Interview with Jasmine Call
What is your personal background regarding dance? Did you grow up in a secular or Christian dance studio?
Trained in Ballet from 8 years old to 32 years old, secular dance studios, college, graduate school. I have taught in Christian dance studios as well as at Oral Roberts University for 4 years.
What do you think about dance costuming and its relationship to dance?
The costuming of a dance work is an extension of the overall concept of the dance. There is a wide spectrum of ways the costuming can implement into the concept but the choices made in costuming should reflect the work.
Are costumes merely practical and functional? Or Do you see the costume as part of the overall art of the dance?
There are practical and logistical considerations that go into costuming such as budget and function, however, it is my goal to consider costume choices as part of the overall art of the dance.
How do you view the human body? Is the body something beautiful to be displayed or a site of potentially sinful temptation that has to be controlled?
The body itself is a reflection of God’s creativity and expression of His love, however, the body has been subject to the fall just as the mind and emotions have been so we need redemption in our bodies just as our minds need renewing daily. I think that the audience should be considered whenever one is costuming a dance. Choices will change when considering proximity to the audience, the use of theatrical lighting (which changes the look of the skin, covered or not), and the voice of the performer (does it flatter the performer and is she/he reasonably comfortable).
1 Corinthians 6:19
“Or do you not know that your body is the temple of the Holy Spirit who is IN you and you are not your own. You were bought with a price, therefore, glorify God with your WHOLE body, and your spirit which are God’s.” (NIV)
Revelation: God will often visit you/impress a thought upon you/incline your heart/speak to you, when you least expect it. Its purpose is to press you forth into a deeper dimension with Him.
Do you have any clear-cut guidelines about what is or is not acceptable for dance costumes?
I personally do not feel it helps a dance for the costume to distract from the dance itself. So I steer away from anything that is a potential distraction from the movement. This includes superfluous movement of the costume that creates extra rhythms (if undesired), exposing or covering body parts that do not help the dance be seen, or cuts of costuming that do not flatter the dancer as she/he moves in the work.
How much do you think the intent of the dance affects the costuming choices?
Intent is crucial to costuming choices. A classical work performed in classical costuming or period dress may highlight a reverence for tradition where as a classical work performed in costumes with a modern line or a fusion of fashion statements may imply that the work be viewed through a different lens.
How important is it for the intent of the piece to be shared with the audience? Does it depend on what type of audience it is?
A choreographer may be satisfied with any level of artistic consumption (does your audience get it?) but I feel that one’s artistic voice should strive to be clear. So wherever you are in that process is important for continuing to improve clarity or no audience will continue to return.
How much do you think the location and setting of the dance affects the costuming choices?
Location and setting are important things to consider. This may drive the choreographer to consider multiple costuming choices. If the dance is able to change locations, the new venue may change the look of the costume for practical reasons; however, some semblance of the original look/feel would probably emerge if one is attending to costuming as part of the choreographic process, not merely the lacquer on top of the work of art.
Do your costuming choices depend on what type of audience you will have? Would you use different costumes for an audience of people new to dance versus an audience of arts patrons and dance enthusiasts?
Honestly, I find my costume choices change less with audiences’ experience with dance and more with whether or not the dance will be performed in a church setting. This has to do more with how much of the body is exposed while performing than any theatrical choices in the costuming. My costume choices are never overtly exposing; however, I am influenced by the slow changes my faith community makes in viewing dance in a worship setting. Many have not been used to dance being acceptable in church let alone seeing a dance with legs exposed. I try to consider (often guess) and prefer my church body as needing more control of perceived distractions than secular audiences. My guess is that secular audiences are seeing more of a balance when viewing my work: costuming that shows what the body is doing and that supports the theme, tone, and imagination of the concept.
Church audiences are generally viewing fewer works from me and I am creating the work specifically for that audience with a goal of edifying the body so the need to avoid any debate or controversy on questionable body exposure is important. (I still probably show more of the dancing moving body that some care to see but we are all learning to live together and it’s okay to be challenged, yes?)
What are the most important factors that you consider when designing a dance costume?
What are your religious beliefs? Do you think that your religious beliefs have any importance on your views of dance costuming?
