I seem to exist in two utterly different worlds. My name is Bret Jones. I am a PhD student in the Drama Department at Queen Mary. I am also a contestant on Britain’s Got Talent with the dance group Old Men Grooving (OMG), a group of older guys who are reclaiming dance and getting back our groove. This was not a designed career move. We had been put together for an internet commercial for Christmas jumpers for a national retailer. The next thing I knew, the video had gone viral. Something about the incongruity of older guys – ‘dads’ – doing a form of Hip Hop seemed to have resonated. The decision to go on Britain’s Got Talent was unexpected. One of the original guys became injured, and we got a new member who was a friend of one of the existing group. We all had some kind of dance background, in clubs, or competitions, or a bit of performing. Some of the group danced in Hip Hop clubs in the 1980s and 1990s, when many of the moves you see in these young dance crews were invented and developed. What is often missing is what we can bring – the ‘feel’, the ‘groove’. We dance because the music tells us to. The groove is who we are.
Of course, Britain’s Got Talent plunges us into the very depths of popular culture, but what is clear is just how complex and rich this culture – musically, kinaesthetically, and emotionally – actually is. It has been three weeks since our audition was broadcast, and the YouTube video has reached over 15 million hits:
We’ve had to jump on board the Facebook wagon to help spread the word. After all, Britain’s Got Talent does require audience support. The ‘feel good’ factor that seems to be very much a part of the response is actually a connection to something very profound within people. The younger audiences seem to like ‘Dad dancing’ done by guys who actually can dance and know how to express our own groove. The older audiences seem to identify with that love of dance that they once had, but that never really died. It’s still there. We’ve even created a little ‘Dad Dance’ that people can learn and join in with us:
The Anglo-American culture seems to relegate dance to the young, but this is not true in other cultures. We, in OMG, remember what it was like to dance in clubs and what that dancing meant to us as individuals, but also to the larger community. Dancing can help bond us, as well as be a means of personal expression. We have at times been humbled by the responses. We recently had a comment by a woman who lives in chronic pain, but who said that we had helped to lift her spirits. Yes, we are out there to have fun, but to have our dancing touch people in profound ways has been very moving.
My own dance background is in older forms like American rhythm tap and Lindy Hop, Swing, etc. However, this is directly related to later forms of African American dance, such as Hip Hop. Still, it has been a learning curve as a dancer. As hard as that has been, it has also been a joy. That, I think, lies at the heart of it. We are reclaiming dance as part of who we were and as part of who we still are. The moves may change over time, but the groove remains. We feel as young as ever when we dance, and so do the people who watch us. Unlike some of the young dance crews, we don’t dance at the audience. We share our joy with them; and they share their surprise and joy with us. We are both equally validated. This has engaged both body and soul, and although the body may ache at times, the soul is soaring. We need the support of all people, young and old, so that we can continue to reclaim dance for everyone, to make dancing part of our own continuing development as human beings, to embody and to share joy. In the end, it’s about joy.