Why Dynamic Ballet

For quite some time now, the term Jazz Dance has been used across mainstream dance education in ways that often reflect a surface-level understanding of the form. We see it in competitive studios, syllabi, conventions, competitions, and even on professional stages. In many cases, this is not driven by intentional disregard for jazz’s roots, but rather by a lack of education and historical awareness.

That said, where responsibility does come into play is in our willingness — or unwillingness — to continue learning beyond the studio walls. To seek out deeper knowledge. To question what we teach, why we teach it, and where it comes from.

I want to say this clearly and honestly: I was guilty of this myself. For far too long.

Much of what we teach or have been taught in dance — myself included — has become watered down. Steps are taught without context. Choreography is prioritized over culture. Winning is often valued over understanding. And while competition culture is a conversation entirely of its own — one that deserves its own blog, podcast, or panel — it has undeniably shaped how dance is presented and consumed.

But dance is more than steps. It is history. It is culture. It is people.

We must ask:
Why is this step called what it is?
Who created it?
Who paved the path that allows us to stand here today?

When Andrea and I took a deeper look at our own curriculum — specifically what we had been labeling as jazz — we realized it was time for a change. Not a reactive change, but a conscious, respectful one.

The truth is this: the work in our syllabus that we had been calling jazz… simply isn’t jazz.

It is ballet-based. Entirely.

The exercises, the barre work, the structure, the terminology, the theory, the set combinations — all of it is rooted in ballet technique and ballet foundations. And that is not a problem. Ballet is beautiful. Ballet is essential. Ballet deserves its own space, identity, and respect.

But it should not be mislabeled.

Barre has never been a part of jazz dance. Codified structure has never been at the core of jazz. Jazz, both as a dance form and a musical form, is a Black American art form with deep African roots — and those roots cannot be ignored or repackaged for convenience.

Jazz cannot be codified. To attempt to do so is to strip it of its essence.

Too often, ballet- or modern-based movement is placed over jazz or popular music and renamed “jazz.” This is not evolution — it’s replacing jazz with something else and calling it jazz. This is how appropriation takes shape. This is how a Eurocentric lens has historically overwritten cultures rather than honored them.

This has been happening for decades. And it continues because it’s comfortable.

We chose discomfort instead.

Out of respect — for jazz, for its people, for its history, and for what it truly represents — we made the decision to change the name.

Dynamic Ballet is exactly what this work is. It should be taught, trained, danced, performed, and loved as such. When ballet is allowed to exist in its full expression — dynamic, expansive, musical, athletic — it is incredibly beautiful.

But it is not jazz.

Our commitment moving forward is simple and strong:
We will honor every genre we offer with integrity.

Whether within a codified syllabus, a class combination, our subscription platform, or the TSM Membership, cultural and historical respect will stand alongside the high technical standards we have always upheld. Education does not dilute excellence — it deepens it.

It is important to feel noble and truthful in what you do.
It is important to know who you are, and why you stand where you stand.

This name change is a step forward — not because we are forgetting the past, but because we are finally looking at it honestly.

And from that place, we move ahead — informed, respectful, and rooted.

With Luv,

Ryan