Spotlight On: U-Min

To conclude our week-long spotlight feature on international crews, we're closing with a look at U-Min from Japan. They've become known for their intricately detailed performances using animation, strobbing, and robot concepts drawn from the popping world. Mainstream America has seen them in Missy Elliott's music video "Ching-a-Ling." But any Youtube search for this crew will call up additional clips of their varied yet entertaining performances. (Photo above is from their facebook page.)

You can visit their facebook page here:

http://www.facebook.com/pages/U-Min/25862333798

And you can see an older clip of one of their performances here:

http://www.youtube.com/watch?v=DeyhtiK0fRI

In a national culture that celebrates street dance, U-Min stands out among other Japanese dancers for their highly-executed performances and penchant for creating beguiling illusions. Whether it's being playful with slow-motion movement or experimenting with dimestopping techniques that are at the heart of robot and animation styles, this crew paces out their performances carefully. They draw us into their world beat by beat. Each one is a building block to a larger structured performance that gradually envelops our imagination. The scale of U-Min's work is in striking contrast to what many of our mainstream U.S. audiences have become accustomed to in high profile reality TV dance shows - ie, the broader focus on acrobatic tricks that are labeled as eye-catching. U-Min focuses on small movements and carefully timed routines that are less about explosive acrobatics and more about eye-pleasing, magical illusions. And that's refreshing. Already there seems to be a growing trend among U.S. mainstream TV audiences who are getting tired of seeing acrobatic tricks over and over. Wasn't this a criticism for America's Best Dance Crew through seasons two, three, and four? Don't American audiences want to see something different? It remains to be seen if mainstream television will show greater awareness of the variety within street dance culture by allowing other types of crews to showcase.

Another great aspect of U-Min is their paying homage to the showmanship that was characteristic of the original popping generation. Performing on streets, shows, and concerts were part of the lifestyle for poppers in the 1970s and 1980s. U-Min is contributing their own interpretations for the current generation. They've shown that audiences will pay attention and can be mesmerized by popping showcases with clever costumes, illusionary movements, and a nod to our wild imaginations. Whether it's mimicking mechanical toys or loose-limbed puppets, U-Min's body of work suggests the importance for street dancers to continue to develop showcase pieces. Performing for an audience is a crucial training experience as it can teach you how to present your ideas and story execution to others who are seeing the show for the first time. Presentation is key. While you can be technically skilled popper; you will find it hard to connect with an audience if you can't present your moves, character, and execution well. Whether it's performing for an outdoor audience or in a packed night club, performance experience should be part of every street dancer's journey if they choose to expand that part of their craft.

Finally, fans of U-Min can celebrate their use of dimestopping techniques in a popping culture where the boogaloo style, as defined by the Electric Boogaloos, often dominates as the preferred style among a new generation. Isn't it fascinating to see a human being move in slow motion? Or to witness a group of individuals wielding their bodies like mechanical toys? It should be noted that U-Min's dancers are clearly skilled in other styles as well. Although there are predecessors who have pioneered these dimestopping techniques, U-Min and others who employ similar styles show us that the human body holds many possibilities for movement. The fine muscle control needed to create the sudden "stop" in dimestopping techniques isn't easily learned. It often takes as much practice as other highly muscular movements. In the end, we can celebrate U-Min for their exploration of the human body in its smallest details as they continue to dazzle us with their work.

Spotlight On: Prepix Crew

For a second time this week, we return to South Korea but for a different kind of crew in our spotlight feature. Today, it's Prepix Crew, who have been holding it down since 2001. They've traveled all over Asia and Europe making an impression with their trademark "Prepix" style. For those of us in the U.S., they represent a unique blend of different street elements plus their own personal aesthetics that have helped them to stand out. (Photo above is from their website but it should be noted that the team also has female members.)

You can see their website and contact info here:

http://www.prepixstyle.com

And you can see one of their most recent promotional videos here:

http://www.youtube.com/watch?v=j-9fgPAoZ8A

And here's an older clip from 2005 using masks:

http://www.youtube.com/watch?v=PHUrfSbPDFY

So how does one describe Prepix? They're smooth, very musical, and well-rounded in using multiple levels, clean executions, and their whole body to dance. What's great about them is that they don't rely too heavily on using street dance foundation in their choreography but they shows signs of training in those styles and understanding their differences. For the past few years, we've seen a lot of bboying, popping, locking, and waacking foundation or moves inspired by these styles in routines from southern California hip hop choreo teams. Prepix avoids this comparison by staying light on their feet and moving in ways that don't lock them down into one specific style. They can easily claim their own "Prepix" style because they're confident, clean in their executions, and influential in their teaching workshops and performances. If they can break down their own style and teach the specific elements and concepts to students, then they have grounds for arguing for their own style.

Watch their footwork - how they shift their weight at different moments, how they create various angles and lines, and how they take advantage of little hops and skips that keep them moving. Too often, we're seeing other U.S. hip hop choreo teams that seem land-locked and flat-footed. Or we see the same leg lines repeated over and over. This is especially true when we see tutting routines used in team choreography. Can we see a little more dynamic play with these concepts? Prepix seems to have embraced dancing with their upper AND their lower bodies in their choreography. And it brings out much more of their personality and flavor in their dance. As dancers, we can choose to use specific parts of our bodies and limbs when we isolate, but we shouldn't forget to embrace our whole body. We have to remember that each part can have a unique purpose in the overall presentation. Knowing our own anatomy and taking advantage of it will only open up more potential doors to creativity.

Prepix also represents an interesting debate that is going on right now in southern California, in terms of terminology. This doesn't directly involve the team, but the debate in question revolves around what we should call choreography that doesn't directly use foundation and techniques from original hip hop street dances like bboying, popping, locking, and waacking. Yes, one can argue that popping and locking appeared before bboying and hip hop, but these styles have become embraced in the larger umbrella of this culture. So if it's not any of these styles, then do we call it "urban choreography"? That term has been floating around. Other terms include "West Coast hip hop," "LA hip hop," "new style," etc. What we're talking about here is a plethora of personal flavors and styles informed by the choreographer behind the piece. And with every person, we draw from many influences. Will "urban choreography" be a term that is only embraced in the U.S., possibly in southern California? Will the rest of the world be hip to it? All of this remains to be seen. But in the meantime, we can enjoy what Prepix is doing as they forge their own identity in the performance world.

Spotlight On: Expression Crew

We're heading over to South Korea for today's spotlight feature. And this time, it's on Expression Crew. After winning Battle of the Year 2002 in Germany, this bboy crew has been seen as the first public face of the Korean bboy movement by the rest of the world. Although they have predecessors, Expression continues to command the public's imagination as they continue to innovate. (Photo above is from a Google Image search.)

You can see a clip of Expression performing their Wizard piece here:

http://www.youtube.com/watch?v=eqBr_LHNQQI

The early 2000s had a huge fan reaction towards the arrival of Korean bboys on the international scene. As documented partially in the film Planet BBoy, bboys and bgirls around the world were amazed by the innovative power moves, combinations, and commando routines that Expression displayed in their competitive rounds. In southern California, there might have been a revival in street dance partially due to the public exposure that Expression and other Korean bboys were receiving after 2002. If everyone else was pulling off two to three combinations, Korean bboys were doing five to six times more combos. They appeared superhuman in their athleticism, balance control, and sheer technical execution of power moves. While Expression has seen a constantly rotating roster since the early 2000s, many of their original members continue to innovate in other Korean crews including Drifterz, Gamblerz, and Maximum Crew. Although Expression won many fans, there were also naysayers who criticized these Korean bboys for forsaking footwork, toprock, and style for their power moves. Some of these critics were documented on online forums (such as freestylesession.com) and videos, expressing their concern that the true essence of bboying would be lost if athletic tricks were all that future generations worked on.

