Dance in New Media: Uniqlo

Starting off this week; we're diving into the large new media world of film, television, advertising, and the Internet to see how dance is being explored in new contexts. Today, we're looking at the Japanese fashion company Uniqlo, who have gained a lot of international attention for their combination of cutting-edge casual wear design, affordable prices, and playful mix-and-match items. The Japanese popping crew U-Min have been featured in a Uniqlo Mixplay video, that's easily viewable on Youtube. And recently, Uniqlo has released videos of ballet dancers in unusual locations as part of their Uniqlock campaign. (Photo above is from the Wikipedia entry on Uniqlo.)

You can see the English version of the Uniqlo site here:

http://www.uniqlo.com/us/

You can see the Mixplay video with Japanese popping crew U-Min here:

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

And you can see one example of the recent Uniqlock campaign with ballet dancers here:

http://www.youtube.com/watch?v=f_TY3z4TsSc

Currently, there's only one Uniqlo store in the U.S. and it's located in the Soho district in New York City. It's a three-story expansive store that makes the shopping experience vivid and playful. You have to experience it for yourself. Uniqlo started as part of the Fast Retailing Co. under the name "Unique Clothing Warehouse" in 1984. Since then, it's evolved into its own identity and captured the imaginations of many young people around the world. Have you ever worn a jacket that uses your own body moisture to keep you warm? Or have you ever seen a down vest that is lighter in weight than three eggs? Sounds impossible? Well, Uniqlo has done it with their recent product lines. They've kept a fashionable edge with stores in New York, London, Tokyo, Shanghai, and Singapore.

For street dancers, especially for poppers, Uniqlo's designs are highly desirable. Poppers in LA are known for wearing member's only-style jackets that are form-fitting with a shiny veneer that accentuates isolated movements. Uniqlo's jackets are just as form-fitting with bright colors that also aid in the visual presentation of our dance. A waver can make arm waves look even more visible with this kind of jacket as surrounding light is reflected off of each part of the wave moving through the arm. It really sells the illusion. Bright colors make the hit of each muscle contraction stand out for popping. When you look at U-Min's video for Uniqlo's Mixplay, you can see how their selection of colorful jackets really helps to create an eye-pleasing moving mass of primary and secondary colors against a white background. There's a sense of color design and theatricality in this presentation which makes the dancing stand out even more.

In their recent Uniqlock campaign, Uniqlo has also featured female Japanese ballet dancers freestyling in libraries, open halls, and outdoor venues such as the Eiffel Tower and Notre Dame in Paris. Watching these carefully constructed visual art pieces is a mesmerizing experience. Camera movement, focus changes, shot composition are all carefully planned and we end up seeing dancers featured in filmic ways that are rarely seen in Hollywood mainstream musicals or dance flicks. The background moves along with the dancers as the camera moves. The form and lines of the dancers' bodies are complemented by background elements in soft focus. And dancers are allowed to fully interact with outdoor elements like fences on the street without fast cuts in editing. These Uniqlock videos are beautiful visual delights.

So we're seeing a company like Uniqlo create a quirky yet desirable image for themselves by bringing dancers into their ad campaigns. That's a wonderful career opportunity for these affiliated dancers as well as a movement towards seeing dance in visual mediums outside of 30-second commercials, film musicals, or stereotypical low-budget dance flicks. It's been heard that even in Asia, the four Japanese women in the Uniqlock campaigns have become popular and many young women want to be like them. U-Min certainly has risen to international prominence through their Mixplay ad, bringing greater attention to popping and animation styles. Let's see where Uniqlo takes us next in their fusion of dance with advertising.

Funky City: Los Angeles - Competition

To finish off our series on the funkiness of Los Angeles this Thanksgiving holiday, we're focusing on the competitiveness of our street dance culture. We're thankful that this city's dance community hosts contests and that folks come out to enter and to support. This competitive streak is one of the strongest factors in building up the current generation of bboys, bgirls, poppers, and lockers. Without competition, there wouldn't be as strong of a drive to improve. We need competition as much as we need rivalries to push us further. (Photo above is from a Getty Images archive.)

