Tapestry's 'JASS'

Acia Gray in JASS, 2001

This season, Tapestry Dance Company jumps forward into the past with new versions of a pair of its earlier concert works. The first one, JASS, was originally staged just after September 11, and in the four years since, the company has seen almost a complete turnover in the corps of dancers. The Chronicle checked in with Artistic Director Acia Gray to find out what it's been like revisiting an old show with new dancers.

Austin Chronicle: What made you choose JASS to revisit?

Acia Gray: Except for the Soul to Sole Festival, it's been a while since we've really entertained jazz music and swing. We've been going toward the modern rhythm tap stuff. We haven't stayed true to that classic jazz thing that we did five, six years ago, and I thought this company would be a good company to do that with. JASS' whole first act is pretty traditional, real syncopated, real swingy. What's interesting about this, too, is that the company is a more mature company. The females are a little older than in the last cast of JASS, and that gives a new flavor to it. You know, it's the difference between the young sexpot and the wise woman. The woman doesn't have to prove herself, but a young lady still does or thinks she does.

AC: I think of jazz as having a different feel when it's played by older musicians. Does that apply to older dancers, too?

AG: You listen to Charlie Parker and Mingus and the true masters of the form when they were young, and many times they would do a blow course that just went nuts in all directions. The notes were so crammed together and so tight, it left you wanting some space so you could appreciate the virtuosity. When you hear the more mature jazz artists, you hear that space. Same thing for a tap dancer. I tell my male tap dancers, tap dance, especially with jazz music, is like making love with a woman. If you rush through this whole thing at the same speed, with the same dynamic, you're going to lose any connection you have. It's going to be over before you ever know it. You have to take your time. It's very true. (In) jazz dance, if you don't let all those nuances take their time and use the dynamics of the movement, it doesn't work. It comes out campy or cliché. There are young dancers who have that maturity and young jazz musicians who do – we lovingly refer to those people as old souls, 'cause they get it – but I think maturity has a major thing to it. I think I'm a better dancer the older I get.

AC: Does the music work through your body in a different way as you get older?

AG: Yes. I can't listen to a piece of music now without letting it filter through my bones and muscles, so I feel how it makes me move and really hear when somebody's shaving a note or taking it slow, or it's a little bit louder or what's the relationship between the bass and the drums. When I teach young dancers – company members and my students – trying to get them to hear that and feel that is one of the biggest challenges of being an artistic director and a teacher. Because you cannot recognize it until you're ready. You have no clue. You can't teach somebody to hear that. Just like you can't teach somebody to have stage presence, you can't teach somebody to hear music that way. It's something about being present in it – being in it, not just hearing it. You get it by being in it, you don't get it by knowing it in your head. It has nothing to do with your head.

Tapestry Dance Company performs JASS Jan. 20 and 21, Friday and Saturday, 8pm, at the Paramount Theatre, 713 Congress. For more information, call or visit www.tapestry.org.