But Expression seems to have had other plans. Even after their 2002 win, the crew was seen performing in South Korea on theatrical stages and with classic symphony orchestras. The venues that these bboys performed in were rarely occupied by their U.S. counterparts. Take a look at Expression's Marionette or Wizard shows. They brought pantomime, theatricality, and stage magic to these choreographed performances. More than technical routines, these shows brought humor, high drama, and a mystery that usually is reserved for performance theater or Cirque Du Soleil. Expression should be credited for making the most out of their bboy skills by using their foundation to create great concepts on stage. Even to this day, it seems that bboying and street dancing is more widely accepted in public theatrical venues and commercial media formats in South Korea than in the U.S. Yes, there have been examples of U.S. hip hop Broadway musicals like Jam on the Groove, the legendary Graffiti Rock show, and the recent Groovaloo show. But for most American street dancers, it's still hard to file that as their primary occupation on their tax returns.

Where will Expression take us next? Will they venture into taking bboying into performance venues that we've never seen before? What if we saw a collaboration with a U.S. bboy crew? Whatever the future holds, Expression Crew has already left a vivid legacy that has inspired young bboys and bgirls in their country as well as all over the world. Within the framework of Korean society, they've carved a respectable niche for themselves. And for many aspiring bboys, they represent a dream that is still being shaped today.

Spotlight On: Philippine Allstars

Our spotlight feature today is on a hip hop crew that has always impressed when they visited the U.S. They're the Philippine Allstars. Created in 2005 by twelve friends from the Philippines underground hip hop scene, the Allstars made their biggest impression in 2006 when they won the World Title at Hip Hop Internationals. They've won many titles beforehand and afterwards. Loved by many fans, they've become spokesmodels for products and dance icons among a young generation. (Photo above is from their myspace site.)

You can see their myspace site here: http://www.myspace.com/philippineallstars.

And you can see a video of them here from the 2008 Hip Hop Internationals:

http://www.youtube.com/watch?v=GS9xdDbOaq4

Seeing them perform is a treat. As a crew; they're athletic, smooth, precise, and very imaginative with the pictures they create on stage. They've shown a well-roundedness in their hip hop and street styles by embracing elements of bboying, krumping, popping, and locking. By taking some of these street elements and tailoring them to a group performance, the Allstars know how to play to the strengths of each of their members. They draw the best from each style and combine it together into a group performance which is planned out like a well-written story. As you watch them, you find yourselves cheering at one moment, gasping the next, and then you feel your jaw drop as the plot twists continue. They surprise, seduce, and thrill all within one performance. Needless to say, the Allstars are seasoned entertainers.

While it's hard to see details on stage, the Allstars are very fashionable and photogenic in their photos, videos, and online presence. No wonder they're sought after by promoters and sponsors in the Philippines. Being a co-ed group also helps as their crew can showcase the strengths of their female and male members. Fashion has always been an important part of the hip hop lifestyle. It's no surprise that the Allstars pay tribute to the original look of first generation hip hop culture, but they also venture into creating new images for themselves. They're a reminder of how vibrant hip hop dance culture has become worldwide. We're seeing different crews of varying nationalities interpret the culture in their own ways. For the Allstars, they can be classy, elegant, sexy, rugged, and trendsetting whenever they choose to be.

Finally, their work with the U.S. Embassy Outreach programs and their involvement with political voting campaigns in the Philippines underscores how they've become role models to the youth. Dancers can be motivational agents for change as they can speak to a generation that may not be reached by politicians. Are the Allstars setting an example that our U.S. dancers could emulate? When was the last time you saw a hip hop or street dancer campaign visibly for social and political change in an election? It seems that in the U.S, musicians are usually taking that role. But that shouldn't discourage dancers as we become increasingly more recognized by a mainstream audience. It's awesome to see when hip hop and street dance is elevated into the political and social change arena. As we fight for more opportunities to be seen and heard, it may open up doors for other members of a young generation to have a voice. The Philippine Allstars's influence may just be the tip of the iceberg for what we can do to create change.

Spotlight On: Stylize Crew

We're bringing back the Spotlight On features for this week, focusing on individual crews each day with some insights. This time, we're looking at international crews that have graced the stages in the U.S. and who have been making an impression on the LA scene. Today, our spotlight is on Stylize Crew from Switzerland. They had a double standing ovation during the second half of the 10th Anniversary Culture Shock showcase this past Saturday, Oct 24 at the California Center for the Arts in Escondido. (Photo above is from their entry on the showcase website.)

You can see a video of their performance at the UDS Most Wanted competition here:

http://www.youtube.com/watch?v=ouaOiQvk4mk&

Wow. That's all one can say after seeing Stylize perform at this showcase. They left the biggest impression of any team that performed in the second half. And why you might ask? Well, first of all, they had an entertaining fusion of tap and bboying that had the crowd on their feet. One of their routines in the middle of their performance involved a tap dancer providing the beat and motivating the movements of accompanying bboys on stage. It was as an inspiring juxtaposition of the two styles. They also had one member who mixed contemporary dance with his bboying. You could hear all the ladies in the audience going wild. As a group, these bboys executed their choreography well and choose moves that were technically difficult enough to be impressive when done in sync as a team. But it was their creative choices in fusing other dance styles that won over the audience.

Also, Stylize is adept at pacing their performance. They allow us to step into their world. And it can become an emotional rollercoaster. Currently, it seems that several hip hop choreo teams in southern California have loud wall-to-wall music from beginning to end in their performances. That leaves no room for the quiet moments to seduce an audience. Stylize knows how to bring in the crowd by creating high energy moments mixed with quieter ones that let us reflect before taking us on another creative turn. Their tap and bboying routine effectively used quiet moments to set up each section. And their contemplative opening and closing, while using an onstage box with their crew name on it, drew us in while setting themselves apart from the other teams. It's nice to see a team that doesn't need to be in your face and over the top all the time during a performance.

Perhaps being from another culture informs their sensibilities as well as their aesthetic tastes. Whatever their influences may be, Stylize Crew displayed a well-rounded performance that embraced carefully paced staging, crowd-pleasing moments, and daring creativity in their willing to fuse different movement ideas. Here's hoping that we see more from them on the world stage in the future.

Listen In: Chromeo's "Fancy Footwork"

We're back again with our weekly Listen In feature. And this time, it's on "Fancy Footwork" by Montreal-based Chromeo. The song's fast-paced, bouncy, and has a great hook with "two-step, two-step." The electrofunk duo has been around for a few years and their songs have popped up on playlists within the LA street dance community. But this funky synth team deserve to be heard regardless of the context because they get you grooving! (Photo above is from their Wikipedia entry.)

"Fancy Footwork" is worth a listen. You can see a video here of Chromeo playing that jam live:

http://www.youtube.com/watch?v=Vfl7h2JssRw

Enjoy!

Classic Dancer: Isadora Duncan

Our final classic dancer feature for this week is on Isadora Duncan, who many consider the inspiration for modern dance. Born in 1877, she was the epitome of a powerful artistic spirit whose legacy continues to be felt today. For hip hop and street dancers, we can look at her artistic revolution as an inspiring story for our own path. (Photo above is taken from her Wikipedia entry.)