Throughout the 2000s, Los Angeles has hosted the last BBoy Summits as well as recent versions of Freestyle Session, How Tha West Was Won, the Homeland Jam, and many other contests in dance studios, clubs, and community centers. Whether it was crew vs crew or 1 on 1 rounds, Los Angeles has seen several memorable competitions that keep the local community training hard for the next one. For a street dancer, it's often a strong motivation to train. An aspiring track and field runner may look to the next Olympics as a goal for their training schedule. It's the same for us. We may not have highly publicized competitions like the Olympics, but the continual stream of contests throughout the year keep us motivated to work on our weaknesses and to push our strengths further. We often find that in the few moments when we're battling in a contest, all of our training will show. Movements, transitions, and concepts that we drilled will come out. Weak spots can also pop up. Like a boxer training for the big fight, we know that we have to work hard and be disciplined in our dance before a contest because everything that's inside of us shows up in those thirty to forty seconds of a contest round.

Competition also brings our community together. It gives us an opportunity to see folks whom we only see from time to time. Living in Los Angeles is an exercise in learning how to be adaptable in a city that's spread out over a wide geographic region. Anyone who has experienced LA traffic can tell you the same. So naturally, our dance community is also spread out and we often don't see each other unless it's at competitions. Every contest is a chance to show each other what we've been working on as well as to privately discuss feedback and share tips. We're thankful that even in such a competitive setting, our community still maintains an open attitude about helping each other to improve. Sure, there are heated rivalries and some personal animosities that pop up. But, those are rare compared to the larger vibe of welcomeness that permeates through our culture.

Finally, competition is a strong factor in pushing our creative edge in street dancing. When we face off against an opponent, we want to show how we're interpreting the music in new ways that no one has ever seen before. Each match-up in a contest puts two different, unique personalities together. So this is bound to bring out something new inside of us. Sometimes, we dance differently against different people and that can help us to shape our dance styles in the moment. Without competition, we wouldn't have the opportunity to dance under pressure. We need that in our culture in order for it to grow. Bboying, popping, and locking thrive on the battle mentalities that come from dancers facing off in a contest or a cypher. We're glad that this competitive spirit continues to this day in our current generation as we pay homage to our predecessors who set the bar for us.

Funky City: Los Angeles - Fusion, Part 1

Continuing our series for this Thanksgiving Week, we're focusing on the culture of fusion that happens regularly in our city of Los Angeles and surrounding communities. Fusion is the clash and melding of different styles and ideas to create a new hybrid. As a large spread-out metropolis, Los Angeles hosts many tribes of ideologies and artistic minds who are bound to meet each other and exchange at some point. For street dancers, we fuse with dancers from around the world as well as with music artists, fashion designers, and spoken word poets. Fusion is exciting and rife with many possibilities. (Photo above is from a Getty Images archive.)

Perhaps it's the presence of the entertainment and music industries that help foster this fusion movement. Hollywood and recording companies are always present as career venues for aspiring professional dancers. With this epicenter in place, the culture of entertainment and performing arts naturally springs up around Los Angeles. The arts become part of our daily vocabulary and climate. How often do we see movie posters and ads at bus stops and billboards? LA Weekly is constantly promoting all kinds of shows, concerts, and performances throughout greater Los Angeles. There is rarely a weekend that passes when there's nothing going on in the cultural life of the city. As dancers, we're drawn into that cultural conversation that inspires us to perform, train, and collaborate. Fashion designers approach dancers to perform on runaways as live entertainment. Music artists want dancers to enhance their music videos whether they premiere on MTV or Youtube. And cutting edge experimental artists want to fuse dance into their installation pieces as a new means of expression through the human body. Fusion happens on a regular basis because we naturally want to find new ways to express our passions. Why not express them by collaborating with someone of a different perspective?