I am a Christian – a follower of Christ in the ever breathing and living Judea Christian worldview. Yes, and it should, otherwise, you are not living wholly.
re·li·gion [ri-lij-uhn] Show IPA
noun
1.
a set of beliefs concerning the cause, nature, and purpose of the universe, especially when considered as the creation of a superhuman agency or agencies, usually involving devotional and ritual observances, and often containing a moral code governing the conduct of human affairs.
How much do you think your personal background affects the choices you make as a costumer?
Personal background is a key element. Artists make choices considering 3 elements: personal experience, empathy to others’ experiences, and a belief in what ought to be.
As a dancer, have you ever had to wear a dance costume that you felt uncomfortable or morally wrong to wear? If so, did you speak to the proper authority about the costume? What was their response?
I have had to wear costumes that were unflattering and, I felt, did not support the dance; however, never immoral. In situations where I was uncomfortable (the costume was a dress and the movement had us promenade-ing in an upside down tilt for 2 8-counts so the dresses were over our heads showing our mid-drifts and briefs. I’m not opposed to an exposed mid-drift but it was a little ridiculous considering the action had no flow) those concerns were mention but went unheeded. I did have a choreographer suggest nudity as a costume (I have no idea if they were kidding) and I flat-out said “ha ha, no”. I have mostly worked in grass-roots companies and low budget works so I did not have much in the way of money to lose with the job but I don’t think it’s worth the compromise to your conscious no matter what is at stake. It just may be harder to make the decision to speak and take action.
If you think a costume is perfectly acceptable and someone else thinks it is sinful, then what should you do? What is our responsibility to others?
I feel it’s important to prefer one another and pursue peace. There are lots of choices and options in the artistic process. No one choice, will make it a masterpiece, let alone cause it to fail. Work to solve the problem.
Do you think that dance ministry should have stricter guidelines for dance costumes versus secular dance studios or are we free in Christ?
We are free, however, the Word says that everything is acceptable but not everything is good. Our relationship with Christ should affect our decisions and sometimes we make choices based on loving and preferring one another not simply what we are free to do.
How do we create dance that is excellent and comparable to the talent of the secular dance realm, but still be “set apart”?
Culture is important to consider. In a society where nothing is bridled, how are our choices to reflect how different God is and what He has to say about the body and expression? On the other hand, in our church sub-culture, how can we be more relatable to the world without being of it? We still have to be in it and consider the standards of the field BUT with the ultimate goal of leading the way of writing NEW standards, not simply following suite just because the field says it’s acceptable.
Have you seen any changes or shifts in dance costumes during your era?
I have seen a change from strict white garments and colorful tunics in the church to more artistic choices of pants or differently flowing skirts, textures, and shoes (or lack of) in church settings. I have also seen a shift to more pedestrian clothes in secular modern concert work as well as an incorporation of less clothes, like simply leotards and no tights).
Do you have any personal stories or experiences with dance costumes that you would like to share that would be helpful for this project?
I’ve already shared some, but I will say that in recent years I’ve been working toward making costuming choices that are more theatrical and less pedestrian (came out of my own closet), partially because I want to be more invested in the costuming of my work and partially because I want my dance work to look more professional. This has been a challenge because costumes are expensive, but I’m learning that I can be creative as long as I have the time. I have taken old costumes given away by the local ballet simply for the free material, I’ve hunted for pictures online to inspire my creativity, I’ve learned to sew, I’ve looked for pieces in vintage shops and goodwill, I’ve altered a piece that could nearly work but needed some alterations/embellishments/additions/subtractions to really make it look custom to the piece, etc.
What would be your most important advice to a budding dance costumer?
There’s more than one way to look at a problem. Treating your costuming as an extension of the choreographic process (even if you’re not the choreographer) is important to making new connections and generating new ideas for the dance piece (or theatre piece or art installation). Thinking of costuming as a “layer” to added, in my opinion, will limit your imagination and relevance. It’s the difference between creating fashion from the imagination that shifts with way we see the dance and simply bedazzling clothes that already exist and are made for another purpose. Not all costuming choices need to be exquisite statements of high fashion but if we limit our imagination, we will simply be clothing the dance instead of supporting the statement of the work and the statement of the work is why the dance needs to be expressed viewed in the first place.
What is your personal background regarding dance? Did you grow up in a secular or Christian dance studio?