While much has been written about the drama and tragedy of her personal life, Isadora Duncan paved the way for a non-traditional path to be taken from classical ballet. Fed up with its rigid forms, she sought inspiration in natural movements as inspired by classical Greek culture. She favored flowing outfits, loose hair, and bare feet to the stringent standards of her time. Her basis for starting a revolution was that ballet's rigid forms were unnatural. In response, Duncan introduced a new athleticism into her style bringing leaps, runs, reclining, and high-energy natural moves into her repertoire. For her, the origin of one's dynamic movement came from the solar plexus and torso. Everything else emanates from this core. This echoes a similar approach as used by classic mime technique as practiced by Etienne Decroux and his artistic descendants. Like the Renaissance painters, Duncan turned to the Greek ideal for her inspiration, which could be an interesting reference for today's hip hop and street dancers especially if we choose to experiment with different forms and lines in our bodies. Isadora Duncan was a passionate artist who shaped a strong aesthetic and philosophy to her approach. If we want to advance hip hip and street dance further, we'll find it easier if we embrace a strong aesthetic sensibility.

For Isadora Duncan, education of the young was equally important in her work. She is known to have started various schools in Europe to raise a new generation. Most notable are the Isadorables, six dancers from a school in Germany, who would go on to perform with her. Her teaching legacy underlies the importance for our street culture to continue the teaching and mentoring traditions. Even with the spread of dance knowledge via online videos, nothing can ever replace a focused teacher-student relationship. Perhaps we need to hark back to this model and prepare a future generation of hip and street dancers by advocating mentorships. The tradition of passing on history, technique, aesthetic sensibilities, and a willingness to creatively problem solve are all tools that a teacher can bestow upon a prepared student. Isadora Duncan had the opportunity to develop her technique with the setting up of these schools in Europe. The result was a radical departure from classical ballet - a true break in form. How amazing would it be to finance and provide resources for the different street dance teachers worldwide? For example, many styles within the popping community would be more easily preserved and passed on if we had this academic structure. Currently, there are debates about popping styles from the Bay Area as potentially being lost to the new generation due to lack of exposure. We need to find a way to learn these styles and to appreciate them.

And lastly, in a modern world where we often experience dance in media - unless we see a live production - it's a shame that we cannot see Isadora Duncan in person. Her approach and sensibility lives on through the generations of students who took up her mantle. But it is her fiery disposition and desire to make social and political statements with her dance, that can't be replaced. She imbued a gravitas into her work and made us see that dance truly matters in the fabric of our everyday society. Dance is for everyone and can speak to everyone. Thank you, Isadora, for showing us the way.

Classic Dancer: Ken Swift

We're taking a different turn for our classic dancer feature today by focusing on Ken Swift. He's one of the original members of Rock Steady Crew and currently President of the VII Gems Hip Hop Movement in New York. There are few other original bboys who have had a greater influence on our present day generation than him. And his past legacy and present work continues to be relevant to our hip hop and street dance culture. (Photo above is from his myspace site http://www.myspace.com/breaklife.)

You can see a clip of Ken Swift from Style Wars here:

http://www.youtube.com/watch?v=nAwMARLEb0M

Ken Swift has been seen in several theatrical shows including the legendary Graffiti Rock, that propelled the early hip hop culture to a larger audience, and the Broadway hip hop musical Jam on the Groove. He has also graced the film screen with appearances in Flashdance, Beat Street, Wild Style, and the documentary Style Wars. Some aficionados have him called the true essence of bboying. Exposed to bboys while he was a young teenager on the Upper West Side, Swift went on to establish and reinvent foundation moves for breaking that have become synonymous with his persona. His flavor, style, footwork, freezes, and power stand above the rest. One of the most memorable moments was watching him ride the beat in small cyphers at Freestyle Session 2004 on the Queen Mary in Long Beach. He was effortless as he connected with the live music.

Along with his accomplishments, Ken Swift is dedicated to educating a younger generation, which sets a precedent for us in the future. He represents a street dancer who has grown in maturity and continues to maintain relevance regardless of age and circumstance. We can learn from his example and look forward to continuing to embrace dance as we age. Whether it is educating 8 year olds on the history of hip hop in New York through dance or spreading the wisdom of our culture through the VII Gems movement, Ken Swift has contributed to giving relevance and historical importance to hip hop culture. He has become a statesman of our first generation of hip hop and street dancers. The steps that he takes now will help younger dancers forge their own paths as they have a foundation to build on.

Finally, as seen in Style Wars, Ken Swift has gone on record articulating the rawness of bboying that can't easily be translated onto the stage or film. That's a relevant concern in our present day with the wave of hip hop dance TV shows and films. Have we lost the rawness that Ken Swift is talking about? Will the new generation of young dancers have to turn away from Youtube to reclaim the essence of street dance from its raw beginnings? His words are well-heeded. Perhaps we do need to take a step back from our media fascination with hip hop and street dance. Turn off the TV. Shut off the computer. And just go outside and practice.

First Person POV: CSULB's Battle of the Sexes Contest 2009

Here's a new feature we're trying out. It's less of an event review and more of a series of impressions about happenings in the greater Los Angeles and southern California hip hop and street dance scene. We're kicking it off with a look back at the Battle of the Sexes bboy & bgirl contest held last Friday, October 16 over at the PE gymnasium at Cal State Long Beach. Home of the CSULB Breakers, this locale was a small-size contest with a great laidback feel.

Within a two-hour time frame, there were separate 1-on-1 bboy and 1-on-1 bgirl contest rounds followed by a final between the top bboy and bgirl. Props to the organizers for this great contest that made everyone feel comfortable despite the time limitations. Some of the best moments came from seeing the ladies of CSULB and South Bay scene get down and face off against each other. Also, for the bboys, it was awesome to see young bboy Steez (Jeff) get the crowd hyped up with his prelim round.

As time winded down, the rounds got compressed to where the top 8 bboys went against each other in a huge cypher. The top 8 bgirls did the same in their own round. You can imagine the chaos as everyone's trying to figure out who's going to go next, but of course the ones who want it the most will shine. Everyone in the room gathered around the huge circle as each contestant was going off. In the end, it was Tom from Instant Noodles vs Peppa from Syrenz Crew in the ultimate final battle of the sexes. They each went three rounds. Tom won. But anyone who saw their contest rounds will see the differences in approach for these two dancers. While Peppa favored her power moves by coming out and hitting them in her first round, Tom played well to the crowd with his style, transitions, and footwork. He repped his crew Instant Noodles in the best light as they've been gaining exposure in the bboy scene with their flavorful style.

Here's a link to a video of this final contest:

http://www.youtube.com/watch?v=dOUvA9Im9Lk&

Props to both Tom and Peppa for repping well in the final contest rounds. The LA and soCal scene can definitely benefit from more small-size contests like Battle of the Sexes, which is more about dancing with friends and community rather than high-ticket prices or judging politics. Hopefully, we'll see more in the future from Instant Noodles, Syrenz, and the rest of the dancers competing that night.

Classic Dancer(s): The Nicholas Brothers

Today's classic dancer feature is on not one but two influential artists - Fayard and Harold Nicholas, known as the Nicholas Brothers. They were the showstoppers of the 1920s and 1930s, who influenced Fred Astaire and legions of other dancers including Michael Jackson, Gregory Hines, and Debbie Allen. Regarded as the greatest tap dancers of their time, they combined techniques of tap, jazz, ballet and acrobatics in what was called "flash dancing." (Photo above is from their Wikipedia entry.)

You can see a clip of them here in Stormy Weather:

http://www.youtube.com/watch?v=zBb9hTyLjfM

In the 21st century, we can be awed at the athleticism of bboying whether we see it firsthand or on screen. But if we look back in time, the Nicholas Brothers had everyone beat. Raised in Philadelphia, Fayard and Harold grew up in the vaudeville tradition with their family. Originally, their sister performed with them when they were known as the "Nicholas Kids." Fayard easily drew influences from the vaudeville world that honed his showmanship. Even the basics of performance from not looking at your feet and looking at the audience are principles that we sometimes forget today. But the Nicholas Brothers had it down pat. Moving into performing at the Cotton Club with the Duke Ellington Orchestra and later Cab Calloway, they were performers at a high level. They pioneered what was physically possible with human movement. One of their trademarks was the "flying split" where they'd get up from a split without using their hands as seen in the Cab Calloway sequence in Stormy Weather. As street dancers, we can trace our roots back to the physicality of these athletic dancers. It's amazing to realize how far back our artistic lineage can go if we choose to explore it.