Demographically, Los Angeles also hosts thousands of nationalities spread out over its neighborhoods. Just look at the wealth of diverse cuisines that you can find across our city. Many nations around the world are flavorfully represented by local chefs. And there's more than a few fusion restaurants that are cooking up new hybrid dishes. Many of us also claim mixed backgrounds in our ethnicities as well as cultural identities. So fusion is also found in other areas of our lives, which only help to create the climate for change. We love this and are so thankful for the artistic mesh that is burgeoning in Los Angeles. The intersecting lines of our ever-present freeway systems are a visual reminder of this culture. We're moving fast and coming in contact with each other at high frequencies. For street dancers, we continually interact with dancers visiting from other countries. They flock to Los Angeles to train, to compete, and to build professional connections with others. Los Angeles remains a strong focal point to learn about what's new and cutting edge in street styles and fashion.

Finally, fusion is a natural evolution for where our society is heading. In the 2008 elections, much discussion was made about then presidential candidate Barack Obama and his richly diverse influences. To a young generation, he represented a new wave of hybrid optimism. We want to change and to bring change to our lives. There's something ingrained in our souls to hope for more than what we see. It's not necessarily ungratefulness. It's more of a realization that we don't live in a perfect world. Things around us aren't the best they could be. And we want to change that. The same can be said for our dance. We want to improve and train. We want to make our own contribution to the ongoing street dance culture. So with bboys, bgirls, poppers, and lockers; we experiment with fusing different styles, music, and ideas to create. During this holiday season, we're thankful that this pioneering, experimental spirit still exists in and around us.

Funky City: Los Angeles - Community, Part 1

Since this week is leading up to the Thanksgiving holiday, we wanted to share our thoughts on what we're thankful for in the street dance community of Los Angeles. There's plenty to write about and of course, we can't cover every aspect. But the most important thing is the spirit of doing it and the hope that our collective thankfulness will extend beyond this holiday and through the years to come. LA's dance community has been through a tumultuous year with everyone being affected by the economic downturn. Now more than ever is the time to unite and carry each other forward into a new decade. (Photo above is from a Getty Images archive.)

Community is today's theme. In a year when there were so many ups and downs, sometimes we just needed a place to go to and be with our friends. Whether it's practice sessions or club spots, these "homes away from home" are a blessing to us. Poppers, lockers, bboys, and bgirls always find a free session spot at Homeland Cultural Center in Long Beach on Monday and Tuesday nights. OG BBoy Iceman has supervised this practice spot for several years with the help of the City of Long Beach staff, including Steam. We also saw the opening of Saint City Session in Santa Ana this year, bringing a focal point for Orange County's bboys, graff writers, and emcees. The Bea Hive Dance Studio in Garden Grove also became a home for bboy crew Killafornia on Wednesday nights. The Groovaloos continued to host their Groove Nights at Debbie Reynolds Studios in North Hollywood. CSULB Breakers kept their session alive on Friday nights at Cal State Long Beach. And BBoys Anonymous hosted practice sessions at UC Irvine, keeping the OC college community alive and kicking. These are just a few of the practice sessions that were going on weekly or biweekly in LA and OC. Many more sessions occurred in other venues as well. But overall, the proliferation of more practice spots showed how much we love to dance together. We can all practice on our own, but there's something magical that happens when you bring dancers together in a communal setting. Ideas are exchanged. Mentors teach their students. And we support each other through tough times.

Club spots also continued to thrive. Carbon continues to be the go-to spot for poppers and lockers on Monday nights after sessioning at Homeland. On Tuesdays, dancers head to Focus in Newport Beach. OC and South Bay dancers line up for Proof on Santa Ana Blvd in Santa Ana on Thursday nights. And plenty of street dancers mingle over at King King in Hollywood on Saturdays and Deep on Sundays. The list goes on and on. Having these regular club spots are crucial for many street dancers who want to grow in their dance and their musical appreciation. After all, there's a different feel that you get when dancing in clubs versus in open practice sessions. The club setting also keeps us grounded in cyphers and battles that are raw and unaffected by judging politics. There's a historical link to this tradition as we learn about how our predecessors - the original street dance generation - carved their place in history by dancing in clubs in the 1970s and 1980s. Knowing that connection helps us to remember how we're connected to that lineage.

