A Life in Sequence
Jill Bush shares her experiences with Diana Wykes
DW – When did you start dancing, at what age and where?
JB – I started dancing, very reluctantly, at the age of eight years. My parents saw some children’s dance classes advertised soon after we, as a family, moved back to the outskirts of London from Cornwall. Their idea was that I should just learn some basic steps and that it would help to overcome my shyness. In fact, I went along in tears to my first class with the late Gordon Little and his partner Julia. Only a few new pupils arrived – two boys, myself and another girl slightly older than me. Of course, this meant that we were partnered up boy girl, boy girl. I had only recently come to terms with having to sit next to a boy at school but being asked to dance with one was really taking things a little too far!
However, that aside, I really enjoyed my first lesson and arrived the following week with eagerness – only to find that my partner (he was also only eight years) had gone home crying and wasn’t going to attend anymore!
Of course, years on, I realised what a trial this kind of situation can be for the poor dance teacher!
DW – How did you become involved in Sequence dancing?
JB – I was only about 11 years old when I decided that my ambition in life was to become an ISTD Examiner. At that point, little did I realise, that one had to qualify as a teacher (not to mention to Fellowship level) first of all! Undeterred, at 16, I started on the professional teaching ladder, firstly taking my Student Teacher examinations, followed by Associate level in Modern Ballroom and Latin American.
As a Licentiate examination was not permissible until 21 years of age, I found myself searching for something else to do until I reached this great age! At that time the DFR faculty did not even exist, so always having regretted not attending Ballet classes, I thought that Classical Sequence would be a somewhat related alternative. Consequently, I started training. At this particular time I was also training in Modern Theatre for my Associate.
DW – Have you sustained that involvement in Sequence dancing all through your career?
JB – Yes… Having qualified in Sequence, I started to build up an interest amongst my existing pupils – both amateur and professional. It’s a wonderful discipline towards any other Dancesport styles as it combines so many facets of Modern Ballroom and Latin American. For example, the use of turned-out foot positions and solo work that we frequently come across in Latin and the gracefulness, movement and control required for Ballroom.
I particularly enjoy training professionals as I enjoy working on the ‘nitty gritty’ and general presentation of technique and Solo Demonstrations.
I decided to put up for election to the ISTD Sequence Faculty Committee and was very pleased to be elected in 1987. For some years I was an Area Organiser, then Secretary and finally took up my present position as Chairman about four and a half years ago. I was also very fortunate to gain my Sequence ‘Examinership’ in 1993.
DW – Did you compete?
JB – I only competed within the ISTD ‘in-house’ events. Many years ago there was the Imperial Trophy in Classical Sequence similar to the Basic & Standard Competition in Modern Ballroom. I am pleased to say that Mr Vernon Kemp and I won our individual sections one year. I was also very fortunate to win the ‘All Ladies’ trophy with Miss Marion Lane.
DW – Who taught/coached you?
JB – My mentor was my late partner, Peter Varley. I started training with him, after moving to the south coast, for all my professional examinations except Classical Sequence. In fact, it was Gordon and Julia who wrote to him asking if he would take me on. Needless to say Peter used to attribute many of his grey hairs to me, from the day I arrived at his Studio!
When I first started Classical training, I was to call upon someone that I already knew a little – Margaret Connon. In fact, I worked with ‘Maggi’ through to my Fellowship qualification – and not only did I have a good teacher but a great friendship developed, which we still enjoy today. In fact, we could write a book about some of our holiday adventures that we have shared!
DW – Who are the people you came across in the Sequence part of your life? Who did you work with?
JB – I have met many lovely people within the Sequence world. However, the person that stands out most is definitely the late Martin Simmonds. He always encouraged me since the first day I met him, when I was a young teenager. He was such a knowledgeable person and so entertaining with the many tales he told – not to mention his Dorset colloquialisms that made me laugh! I feel very honoured to have had the pleasure and privilege of partnering Martin for some of his ISTD lectures years ago. Of course, serving with Martin on the Sequence Faculty Committee meant that we were always in regular contact with each other.
DW – Who has influenced you the most in developing your teaching methods?
JB – Without a doubt my late partner Peter Varley. His guidance and wisdom was second to none and in whatever style I am teaching – he is there right beside me, reminding me never to forget the basic fundamentals and to explore the rhythm and character of each individual dance.
DW – Has Sequence dancing changed since you started dancing?
JB – I think the perception of Sequence dancing has changed tremendously over the last few years. We now have many multi-talented professionals within our Society that regularly include Sequence in their schools – they have all helped to raise the profile of Sequence dancing. My colleagues on the Sequence Faculty Committee have also made a big impression, bringing fresh ideas, yet still trying to preserve and uphold standards.
DW – What developments would you like to see?
JB – I would love to see Sequence work continue to grow here (particularly the classical style) and abroad. Already, together with some of my ISTD colleagues, we have introduced Classical work to schools in Japan, India, Barbados, Germany and Greece.
DW – What part of your teaching gives you the greatest satisfaction?
JB – Training professionals because of the necessary attention to detail, making comparisions etc., and seeing these teachers flourish and achieve their goals. I also enjoy medallist work as, especially with adults, they often attend just to learn the
basics and yet they are still interested and committed to their dancing years later. When I was more involved with teaching children I always found Under 6s a very pleasurable challenge. I remember, one of my little one’s asking: “Jill, can you do a hand stand?” I am not sure what the connection was with the Pas de Basque I was showing her at the time – but it was obviously of some considerable importance to her! Needless to say there is never a dull moment when teaching!
Diana Wykes |