Musicality is another hotly debated topic within our current hip hop and street dance community. When we look at the Nicholas Brothers, they created their own beat with their footwork and visualized the music of an accompanying big band orchestra, as seen in Down Argentine Way. Tap is a dance that you can see and hear. And the Nicholas Brothers took full advantage of this fact regardless of the physical environment. Their musicality was seen and heard, which allowed them to create on top of the accompanying music. Could we as hip hop and street dancers experiment with that concept? How about incorporating elements of Stomp-like props in a choreographed routine? If the DJ and live mixing is part of our culture, can we bring them back into our performances?

It's likely that the Nicholas Brothers' legacy as performers will continue to inspire in this new century. Their story has so much value for us. Their vaudeville beginnings were a great training ground for the stages they would later inhabit on Broadway, nightclubs, and film. Their exquisite class, even simply conveyed through their choice of wearing tuxedos, and consummate skill as entertainers are undeniable. In the end, it's not that we should reproduce what they've done. The Nicholas Brothers simply laid a legacy for us and we can choose to embrace it as we charter new terrain as dancers.

Classic Dancer: Gene Kelly

Our classic dancer for today is the fabulous Gene Kelly. Many of us know him from his famous outdoor dance scene from Singin' in the Rain. But the man has done so much more in his career. Especially in the field of filmed dance, Kelly is one the biggest influences as he arguably took up where Fred Astaire left off. For hip hop and street dancers, we can look at his cinematic accomplishments as possible inspiration for our creative endeavors. (Photo above is from his Wikipedia entry.)

You can see a clip of Gene Kelly from Singin' in the Rain here:

http://www.youtube.com/watch?v=rmCpOKtN8ME

Born from humble beginnings near Pittsburgh, Pennsylvania; Kelly came from a dance background and graduated to being part of the stage scene and then the Hollywood studio system in the 1940s and 1950s. His innovation onscreen ranged from breaking from the use of static cameras that Fred Astaire favored to dancing with an animated Jerry Mouse in Anchors Aweigh. He used different lighting styles, split screens, and inspired the film camera to move more freely with the dancers onscreen. While Astaire preferred to keep the camera focus on the dancer by limiting camera movement, Kelly fashioned a partnership between the dancers and the camera that almost had them in a dance. Embracing the moving camera allowed for a more fluid background, which invigorated the cinematic image and further translated some of the dancers' energy onto a two dimensional film frame. Kelly's choreography made use of his athletic sensibilities, creating multiple directions in which the dancer could move on a film set or location. This led to a greater integration of dance and real locations. Now, we were moving out of studio sound stages and experiencing Kelly and his dancers in live locales.

Kelly is also known for seeking to break the stereotype of an effeminate image for male dancers. His broader athleticism led him to remake his own self-image on screen. Instead of tuxedos, he wore everyday casual clothes of a sailor or a businessman. His work suggested a more relevant connection to a mainstream audience who wasn't wearing the tuxedos and fine evening wear of the 1930s and 1940s musicals. What's interesting to see in retrospect is that Kelly had an underlying philosophy to how dance is interpreted even by our social context. There was a revolutionary spirit in his work and he sought to change preconceptions of dance whether it be through tap to modern or classical ballet. He understood how powerful and influential filmed dance could be as we were becoming a more visually-defined society through the rise of film and television. What would Gene Kelly have done today with the Internet and viral online videos? Imagine the possibilities.

Like Fred Astaire, Gene Kelly had the ability to draw from various dance influences and hybridize them for his own approach. In theory, the same can be said for many hip hop choreographers today as they can draw from contemporary, bboying, popping, and locking. But in his time, Kelly stood out for having strong convictions on his philosophy and approach. He worked with one of the largest visual communication mediums of the day - the Hollywood studio musical - and set the tone for how future audiences would understand the relationship between the audience, the camera, and the dancer. Can we as dancers learn from his example today? We're working with even more visual tools than was present in the 1950s including computer-generated imagery, motion capture, and smaller, more powerful cameras. We can place cameras in places that Gene Kelly couldn't because of our present technology. He and his collaborators set a foundation for us to build on so why don't we build on it?

Classic Dancer: Fred Astaire

Today, we're starting a new series on classic dancers who can inspire hip hop and street dancers worldwide. Each day of this week, we'll feature a new dancer with biographic information and some insights on their influence. Several of these names are not from hip hop background. But it's important for the new generation of hip hop and street dancers to be aware of influential dancers outside of their genre. Today's feature is on none other than Fred Astaire. (Photo above is of Astaire and Ginger Rogers from his Wikipedia entry.)

You can see a clip of Fred Astaire and Ginger Rogers in Swing Time here:

http://www.youtube.com/watch?v=mxPgplMujzQ

When it comes to the Golden Age of Hollywood musicals, there are few names that have had greater influence than Fred Astaire. His artistic integrity, classy demeanor, and innovative use of staging within the film frame laid the groundwork for later successors such as Gene Kelly and Bob Fosse. Astaire came from a vaudeville background, starting with a duet act including his sister Adele in the 1920s. But his move into Hollywood filmmaking would be his artistic triumph. Whether it was rescuing Ginger Rogers from losing her job in Swing Time or tapping against drums in Easter Parade, Astaire imbued his choreography with economy and grace while drawing from multiple influences. He hybridized several influences and made it his own. Working with assistant choreographers, most notably Hermes Pan, Astaire pioneered a number of well-known pieces in his filmography, which stand out as highlights in the musical age of Hollywood.

Astaire kept the film camera relatively static, allowing the dancer to move freely within the film frame. Gone were the aerial shots and close-up shots from the Busby Berkeley films. Now, it was about featuring the dancer without any filmmaking distraction. Imagine the number of rehearsals that it would take to reach that level of performance! Astaire was reportedly a perfectionist so it can be assumed that he and his collaborators worked hard. But it was all worth it. The technical level of dancing in his choreography is astounding and there's very little in the hip hop film and television world that can match it. Nowadays, we are inundated with rapidly moving cameras and quick edits that can sometimes take away from the dancer's performance. Can we return to those days when the dancer was allowed to shine on screen? There could be so much that an audience is missing if a high-level hip hop or street dancer is being compromised by a camera or editing strategy that favors style over substance.

Overall, Astaire's work in film and television created an iconic image of himself onscreen. We may not know him intimately as a person. But we know Astaire as a Hollywood icon who has affected millions worldwide. His image, his grace, and his indomitable demeanor live eternally in our hearts. He taught us how to have pluck, to pursue a beauty like Ginger Rogers, and to celebrate with elegance no matter the circumstances. He brought a character and persona to his dance, which sometimes is missing from our current hip hop and street dance generation. But it is his artistic willingness to forge his own path that should burn brightly in our minds. Can we learn from his example? Perhaps there is a new future ahead for us as dancers if we're open to influences outside of ourselves.

Flashback On: Soul Train

Our final flashback feature for this week is on Soul Train. Started in 1971, the classic syndicated television show was a high-energy fusion of music performance and dance trends most prominently seen from the 1970s through the 1980s. Before music videos, reality dance shows, and online viral dance videos; there was Soul Train. (Photo above is from its Wikipedia entry.)

