 2015 book, Chronicles of Carols in Color: The Storybook, which she’s brought to life with her short film, Be the Rhythm. Thank you for answering our questions.
Chris McClure, UniversalCinema Magazine (UM): Your book is meant to inspire people of all ages to reach for their dreams. Did you have the same goal in mind for the film?
Jaye Allison (JA): Yes indeed I did. The young at heart has no number assigned. I wish all people can find means to care. Feelings are central unit for inspiration. If something I offered is received and felt on some level that positively sparks creation for another, then I am grateful a goal is accessible through my art.
Interestingly here you state Chronicles of Carols in Color is Be The Rhythm, when in fact Carols in Color is a dance musical production running 26 well 2021 makes year 27 and was made into film format last winter by a different dance company. The poetic monologue referred in the review by Chris McClure is the book this film was made from, titled Her Chronicles Continue found through my author’s link on Amazon. I was able to produce a double release of film and book at the Philadelphia Fringe Festival September 9-October 4, 2020.
(UM): Could you tell us what attracted you to tap as opposed to other forms of dance?
(JA): Tap dance is what caught my attention first! Once I was hooked on the effect of watching tap dance in person, there were two other dances that left footprints. one was a ladies duo dressed in all blue moving so lavishly around the stage in some soft shoe and a ballet with boys lifting girls! All in the same show my 7 year old girlfriend was in! It spoke to my soul and I needed all the information from that point forward.
(UM): I was fascinated by what you said about dance being what first socialized human beings. Could you say more about that?
(JA): Great question, thank you for asking. I was fascinated by this concept the moment my high school modern dance teacher presented us the writings of dance pioneer, Ted Shawn’s ‘Credo’. It is within its short manifesto pages which stated his belief of human contact and its development into something to watch concluded this is a great possibility in lieu of the nature of mankind boils down to food, sex and sleep. That concept reoccurs in my thoughts over time as I paid attention to body language of people around the map where I danced. It was the type of statement that spoke to human evolution while exploring new lands and people. Things come from some need and this made common everyday sense to my 14 year old mind and still reigns true now from my point of view.
(UM): Dance, for me at least, is very difficult to speak about. You raise what might be a rhetorical questions at one point: Are we supposed to understand what we see? I’m sorry if this is unfair, but how would you answer that question?
(JA): The same as you, ironically! That was the reason I said it. The bewilderment I have seen on the faces of too many who witness art for whatever reason the exposure became inescapable have been priceless proof that variety of artistic landscapes strikes everyone differently and causes first, second impressions to be the baseline of our decisions about reactions we will have in the future. This particular rhetorical question was the reason I had such a steep climb with extreme pitfalls in the arts. the lack of understanding how arts is important, period and those artists who turn off people like that widely discussed “piss Jesus” art installation back in the 1990’s (?) People can shut down over dance topics because its perceived as a hobby more or less. My attempt to convey empathy for those who have had previous issues in the vastness of the arts world.
(UM): I was mesmerized by the performance at the end of the film, in which a young person runs around with chairs while others are dancing. Could you tell us about that performance?
(JA): Surely! I felt there was a way to represent the heart of Be The Rhythm through demonstrating leadership’s rippling affect on the community being served. Every community has a child around or child concerns in play. JADA is no different. Our growth depends on cooperative giving of talents. Our 6 year Liam is a wonderful cog in our wheel. His love of timing, pacing and rhythms affords me opportunities for inclusion when challenges as transitions from stools for sitting to be used as a drumming instrument (as influenced by STOMP) the final segment in choreography. Staging transitions of props were a big part of innovating the synchronized musical chairs portion in the work. This is how I can physically present the value of dance for all ages and how it can look. If I can include a 6 year old who does not blow their part and enjoys the challenges and organized wins it brings, I cannot pass this over. Children are our future. Include them in the education of professional thinking.
(UM): I thought your monologue was a very impressive piece of performance art in its own right. Could you tell us how it came about?
(JA): Here is the book link to the monologue. I can reference it now as the monologue in question. It actually started out as my intended TEDtalk that never qualified, so I realize this script titled ‘The Weight of the World’ which already performed at a local First Fridays Arts event needed a stage. It was selected for a prestigious quarterly event. I was told by a fan who attended that what she heard was the audiobook version of my follow up for Carols in Color. She blew my mind! She was right. In March of 2019 I purchased a publication package for the book. And kept the work for stages. This film was that adaptation in a studio setting. Mainly because of COVID-19. In spite of the pandemic, once the local government allowed small gatherings with protocols to happen, I health checked the dancers and standards for comfortable circumstances to complete the solo and final group filming segments. That was challenging but acceptable with all parties cooperating to complete the goal of launching the dance company after 3 years of development. A double release for both Book and Film at the Phillyfringefest2020 a 4 week festival to an amazingly large ticket paying online audience was amazing to accomplish.
(UM): Your story seems to be the story of how a true artist has no choice but to pursue their art no matter what. Do you think that’s right?
(JA): I do think this is right for some. Not for every artist. Free will separates those who must from the pack.
(UM): What do you think are the biggest obstacles to succeeding in the dance world today? And how would one overcome them?
(JA): Interestingly enough, my monologue response is the example of my answer for this question. Regardless of the mountain in front of the independent artist today, only that person knows the environment they are living and navigating through. I believe that as nature finds a way, so does the dance. That fellow, Tim Gunn has the best saying for this occasion. “Make it work.” Success is what you make of it in dance. Everyone sets their goals and boundaries. How close you come to reach or keep them is a positive confirmation that you are still on the right path. Keep check and that’s how you overcome and move on to the next vision on your list.