Trained in Ballet from 8 years old to 32 years old, secular dance studios, college, graduate school. I have taught in Christian dance studios as well as at Oral Roberts University for 4 years.
What do you think about dance costuming and its relationship to dance?
The costuming of a dance work is an extension of the overall concept of the dance. There is a wide spectrum of ways the costuming can implement into the concept but the choices made in costuming should reflect the work.
Are costumes merely practical and functional? Or Do you see the costume as part of the overall art of the dance?
There are practical and logistical considerations that go into costuming such as budget and function, however, it is my goal to consider costume choices as part of the overall art of the dance.
How do you view the human body? Is the body something beautiful to be displayed or a site of potentially sinful temptation that has to be controlled?
The body itself is a reflection of God’s creativity and expression of His love, however, the body has been subject to the fall just as the mind and emotions have been so we need redemption in our bodies just as our minds need renewing daily. I think that the audience should be considered whenever one is costuming a dance. Choices will change when considering proximity to the audience, the use of theatrical lighting (which changes the look of the skin, covered or not), and the voice of the performer (does it flatter the performer and is she/he reasonably comfortable).
1 Corinthians 6:19
“Or do you not know that your body is the temple of the Holy Spirit who is IN you and you are not your own. You were bought with a price, therefore, glorify God with your WHOLE body, and your spirit which are God’s.” (NIV)
- Our bodies are meant to be a wonder and joy to us and others.
God’s design is amazing and a work of art. In following Christ’s example of work meant to build the Kingdom of God, we should seek revelation about using our bodies to serve Him and serve others – be it in the ministry or the martketplace. - Our bodies are not our own, in Christ.
Revelation: God will often visit you/impress a thought upon you/incline your heart/speak to you, when you least expect it. Its purpose is to press you forth into a deeper dimension with Him.
Do you have any clear-cut guidelines about what is or is not acceptable for dance costumes?
I personally do not feel it helps a dance for the costume to distract from the dance itself. So I steer away from anything that is a potential distraction from the movement. This includes superfluous movement of the costume that creates extra rhythms (if undesired), exposing or covering body parts that do not help the dance be seen, or cuts of costuming that do not flatter the dancer as she/he moves in the work.
How much do you think the intent of the dance affects the costuming choices?
Intent is crucial to costuming choices. A classical work performed in classical costuming or period dress may highlight a reverence for tradition where as a classical work performed in costumes with a modern line or a fusion of fashion statements may imply that the work be viewed through a different lens.
How important is it for the intent of the piece to be shared with the audience? Does it depend on what type of audience it is?
A choreographer may be satisfied with any level of artistic consumption (does your audience get it?) but I feel that one’s artistic voice should strive to be clear. So wherever you are in that process is important for continuing to improve clarity or no audience will continue to return.
How much do you think the location and setting of the dance affects the costuming choices?
Location and setting are important things to consider. This may drive the choreographer to consider multiple costuming choices. If the dance is able to change locations, the new venue may change the look of the costume for practical reasons; however, some semblance of the original look/feel would probably emerge if one is attending to costuming as part of the choreographic process, not merely the lacquer on top of the work of art.
Do your costuming choices depend on what type of audience you will have? Would you use different costumes for an audience of people new to dance versus an audience of arts patrons and dance enthusiasts?
Honestly, I find my costume choices change less with audiences’ experience with dance and more with whether or not the dance will be performed in a church setting. This has to do more with how much of the body is exposed while performing than any theatrical choices in the costuming. My costume choices are never overtly exposing; however, I am influenced by the slow changes my faith community makes in viewing dance in a worship setting. Many have not been used to dance being acceptable in church let alone seeing a dance with legs exposed. I try to consider (often guess) and prefer my church body as needing more control of perceived distractions than secular audiences. My guess is that secular audiences are seeing more of a balance when viewing my work: costuming that shows what the body is doing and that supports the theme, tone, and imagination of the concept.
Church audiences are generally viewing fewer works from me and I am creating the work specifically for that audience with a goal of edifying the body so the need to avoid any debate or controversy on questionable body exposure is important. (I still probably show more of the dancing moving body that some care to see but we are all learning to live together and it’s okay to be challenged, yes?)
What are the most important factors that you consider when designing a dance costume?
- Mood and feel of the work.
- Practicality.
What are your religious beliefs? Do you think that your religious beliefs have any importance on your views of dance costuming?