Here you can see a video of the Jackson 5 performing on the show. Michael Jackson even demonstrates one version of the robot:

http://www.youtube.com/watch?v=Vil7KDAgWE0&

Created by Don Cornelius, the heyday of Soul Train takes us back to a different time - socially, politically, culturally. The 1970s was clearly a different time than today. Wouldn't it be amazing if today's dance generation could access the full Soul Train episode archive? Imagine what we'd learn from remembering the past and realizing the legacy of the dancers and musicians on the show. Even just getting the "feel" of the dancers from that period would be beneficial to today's hip hop and street dancers. It seemed like every afternoon was a party on Soul Train. And we continued it into our lives after the show wrapped. We've all seen versions of the Soul Train line at weddings, high school dances, and backyard parties. It's a celebration of how dance builds a communal bond between us.

It's also interesting to remember that Don Cornelius shepherded a series of local music concerts called "The Soul Train" in Chicago high school in the late 1960s to early 1970s. As a precursor to the Chicago-based show and later the nationally syndicated show, this traveling caravan of local music concerts could be an interesting model to revive today. What if we saw a successful fusion of musicians and dancers in touring shows that would introduce new ideas and trends? Could a version of this be broadcasted online via Youtube or even a live streaming channel on justin.tv or ustream? We have the digital tools today to broadcast a local phenomenon and transfer it to a national or global level. During these difficult times, we need to find ways to celebrate soulful dancing again. Soul Train placed dancers in front of the camera and let them be themselves. They didn't have to fit into reality show "storylines" or neatly edited biographical "montages" for us to embrace them as seen on many of today's reality dance shows. Perhaps with today's social networking tools, we can take it even further by allowing dancers to build followings with fans worldwide if they appeared on a broadcasted online dance show.

Finally, Soul Train revives the spirit of the funk era inside of us. There's just something about the music from that period, which brings out the soul and funkiness of all street dancers. While today's hip hop and street dance scene has evolved to embrace new forms of music, the funk always brings us back to the roots. Soul Train reminds us of the importance of historical preservation as well as keeping the legacy alive. Will we ever see something like it again? Not likely, but Soul Train continues to live inside the hearts of today's dancers. All we need to do is to remember it and build on the foundation it created.

Listen In: Little Boots "Meddle"

Here's another installment of the Listen In feature spotlighting a song that's fun to get down to. This week, it's "Meddle" by Little Boots. She's an English singer that's part of the electropop genre. "Meddle" is a little jazzy with heavy percussion and a strange Gregorian chant chorus towards the end. You can hear the stylophone and a Japanese electronic instrument called Tenori-on in the song. Little Boots gets us grooving as she sings about not meddling with a woman's heart. It's strange but good. (Photo above is from its Wikipedia entry.)

Here's a video of Little Boots performing the song:

http://www.youtube.com/watch?v=4cHX-znop8Q

Can we see a routine choreographed to this jazzy number? Enjoy!

Flashback On: JabbaWockeeZ on ABDC

Today's flashback feature is on the first season winners of MTV's America's Best Dance Crew, the JabbaWockeeZ. Compared to our earlier flashback features, they're a much more recent example of dancers infiltrating mass media. But in the 2000s, their rise to stardom has been one of the highlights in the resurgence of hip hop and street dancing in the public spotlight. (Photo above is from their Wikipedia entry.)

You can see their website here: http://www.jabbawockeez.com/. You can also see an official video of them performing on Oct 6, 2009 on Dancing With The Stars here:

http://www.youtube.com/watch?v=AsI70wEbb1k

Many of us in the street dance community knew of the JabbaWockeeZ even before they appeared on America's Got Talent or ABDC. In 2003, the group came together with members spread out over San Diego, Los Angeles, and Las Vegas. Performing at local clubs and events such as the Choreographer's Carnival at the Key Club, the JabbaWockeeZ distinguished themselves with their trademark masked look and penchant for imaginative stageplay in their choreography. Fast forward to spring 2008 when they first appeared on ABDC's first season. Having just appeared on America's Got Talent in 2007, the crew was just one of a handful of first season competitors including Kaba Modern that would test the waters on the new MTV show. In recent years, it was a first for this kind of show, which featured dance crews competing via showcases in front of judges and a televised audience. Previous reality dance shows focused more on individual dancers and partner dancing. Over the course of this season, it's clear that the JabbaWockeeZ captured the hearts of a new generation of dancers and dance fans. They were exactly what MTV needed to launch ABDC into the public consciousness. And by winning the season, the JabbaWockeeZ branded themselves with their memorable performances, group persona, and fashionable look to jumpstart their mainstream careers.

For the greater hip hop and street dance community, the rise of the JabbaWockeeZ and other crews from ABDC would open the doors for a larger public to be exposed to elements of bboying, popping, and locking. It's no secret that some of the most heavily searched videos on Youtube are for the JabbaWockeeZ, Kaba Modern, and ABDC. For better or for worse, these crews were part of a movement to consumerize hip hop and street dance to the masses. A show like ABDC made it easier for someone to become exposed to aspects of street dance culture without actually being physically involved or connected to those communities. Dancing with a crew became "cool" and a strange mystique - in the eyes of the uninformed - has developed around anyone who dances in our community. Soon, many new faces were trying out for collegiate hip hop dance crews, attending more classes, and showing up at practice sessions. A new wave of online videos have flooded Youtube with folks creating tutorials, dancing in their garages, or performing at their high schools. Without a doubt, new blood has entered the scene.

Another significant development from the JabbaWockeeZ is that they've translated their signature style into many commercial opportunities whether it be performing with the New Kids on the Block on tour, starring in Gatorade commercials, or performing a remixed version of "Singing in the Rain" on ABC's Dancing With The Stars. They've shown the larger public that they can cross over into multiple mediums and be entertainers on many levels. Perhaps it's their imaginative group persona. Or their mysterious masks. Whatever the reason, their career track is good news for other hip hop and street dancers who can make saavy business decisions should they choose to enter this arena to make a living. The public is willing to be entertained by dancers who can bring something unique to the table.

Perhaps one of the most subtle but greatest influences the JabbaWockeeZ and other crews on TV have had is how they've portrayed themselves as a crew. For those who aren't involved in the hip hop and street dance communities, the idea of being part of a dance crew may not have crossed their minds. It might even have been laughable. But shows like ABDC, in their best moments, have revealed the dancers in crews as surrogate families who support and care for each other. We're living in difficult times these days. Seeing dancers as part of crews just makes us more human since we all have a universal need to be part of a family.

There may be no one definitive moment that captures the JabbaWockeeZ crossing over into the public spotlight. But they and other crews that have appeared on ABDC created a new conceptual understanding for mainstream America about our culture. The future of where this goes remains to be seen. What's clear now is that we have a lot of work to do to further educate, to protect, and to promote the beauty of hip hop and street dance.

Flashback On: Flashdance

If you're a bboy, popper, or locker; you've probably seen the scene where Rocksteady Crew appears in Flashdance. This roughly two-minute scene has been quoted as an inspiration for generations of street dancers that have come up after the film's initial release. Premiering on April 15, 1983; the film starring Jennifer Beals is today's flashback feature. (Photo above is from its Wikipedia entry.)

Whether it was seeing Frosty Freeze hit a suicide or Ken Swift rock the concrete floor; this outdoor scene almost stands alone as a separate sequence from the rest of the film. Did it have anything to do with Jennifer Beals' story as a Pittsburgh steel mill welder aspiring to attend a dance conservatory school? Not really, but this sequence helped to expose the hip hop street dance styles to a global audience. Looking at the scene, the cinematography is very simple. The camera is static with a low horizon line. A long lens was likely used to create a soft focus background as we look down a long street. In the foreground, young members of Rock Steady Crew get down as Jennifer Beals, her gal pal, and many other neighborhood folks look on. Composition-wise, it's as if the filmmakers decided to simply showcase the dancers' movements without any rapid-fire editing or fancy camerawork. It's simple, graceful, and classic. For a global audience who hadn't seen street styles, these moving images were a revelation. Director Adrian Lyne and cinematographer Don Peterman used the film camera in a simple way: to simply focus our eyes on the fancy footwork of these dancers. The stage was set for a young generation to embrace what they saw on screen and to bring it into their daily lives.

