Well Arlene, Craig and Bruno seem to think so (not so sure about Len). Also Flavia said on ITT that this is one the things that makes a good dance.

But I'm not convinced and so am interested in other views. Personally, the words "it told a story" provoke much the same reaction in me as the words "he/she has been on a journey" do in others. I'd rather watch a stylish or emotional waltz, say, than one which attempts to tell a story, since often the latter results in lot of twee posturing.

However, I think there are probably some dances where an underlying narrative helps. For example the paso doble, and to a lesser extent the tango.

And just to be clear, I do appreciate it when the choreography takes account of the song lyrics. I was watching Paul Killick & Hanna Karttunen's jive to Hello Dolly on youtube the other day and that was a good example of lyrics/music and choreography coming together. However I wouldn't call it a story as such.

So what do you think? Do you like a dance with a good narrative and if so do you have any examples where this was done well?

Yes especially in some of the slower dances like the recent Cherie and James and John and Kristina. It can turn a great dance into a winner.

But were they really telling a story, or just conveying emotion of the dance/music? Maybe I'm being a bit too literal here.

Depends on the music and the form of dance.

Some music begs for a story - especially foxtrot, waltz and the Viennese waltz. Rumba is rather dull so it needs something to give it depth too.

Samba is sheer joy, as is salsa - as long as you choose the right music. Proper salsa music is so alive and irresistable you don't need a story - just real musicality.

I hate it when on they choose contemporary pop music on SCD for the tango or a cha cha, etc. Or try and do salsa to disco.

But then I am old fashioned ex dancer who is obsessed with music and to me dance is about expressing a love of music and movement.

I agree that the Rumba is probably one of the best candidates for story telling. I also agree with your comments about the samba and salsa. (I don't like contemporary pop either.)

I guess maybe it's the phrase I don't like. Storytelling implies a more structured narrative (beginning, middle, end) with a certain amount of role play. The example cited by Paace of John and Kristina was really just John being his natural self and letting it come across in the dance. Whereas in a dance such as the paso you are playing a part. (Well unless you live a very passionate life of course!)

Can't agree with this. As a long time devotee and practitioner of the Slow Foxtrot I've never thought of it as 'telling a story'.
Two people dancing elegantly together in perfect time with the music is the ultimate aim. The only story this tells is that they have had very many years of hard practice!

Dancin' Doc

Really interesting question. I'm not a dancer and I can't really comment. All that occured to me was that some songs are more about the music than the words, or have no words, and then you are dancing the music, and perhaps that's more implicit and open to interpretation. But some songs, like some of the big band songs I'd hope we'd have for the AS, really are about the words as much as the music, and once the audience is listening to words then we are imposing a story on the dance and the dancers have to work with that as well.

But I agree that the way SCD simplifies some dances by pushing one story on it, the 'raunchy rumba' being my least favourite, feels really limiting - if that's what you meant.

I think you may be confusing 'telling a story' with linear narrative slightly. To use an analogy from another genre, Waiting for Godot 'tells a story' but doesn't use an obvious narrative to do so.

Really successful dances tend to be those that capture an emotion which is also the essential element of storytelling, but often it is a question of the 'story' (or at least the narrative element of it) being in the eye of the beholder - we impose our story on what we are seeing, inspired by the emotion that is being portrayed. So John and Kristina's waltz captured the emotions of charm and affection beautifully, but I have seen two different 'stories' applied to it by posters on DS. It isn't quite the same thing as sitting down and saying 'and this move says this and the next move says that' so much as giving the viewer the imaginative space to come up with their own interpretation - like all art forms.

I think a bit of both, but getting the right music is paramount, It can make all the difference. Always will remember Mark and Karen's tango.

As long as it accurately portrays the true character of the dance, then I don't think the rest matters.

I don't agree either I think couples should just show the right feel of the dance, rumba is the dance of love, samba the party dance and Paso the girl is the cape the guy is the matadoretc. I hate it when they bleat on about telling a story particularly in the Ballroom Tango which has noting to do with Argentine gauchos (sp) leave that to the argentine tango please.

Having seen my parents competing and teaching and later my brother competing at top levels never ever heard telling a story of the dance as part of his training

Hear hear bendy - this telling a story business is just a load of hot air on the judges part.

