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Being Bossy Is Best: Boss Dance Company

Being Bossy Is Best: Boss Dance Company

The company is still in its premature years, but founder Jordan Charles Herbert is proving to the Melbourne dance industry there is no such thing as baby steps in this business.

Jordan Charles Herbert takes a big leap of faith with this year’s company production ‘No Limits’. In only its third year of operation, Boss Dance Company is being reputed as the sassiest of dance establishments.  All of Boss Dance Company‘s shows are a reflection of the boundless creativity, confidence, and stamina that is needed to take on a company to the next level. Jordan has done this through the marriage of performance and multimedia.

A white cyclorama dangles from the roof and the stage is filled with a red wash and smoke. The lights fire up as soon as the beat kicks in. The audience shows support and encouragement for the big boss with an applause upon Jordan’s stage entry. There are two music videos filmed by renowned dance photographer Sean Higgins and choreographed by Jordan Charles Herbert. The dancers perform the music video live on stage directly in front of the video playing on the cyclorama, which adds a sense of dynamic realism to the room. You feel like you are meeting the stars of the clip right in front of your eyes. The first video is set in a desolate field, capturing a commercial rendition of Beyonce’s ‘Daddy Lessons’. The second video clip is a complete juxtaposition to the first, taking a more retro nightclub theme look as dancers pop-and-lock while boasting outrageous colourful costumes.  The music videos are shot and edited to a very high standard, giving Boss its dynamic edge.

The purpose of Boss Dance Company is to provide professional dancers the ultimate commercial performance experience. Many dance companies are rooted in the classical or contemporary styles, yet Jordan is beefing up the industry with innovative ideas within the mainstream dance concert perspective.

‘No Limits’ prides itself of the demonstration of diversity. In previous years, routines have been strictly segregated in terms of dance styles. Here we see fly rolls performed in high tops and slow hip-hop isolations performed to Broadway jazz music.  ‘No Limits’ offers spectators the opportunity to see the dancers showing off their natural abilities—be it street hip hop, acrobatics, unstoppable tap rhythms, smooth slow motion isolations or emotive contemporary. Every dancer in Boss has a unique talent to bring to the stage, which allows them to take ownership of their own performances. The tapping soloist is a classic example of this, proving he can tap out more than 10 beats per second.

The most inspiring performance of the night is the reoccurring trio act featuring three of the feistiest female commercial dancers. Every time the girls enter the stage in a blackout the audience props up in preparation for some thrashing choreography. The movements may be performed at full speed but it certainly does not compromise the level of execution.

After what could be described as an impressive dance journey coming out of Jason Coleman’s Ministry of Dance, Jordan is rapidly becoming known as one of Melbourne’s best emerging commercial choreographers. Jordan has created life-changing opportunities for many passionate dancers and is not only providing those dancers with a performance platform, but teaching them valuable life skills such as having tenacity, courage, and persistence. 

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