But we hit some road bumps along the way. Perhaps the filmmakers knew they were on to something unique with showcasing these bboys. However, it's unlikely that they foresaw how influential the scene would be on the hip hop dance movement. We know that the 1980s saw a mad explosion of exploitative films and television shows jumping on the "breakdancing" bandwagon. And by the late 1980s, what some had considered a "fad" had died. Fast forward to the 21st century and we're now at the end of its first decade. We've seen a resurgence of street dance in global media. Will we face another similar reaction where bboying, popping, and locking are embraced only to be later shed as a trend of the past? What's different now is that there's a larger new school generation that embraces these styles as more of a lifestyle and art form. So the styles will certainly live on through them. But for their other peers who haven't embraced it as deeply, we may see a similar reaction as time wears on. It should be noted that our current hip hop generation is taking more preventative action. There are more initiatives to promote education of different elements of our culture. We're also taking things into our own hands by documenting, discussing, and broadcasting our own work with the greater accessibility of digital publishing, videomaking, and photo-creation tools. We can make books, create photo retrospectives, and make our own films about the culture we live and breathe.

So what about the rest of our peers who aren't firmly rooted in street dance culture? Is there anything we can do to be more inclusive if they want to pursue bboying, popping, or locking? Nowadays, there are disturbing trends of misinformation being spread through online video and forums. Sometimes, the best teachers aren't reaching the largest masses of students as the online world starts to work its way into dance culture. When Flashdance was released, there were dancers who sought out the best teachers to learn the styles at a high level. But there were many who didn't. This is happening again today. So it's even more important for those who are trained at a high level in bboying, popping, and locking to showcase their work and to communicate with others who are not informed about their artform. Granted, over time, the most dedicated and serious students will persevere and grow as artists on their dance journeys. Those who aren't as committed will move on to other things, which is completely their own choice to make.

But it will be sad to witness if street dance styles are thrown to the wayside as in the late 1980s. Perhaps we can hope for a future where these styles undergo a new evolution instead of disappearing. They may become more visible as part of our universal dance language. Flashdance only shows how powerful a film can be in carrying an artform outside of the Bronx to the rest of the world. It created a common experience for all of us dancers to share.

Flashback On: Dirty Dancing

1987 was a strange year. The NY Giants defeated the Denver Broncos in the Super Bowl. Kylie Minogue released her first remake hit "The Loco-Motion." Microsoft released Windows 2.0. The Simpsons first appeared on The Tracey Ullman Show. And Dirty Dancing was released on August 21. Today's flashback feature is on Dirty Dancing - the film that launched thousands of people to attend dance classes in the wake of its success. (Photo above is from its Wikipedia entry.)

So why focus on Dirty Dancing since it doesn't have apparent hip hop elements? Well, it doesn't really matter. Many of us who were old enough and physically able to groove in 1987 will remember this film. What the film captured was universal. Partner dancing was hot way before Dancing with the Stars hit the airwaves. Patrick Swayze and Jennifer Grey sizzled on screen, and for 100 minutes we were having the time of our lives. Although it's been documented that Swayze and Grey didn't have that onscreen chemistry off-screen, they were completely believable as Johnny and Baby. Directed by Emile Ardolino with cinematography by Jeffrey Jur, their escapades made a deep impression on anyone who even had a slight desire to dance. Inspired by the actual experiences of screenwriter Eleanor Bergstein, Dirty Dancing speaks to the romantic and sensual sides of all of us dancers. It was a coming-of-age story that has helped many boys and girls come of age years later.

Who can forget the final dance scene with Johnny and Baby performing their duet as "(I've Had) The Time of My Life" plays? Although there are many memorable dance scenes in the film, this finale continues to inspire and delight years later. There's something about the sensual chemistry of the two leads as they rock together on stage. And then it radiates out, infecting everyone in the room. For hip hop and street dancers, we can take a cue from this scene if we venture into romantic themes in our work. Once again, it's the fusion of film and dance together that triumphs. The cinematography is revealing as the camera lens shows us the little details of where hands are placed, where facial expressions change emotions, and how bodies intertwine together gracefully. Kenny Ortega, who would later go on to direct and choreograph the High School Musical series, works with the camera to bring us into the world of these dancers, rather than having us stand aloof at a distance. The choreography is natural, informed by the world established in the film, and builds on the onscreen chemistry of the two leads. It's a perfect marriage of creative circumstances.

Dirty Dancing has had a tremendous legacy; spawning a film sequel, a short-lived television series, and a successful stage musical run. But it's greatest impact could be how it inspired so many of us to dance, regardless of our affiliations. It showed us how beautiful it is for a woman to express herself through her body. And it revealed to us how a man can convey his strength through his movements. Together, as partners, they can move as one and rock the world around them. While we know that a woman can convey strength and a man can also convey beauty, it's clear that this film conveyed a special kind of magic that hasn't been duplicated since.

For hip hop and street dancers, Dirty Dancing can be an aspirational guide. To be sensual without being crassly sexual. To be romantic without artistic compromise. To delight in moving together with that one other person you're connecting with. It's a beautiful thing.

Flashback On: Michael Jackson's "Thriller"

This week, we're kicking off a new feature called "Flashback On," capturing some of the most memorable dance moments on film, television, the Internet, and other multimedia. It will be part retrospective, part commentary, and a whole lot of fond memories. Our inaugural flashback is on Michael Jackson's "Thriller" music video, which needs no introduction. (Photo above is from its Wikipedia entry.)

You can see the official video here:

http://www.youtube.com/watch?v=AtyJbIOZjS8

Released on December 2, 1983; "Thriller" has become one of those pop culture milestones for many who grew up since the early 1980s. Directed by John Landis and produced by George Folsey Jr., it debuted at the right time during the age of music videos. With the rise of MTV, the stage was set for something to captivate the audience. The fusion of music and television in the music video format was a wide open canvas, rife with experimentation and creativity. "Thriller" was just one of many videos that defined those early years of MTV. But few other music videos have translated across international and language barriers to inspire so many people to dance. Even today, there are renditions of the classic choreography at weddings, prison yards, and street corners as seen on Youtube. Along with Michael Jackson's rising career, "Thriller" expanded the perceptions of the music video form, adding a short narrative and production values of a feature film to its setting. It combined elements of dance, choreography, cinematic storytelling, fashion, and humor that had us spellbound. Of course, we had seen examples of this in the classic Broadway musicals on film, but few were drawn from the same social-cultural context as "Thriller."

Who knew that this almost 14-minute short film/music video would have tremendous cultural impact? For many dancers across several genres, Michael Jackson as a dancer has been recounted as one of their inspirations. "Thriller" only further cemented his place in our hearts. The image of Michael in his red jacket and pants are permanent in our minds. The film's impact is seen in creating an iconic image of Michael; who fascinated, compelled, and got us grooving to the beat. It can be argued that "Thriller" showed us another side of Michael that would become part of his legend. No longer was he the Michael of the Jackson Five or from his "Off the Wall" album. This was a Michael who was reaching for another level of cinematic immortality. His creative fingerprints continue to be felt to this day whether it be LA radio station 102.7 KISS FM playing "Thriller" on Oct 31 or choreographers looking at the music video as a reference for their own work on film and television.