I am a Christian – a follower of Christ in the ever breathing and living Judea Christian worldview. Yes, and it should, otherwise, you are not living wholly.
re·li·gion [ri-lij-uhn] Show IPA
noun
1.
a set of beliefs concerning the cause, nature, and purpose of the universe, especially when considered as the creation of a superhuman agency or agencies, usually involving devotional and ritual observances, and often containing a moral code governing the conduct of human affairs.
How much do you think your personal background affects the choices you make as a costumer?
Personal background is a key element. Artists make choices considering 3 elements: personal experience, empathy to others’ experiences, and a belief in what ought to be.
As a dancer, have you ever had to wear a dance costume that you felt uncomfortable or morally wrong to wear? If so, did you speak to the proper authority about the costume? What was their response?
I have had to wear costumes that were unflattering and, I felt, did not support the dance; however, never immoral. In situations where I was uncomfortable (the costume was a dress and the movement had us promenade-ing in an upside down tilt for 2 8-counts so the dresses were over our heads showing our mid-drifts and briefs. I’m not opposed to an exposed mid-drift but it was a little ridiculous considering the action had no flow) those concerns were mention but went unheeded. I did have a choreographer suggest nudity as a costume (I have no idea if they were kidding) and I flat-out said “ha ha, no”. I have mostly worked in grass-roots companies and low budget works so I did not have much in the way of money to lose with the job but I don’t think it’s worth the compromise to your conscious no matter what is at stake. It just may be harder to make the decision to speak and take action.
If you think a costume is perfectly acceptable and someone else thinks it is sinful, then what should you do? What is our responsibility to others?
I feel it’s important to prefer one another and pursue peace. There are lots of choices and options in the artistic process. No one choice, will make it a masterpiece, let alone cause it to fail. Work to solve the problem.
Do you think that dance ministry should have stricter guidelines for dance costumes versus secular dance studios or are we free in Christ?
We are free, however, the Word says that everything is acceptable but not everything is good. Our relationship with Christ should affect our decisions and sometimes we make choices based on loving and preferring one another not simply what we are free to do.
How do we create dance that is excellent and comparable to the talent of the secular dance realm, but still be “set apart”?
Culture is important to consider. In a society where nothing is bridled, how are our choices to reflect how different God is and what He has to say about the body and expression? On the other hand, in our church sub-culture, how can we be more relatable to the world without being of it? We still have to be in it and consider the standards of the field BUT with the ultimate goal of leading the way of writing NEW standards, not simply following suite just because the field says it’s acceptable.
Have you seen any changes or shifts in dance costumes during your era?
I have seen a change from strict white garments and colorful tunics in the church to more artistic choices of pants or differently flowing skirts, textures, and shoes (or lack of) in church settings. I have also seen a shift to more pedestrian clothes in secular modern concert work as well as an incorporation of less clothes, like simply leotards and no tights).
Do you have any personal stories or experiences with dance costumes that you would like to share that would be helpful for this project?
I’ve already shared some, but I will say that in recent years I’ve been working toward making costuming choices that are more theatrical and less pedestrian (came out of my own closet), partially because I want to be more invested in the costuming of my work and partially because I want my dance work to look more professional. This has been a challenge because costumes are expensive, but I’m learning that I can be creative as long as I have the time. I have taken old costumes given away by the local ballet simply for the free material, I’ve hunted for pictures online to inspire my creativity, I’ve learned to sew, I’ve looked for pieces in vintage shops and goodwill, I’ve altered a piece that could nearly work but needed some alterations/embellishments/additions/subtractions to really make it look custom to the piece, etc.
What would be your most important advice to a budding dance costumer?
There’s more than one way to look at a problem. Treating your costuming as an extension of the choreographic process (even if you’re not the choreographer) is important to making new connections and generating new ideas for the dance piece (or theatre piece or art installation). Thinking of costuming as a “layer” to added, in my opinion, will limit your imagination and relevance. It’s the difference between creating fashion from the imagination that shifts with way we see the dance and simply bedazzling clothes that already exist and are made for another purpose. Not all costuming choices need to be exquisite statements of high fashion but if we limit our imagination, we will simply be clothing the dance instead of supporting the statement of the work and the statement of the work is why the dance needs to be expressed viewed in the first place.
