Jazz-funk without the myths — and how to work with a self-conscious teenager

Jazz-funk is one of the most popular directions among teenagers. IDC's senior teacher Yuniia Furman is honest about it: this is not a style with its own fundamental technique but a combination of elements from different dance directions. And that, in her view, is exactly what makes it special.

First — about the style itself

According to Yuniia, jazz-funk is a commercial dance direction that took shape out of various styles.

"It has no fundamental base of its own. It is a combination of elements from different directions — jazz, hip-hop and other contemporary styles. That is exactly how jazz-funk came about."

That is why you often see this style in music videos, concert shows and commercial productions.

Why it is worth doing

What makes jazz-funk distinctive is that it introduces a dancer to a wide range of movement vocabulary.

Jazz-funk has no fundamental technical base of its own — it combines elements of different dance styles. This is precisely why exposure to different directions helps a dancer gradually build broader movement experience, gain better command of their body and adapt more easily to different choreography.

That is also why the studio regularly runs masterclasses in hip-hop, house, popping and other directions — so that children are not confined to one style but develop all round, expand their movement vocabulary and become more versatile dancers.

Can you start with no previous training?

Yuniia is convinced you can.

"Many well-known dancers in the commercial industry only started as teenagers."

At the same time she stresses that everything depends on the goal.

If a child dreams of commercial choreography, you can start at almost any age. The academic route, however — in particular a professional career in theatres or classical companies — usually requires many years of training begun in childhood. That is why it matters that a family understands which path it wants to take.

Why physical conditioning matters so much even in jazz-funk

Whatever the style, one principle applies in the studio: the body first, choreography second.

Children often join jazz-funk groups during a growth spurt, when the muscular system has not had time to strengthen as quickly as the body is changing. That is why training includes general physical conditioning and work on coordination, strength and sound movement habits, not just learning dance combinations.

Teenagers: the hardest age, which Yuniia calls the easiest

Asked about working with shyness, insecurity and constant worry about how they look, Yuniia gives an unexpected answer:

"Sometimes teenagers are the easiest of all for me to work with."

She explains the reason simply:

"They feel that I understand them. They trust me with a great deal, and I value that enormously."

In her view the decisive factor is not teaching methodology but the relationship between teacher and child.

Adolescence is a period of insecurity, worry and searching for yourself. That is exactly why, Yuniia believes, it matters for a child to feel there is an adult nearby who will listen, understand and support them.

A mentor, not a friend

At the same time Yuniia stresses the importance of professional boundaries.

She does not set out to be the children's friend, but she does want to be someone they trust. Her task is to understand her students, support them and remain a mentor who helps not only with dance but with growing as a person.

That is why the word she chooses for herself is mentor.

Behind it are years of travelling together, preparing for performances, conversations and mutual trust.

"The most important thing is not simply to train children but to let them know that you understand them. I want to help them become not only better dancers but strong people."

What it gives outside the studio

According to Yuniia, the changes are visible off the stage too.

Children become more disciplined and responsible, pay closer attention to their own health, learn to work on themselves and to see a thing through to the end.

That is why, for her, dance is far more than teaching movement.

"We are not just raising dancers. We are putting a part of ourselves into the kind of people they will grow up to be."

See the direction: Jazz-Funk for teens.