Do you remember the first time you saw "Thriller"? How amazing would it be to experience something like that again - where a fusion of dance and film capture the hearts of millions worldwide. The camera brought us into that world - the movie theater, the night-time street, the graveyard - and immersed us for almost 14 minutes in the imagination of Michael Jackson and his creative team. Whether you lived in Siberia, Iceland, Japan, or Brazil; we were there together in the world of "Thriller." Now, every time we see the video or hear the title song, it brings back memories that we shared with others. It becomes a common ground for our global experience, which is also true of Michael Jackson's career and music. Like the universal language of dance, we share an emotional experience through "Thriller" and the rest of Michael Jackson's music. "Thriller" is a unique phenomenon, which put together the right elements at the right time. So it's unlikely that we'll see something identical in the future. But the possibility of experiencing a similar joy and inspiration for something new is still out there.

Listen In: "Bulletproof" by La Roux

So this is a new music feature we're introducing. It'll be once a week covering a song that's fun to get down to. Our inaugural song is "Bulletproof" by electropop duo La Roux. They've been getting a lot of exposure recently in the U.S. (Photo above is from their Wikipedia entry.)

Here's a link to the music video:

http://www.youtube.com/watch?v=NQdC7h609k8

Wouldn't it be cool to see a routine choreographed to this song? Besides the video being super-cool, it's just a great song to dance to. A little electronic and multi-layered with an emphasis on Elly Jackson's vocals. We like.

Spotlight On: The Ranger$

To round off the week, today's spotlight feature is on a crew that's been at the forefront of the highly publicized jerkin' movement: the Ranger$. By now, most of us in southern California have heard of jerkin' or the Jerk movement. In recent months, this movement has received media attention from local news channels to online video blogs to word of mouth in the dance community. The Ranger$ are one of many groups at the center of this phenomenon, which make them compelling to follow. You can see their website here: http://www.themprangers.com/. (Photo above is from their website)

And here is one of their videos:

http://www.youtube.com/watch?v=V5yjGVvj-yM&

Earlier this year at the World of Dance Tour in Pomona, there was a dance floor devoted to krumpers and turfers. WOD is usually known for hip hop choreography showcases and bboy battles. So this new addition to the event brought attention to the Jerk movement. At one point, the New Boyz "You're a Jerk" single played over the speakers. A crowd of about thirty dancers started doing the reject all at one time. So there clearly is a newness to jerkin', which the Ranger$ have capitalized on. So why all the hype? First, they're part of a dance generation that's coming up in the age of Youtube. They've used online videos, social networking tools, and a packaged self-promotional strategy to their advantage. Whether it's using a live video feed on justin.tv or appearing in entries of Wikipedia, the Ranger$ have made their mark on the online world. And their fans have noticed. More than most hip hop choreo teams or underground bboy, popping, or locking crews; the Ranger$ have drawn attention to themselves and built an audience through online exposure. While the pros and cons of these measures can be debated, it's clear that the Ranger$ are media saavy, suggesting that they're focused on building careers in the performing arts.

Next, they and other jerkin' crews have the opportunity to pioneer a new style that could grow in the long-term. Right now, the foundation of the dance is young with moves like the jerk, reject, Spongebob, and pin drop. As with any new style; moves, concepts, and transitions can be added daily at a rapid pace. It will take an artist's mindset and a determination to grow creatively in order to give jerkin' longevity. We've seen this with krumpin'. Although there are some who would claim that krumpin' has disappeared, that is far from the truth. Krumpers continue to innovate and build their community long after the mainstream media caught wind of them in the 2005 documentary "Rize." Take a look at the Krump Kings. They have evolved the feel and foundation of their style beyond what we saw four years ago. For the Ranger$, they have to be excited to be part of a burgeoning movement. That youthful energy, if directed well, can be part of the creative spark to start a revolution. The Jerk movement is traveling fast among the preteen and teen population in Los Angeles. Within this world, the Ranger$ have defined their strongest fanbase. So these circumstances could help them to grow and mature if they don't fall to overexposure.

And finally, the Ranger$ portray a new model of street dancer with their ambitions in multiple fields: acting, dancing, singing, and fashion design. Is their dancing just one part of their persona or the heart of it? Could their multiple ambitions dilute their focus on growing their dance style? All of this remains to be seen. But what's clear is that they have a strong business sense. It seems to be working for them with their growing peer fanbase and the news of a feature film on the way. Only time will tell how they evolve as artists and as businessmen.

The future is wide open for the Ranger$. Will they choose both art and commerce in their journey as dancers? Or will they choose one over the other? Perhaps neither is a relevant question right now as this young crew continues to grow and expand their influence. We're still very early in their journey as dancers but the coming months and years will add more to their story.

Spotlight On: Foreign Exchange

Our new spotlight feature today is on a popping crew with international members: Foreign Exchange. Each one has made their mark on the popping scene, and as a whole they won the crew vs crew battle against Soulbotics Krew at How That West Was Won 2008. Earlier this year, they impressed the hip hip choreography scene with a performance at the World of Dance Tour in Pomona.

You can see their myspace site here: http://www.myspace.com/foreignxchangecrew. They also have a facebook site: http://www.facebook.com/pages/Foreign-Exchange/69644660672. (Photo above is from their facebook site.)

You can also see some of their work here:

http://www.youtube.com/watch?v=3pGu3WNE1HQ

In the early 2000s; it was rare to see active, prolific popping crews among the new generation of U.S. street dancers. In southern California, Motion Sickness was holding it down for San Diego. Animated Beat Mechanics (ABM) was making waves with members spread across the country. But since the mid 2000s; more popping crews have gained prominence including Machine Gone Funk (MGF), Funny Bones Crew, Soulbotics Krew, Funk Assassins, and now Foreign Exchange. So what makes Foreign Exchange stand out? First, they have strong foundation, training, and advanced execution of many styles in popping including tutting, animation, hard hits, waves, and boogaloo. Their command of these techniques was evident at WOD Pomona. Even if you were in the back row of the auditorium, you could see their hard hits displayed on stage. They have the skills and they aren't afraid to show them.

Next, Foreign Exchange has shown great teamwork and chemistry in their routines. When battling Soulbotics Krew at How Tha West Was Won 2008, they unleashed routine after routine, often using several or all of their members. Usually, it's hard to see commando routines with more than two to three dancers. But Foreign Exchange was sparing no expense. They went all out. Their teamwork was likely one of the strongest reasons for their win in this battle. At WOD Pomona and at a Choreographer's Carnival showcase in spring 2009, this popping crew also showed the ability to play with different "feels" to changing music styles. Their versatility and ability to play to the crowd was crystal clear.

And finally, their crew name suggests the success they've had at uniting poppers from different parts of the world under one roof. Any crew that has members in different cities can comment on how difficult it is to nurture team chemistry. But Foreign Exchange has found common ground in their shared passion for popping and street dancing. They're a testament to how dance is our universal language.

For this crew, it will be interesting to see their next steps in the popping world and hip hop choreography scene. Individual members have made appearances in the public spotlight including Hiroka (Hiro) who led We Are Heroes to become the season 4 champions for ABDC. Whatever their next move might be, we're sure that it will be hard hitting upon impact.

Spotlight On: The L0st Kids

Today's spotlight feature is on a crew not from Los Angeles, but from the Bay Area: the Lost Kids (also: l0st kids as labeled on their myspace site). They've made some waves in the past year, performing at several choreography showcases and teaching workshops around California and overseas. You can see their myspace site here http://www.myspace.com/thel0stkids (Photo above is from their myspace site) You can also see some of their work here:

http://www.youtube.com/watch?v=oW35E2HtGc8

http://www.youtube.com/watch?v=NE1lrAV_Pbw

Like many other new crews in California, they're vibrant and have gathered a strong fan following. So why the hype? Let's start with their performances. The Lost Kids have impressed audiences with their use of partner choreography, which is rare when there are hip hop choreo teams with 30+ people on stage. Their smaller numbers allow them to be much more expressive with individual and paired movements. Plus, it's just cool to see partner work in hip hop routines. At the World of Dance Tour in Pomona earlier this year, the Lost Kids showcased a sexy, light-hearted piece using chairs and props. Needless to say, they stood out.