They go on about storytelling - I see the dancers interpreting the music in the required steps of the dance. Lets face it - in 90 seconds they don't really have any time for stories anyway!

I think we may be back to the old question of what Strictly is trying to do. Performative dance does need to 'tell a story' to engage the audience. Competitive dance, by contrast, needs to demonstrate mastery of the required steps and a sense of musicality to impress the judges. Strictly demands both by setting itself up as a competition that also aims to appeal to an audience of primarily non-dancers, often creating a certain amount of conflict, as demonstrated by many of the debates on here!

My 10p's worth - I'm not sure about telling a story - I like it when it does, but every dance should at least have a introduction, middle and finale with the lyrics and/or the music fitting the choreography which quite frankly hasn't happened too often this season.

This obsession with using music that was probably only played on Radio One spoils it for me - if the choice isn't a classic we're all likely to know at least go for something that makes Radio 2

Rant over

Yes and no. I think that when the judges' comment that the contestants told a story, it is sometimes a lazy way of commenting on the dance.


I accept that a story doesn't necessarily have an obviously linear narrative, but even Waiting for Godot does have a start, middle and end in some sense, if rather uneventful in terms of action. But most of all it, it still consists of two actors playing a part. I don't think SCD should be about theatrical dance (although Craig and Arlene's theatrical background may mean they see things differently).

But have just read your other comment about the need to appeal to the audience and can see your point
Last edited by Vivacious Lady : 18-10-2008 at 17:32

you can appeal to the audience by dancing well to the music chosen with the professional doing a routine that contains steps and moves that express the music and maintains the character of the dance otherwise dont base the programme on Ballroom dancing!!!

For me it's down to the interpretation of the music to the dance steps.

A single dance telling a story is not particularly crucial for me as an audience member and as I like classical music I don't have a problem with the abstract! However there is a background to each dance and I like the choreography and music to complement that background.

I suppose for the choreographer and the performer(s) it is helpful to think of the dance as a story in order to give the performance its shape and perhaps its emotional intensity too.


xx

Trophywife. I certainly agree with your first point. I can also see where you are coming from with the last point in that it might be useful to the choreographer. I don't think I mind it being a technique for choreographing the dance in order to give it shape. It's just that in recent series a lot of emphasis has been put on this aspect of the dance, when really I agree with Bendymixer and josephinejo that the ultimate aim is to convey the emotion of the music in the form of dance steps.

Yes I agree that the judges seem to have emphasised the storytelling aspect of performance. However if I am understanding them correctly I think that storytelling is the wrong word to use and what the dancers should really be trying to convey is the atmosphere and meaning of the dance, e.g. a simple example being the rumba as a dance of courtship, so the choreography and performance of a rumba should show the least dance-knowledgeable member of the audience that it is about courtship and flirtation rather than actually telling any specific story within that theme.

I hope I have made my point clearly??


xx

Yes, agree completely with that.

The only dancer who could have told a story was Mata Hari, who using finger gestures, head angle and timing of pivot turns could have signaled to a confederate in the audience within 90 seconds:

"The French are moving 2 divisions to Verdun on the 14th, starting at 7am. Oh and remember to bring me some cologne and nail polish tonight....."

Ballet tells a story, but a story well known to the audience who then look out for body language clues. I believe Bruno's true intention was distorted by his clumsy use of language -- not telling a story but painting an atmosphere, making pictures, ....

As one Hollywood film producer said, he was in the entertainment business. Messages were for Western Union.

How about Karen and Mark's Argentine Tango? That told a story brilliantly.

Well having just come back from dance lessons the only story my ballroom tango is telling is that my knees are aching.

I suppose Argentine Tango could be used to tell a story although I admit I can't remember the narrative behind Karen and Mark's (some good dancing though and a stunning dress for Karen).

Yes, ballet does tell a story. Also the dancing in some musicals sometimes tells a story (although they tend to rely on ballet, like the dance sequence in American in Paris).

I guess I just don't like the phrase much as it sounds so precious. However I agree that Bruno was probably getting at (along with the other judges) was the need for atmosphere, emotional intensity.