Next, they've advertised themselves with a coherent message and quirky group persona. Taking a cue from the Lost Boys from J.M. Barrie's "Peter Pan," they've identified themselves with the outcasts out who can find self-empowerment in their own strengths, beauty, and talents. They're lost kids who are out to help and support other lost kids. When they auditioned for season 4 of ABDC, they wore fuzzy animal tails as part of their fashion statement. They clearly have a sense of humor. But all of these measures only helps to endear them to a young audience who may feel a little different from everyone else. The Lost Kids have branded themselves as inclusive, welcoming, and non-judgemental; which is refreshing in these politically divisive times. Their message doesn't tie them to any one specific region, scene, or culture. It's a universal theme so their appeal can stretch across geographic borders. No matter where we are, sometimes we feel a little lost.

And finally, this Bay Area crew have differentiated themselves from several southern California teams by not relying on street styles. After a while; seeing crew after crew featuring popping-inspired choreography, some toprock, or basic locking foundation can get monotonous. But the Lost Kids have kept it fresh by staying away from tried and true ideas, and revealing more of their daring personalities through their artistic choices. The crew seems to work well with combining the varied styles of their individual members and making it gel as a whole. The test of this team will be seeing how they invest in a younger generation and how their students will carry on their message.

What's the next step for the Lost Kids? That remains to be seen. Whether they gain nation-wide media exposure through television, films, or the web; it'll be cool to see how they evolve their style over time. The Bay Area can claim hometown pride with them, for sure. But everyone can celebrate what they stand for.

Spotlight On: Syrenz

In Greek mythology, the sirens were portrayed as dangerous seductresses, often in the form of bird-women and later as mermaid-like creatures. But today's spotlight feature is on the Syrenz, an up-and-coming dance troupe that have been making strong moves in the Los Angeles hip hop dance scene. You can see them at their site http://thesyrenz.com/. (Photo above is from their website.)

The Syrenz have some of LA's top dancers in breaking, locking, waacking, and hip hop choreography as well as being proficient in other styles. They're community leaders, media artists, and well-respected figures among the older and younger generation. You may know them by their motto, "Desire to Inspire." Here's an example of their work:

http://www.youtube.com/watch?v=Wcfj9cDkKGY

So what makes them so intriguing? First of all, they're multidimensional. While their team can perform in choreography showcases, they have individual members who can battle in cyphers and competitions. Many of them are freestylers at heart, and they continue to train with leaders in their respective styles. Whether it's breaking, locking, or waacking; the Syrenz can hold it down in a cypher with other street dancers from Los Angeles and the rest of the world. Having that freestyle skill only strengthens their resources for doing team choreography. It also empowers them to be qualified teachers to younger dancers whether it's at Homeland Community Center or J.U.i.C.E.

Second, they've differentiated themselves from the rest of the hip hop teams in Los Angeles. At the World of Dance Tour in Pomona earlier this year, the Syrenz unleashed a piece that weaved hip hop choreo, breaking, locking, and waacking with an East Asian mystic flair. There was no other team on stage using anything remotely close to their choice of music or their outfits. Who else was using wind sound effects along with sitars and huge silk-like fans in their performance? Watching them was like stepping into another world. And it was a refreshing breath of fresh air when compared to the plethora of choreo teams at WOD using the same hip hop tracks, tall tees, and familiar swagger.

And finally, the Syrenz have been making smart moves by involving themselves in many areas of the Los Angeles street dance community from fundraisers, outdoor performances, dancing with recording artists, and giving themselves an online media presence through their branded logos and website. Their color palette of purples, blues, and aqua greens have almost become a trademark look. Not sure if it's a callback to the aquatic nature of the mythological sirens, but it works. All of these efforts can only help the Syrenz to be well-remembered by the dance community.

If anything, their team shows the power of uniting talented individuals under one roof. When you have creative minds and influential leaders banding together, something powerful is always bound to happen. While it remains to be seen if the Syrenz will debut on a national television show like ABDC, it doesn't feel like they need that kind of venue to make an impact. We'll be watching to see how they help shape the Los Angeles dance community. Desire to inspire, indeed.

Spotlight On: Poreotics

This week, we're focusing on profiling a few up-and-coming street dance and hip hop choreography teams in southern California.

Today's team is Poreotics, a choreography team with members from Los Angeles and Orange Counties. They've made a name for themselves in the past year and a half, representing at several high-profile choreography showcase competitions. This past weekend, they won 1st place for upper division at the World of Dance Tour in San Mateo. You can see their myspace page here http://www.myspace.com/poreotics. (Photo above is from their myspace.)

What are they known for? First, they've wanted to bring popping technique to the hip hop choreography scene. Their routines have used tutting, dimestopping, robotting, waving, and animation. Second, they're funny. You'll often catch a lot of laughs at their performances as the guys have carved a niche for themselves as humorous jokers who also dance. And third, they've chosen unusual songs in their routines such as Taylor Swift's "Love Story." Somehow, this all works to make one entertaining group. Here's an example of their work from WOD San Mateo.

http://www.youtube.com/watch?v=Plb2fw938rs&

Poreotics has made a lot of smart moves in the past year and a half. They've arrived at the right time in terms of showcasing their choreography style to the public. It's rare to see popping technique explored in the choreo college scene. Yes, there are teams that have popping-inspired choreography, but few have showcased more than arm, head, and leg isolations and basic waves that travel up and down the body. Mainstream America has recently been exposed to popping-inspired choreography via the Kaba Modern six on ABDC. Many online fans have come to know Mike Song and Tony Tran's work through this exposure. But Poreotics is taking it to another level with a deeper awareness and understanding of popping techniques. They're working with an audience that has been primed to the basics of their style. Also, training with other choreo teams only upgrades their skills. Three of their members have trained with well-known choreo team Pac Modern, from Cal State Long Beach, in the past year.

Another smart move Poreotics has done is that they're visible online. Since they performed at numerous showcase competitions, there are plenty of videos of them on Youtube. Their online exposure is saturated, which means they have a presence. For other underground popping crews, they often remain underexposed due to the lack of an online presence. Clearly if you want to build your media identity, you need a presence online. On top of this, there is a visible fan following for Poreotics who are singing their praises. They'll do a lot of promotional work for the team at no cost.

It's a time of great opportunity for Poreotics. They've won the hearts of the choreo college scene. But can they transition onto mainstream television? They've auditioned for past seasons of ABDC. Now, it'll be interesting to see if they make it on to season five. The door's wide open now especially with the recent crowning of We Are Heroes as season four champions. Shane Sparks has also publicly stated to Chris Trondsen of dancetag.tv that he'd like to see a "male popping crew" on the next season. But there are challenges. Popping choreography tends to involve intricate, subtle movements. It can be hard to read on wide angle shots on television cameras. Even with We Are Heroes; several of their instant replays from the judges focused on bigger, acrobatic movements from their dancers. Also, we all know that a team's story/narrative is what helps to sell them on the show. Does Poreotics have a compelling story to tell? And finally, will Poreotics humor-driven style translate well to all the weekly challenges they'd face on ABDC?

These guys will have to continue to make smart moves if they transition on to a show like ABDC. They're media saavy and they're determined. And having a strong fan following always helps. Best of luck to them as they take on new challenges in their promising future! Whatever happens, we'll be watching.