And finally, we appreciate our dance studios all over LA county, the OC, and the Inland Empire. Where would we be without you? Millenium, Debbie Reynolds and Evolution Studios are popular spots in North Hollywood. There's the Edge in Hollywood. Jayvee Dance Studio holds it down in Alhambra. And there's Focus in Irvine (near UC Irvine) and Hype in Torrance. There are plenty more studios as well. The owners and staffs of all these active studios have created a network for us to train and congregate in classes. They're keeping our teachers employed and giving a platform for many street styles to be passed on to a new generation in a formalized setting. Our street culture may not have institutionalized academies like our ballet counterparts, but we have these studios as our refuge. We know that 2009 has been a tough year for business with budgets getting slashed. Sometimes we have to think about whether we should spend much needed cash on a class. But we're thankful for all that you've done.

Community for us is an extension of our family. As street dancers, we inherently know that we can't fully enjoy dancing alone. We want to share it with others in some shape or form. So as the greater Los Angeles community continues to grow, we look forward to fostering more community in this coming decade.

Listen In: DJ AK's "Pop It"

This week's listen in feature is on DJ AK's "Pop It." A favorite for poppers in LA and southern California. The song is definitely new funk and it's from DJ AK's "Sound Of Tha Tube." You'll recognize the trademark talk-box effect on the vocals. Any poppers will get down to this jam. (Photo above is from a Google Image search for the album.)

You can check out a clip of it here:

http://www.youtube.com/watch?v=4PY4bgQLq24&

Enjoy!

Spotlight On: Studio One

Our final spotlight feature for the week is on Studio One from Orlando, Florida. They're super energetic and comfortable with being both rugged and sexy on stage. Studio One took 1st place at World of Dance 2009 in New York. And it's no surprise that they were favorites with the crowd as well as with the judges. (Photo above is taken from their website.)

You can see their website here:

http://studiooneurbandancecenter.com/

And you can see a video clip of their performance at World of Dance 2009 here:

http://www.youtube.com/watch?v=KxC69k0x10U&

Florida has stood out as a hot zone for bboys through the late 1990s to 2000s. Skillz Methods, Ground Zero, Flipside Kings, and numerous individual bboy superstars have graced national and international competitions. At Freestyle Session 2008, you could see legions of bboys from Florida repping "FLA All Day" shirts in the cyphers and in contest rounds. So in the choreo world, Studio One has been making big impressions on the East Coast scene. Their street jazz and hip hop fusion origins have translated to performances with music artists and stage showcases. It's refreshing to see another choreo team that doesn't rely heavily on street dance styles. Instead, they're bringing in other influences and working at creating their own identity. One thing that really stands out about Studio One is their irresistible energy on stage. Once you see them get down, it's hard to stand still. You just want to groove with them wherever you are.

Alot of their energy might also come from the fact that they're rarely flat-footed on stage. They stay light on their feet. And they cover a wide range of the stage space. Whether it's incorporating acrobatic leaps in a routine or grooving as a whole with quick ball changes, Studio One can look like a funky army of dancers in sync with each other. Their showcase at WOD New York is a prime example of their strengths. Of course, we also love their humorous intro using a sample from Whitney Houston's "I Will Always Love You." Clearly, they're not afraid to use a little theatricality and skit action to whet our appetites.

We definitely want to see more of Studio One in the future, especially what they represent in terms of Orlando's unique flavor. Florida is a huge state. So we're hoping that Studio One and neighboring teams will venture out to the West Coast soon to grace us with their presence.

Spotlight On: Part Time Models

Now, this crew brings smiles to our faces: Part Time Models. They're a collective of street dancers representing bboying, popping, locking, house and other styles in one hybrid mix. They also took the stage at Elements X in Boston this past weekend. And they've made cameos in Jen Kwok's hilarious "Date An Asian" music video. PTM is a group of guys and gals who want to party, and of course, they want to invite you to come along. (Photo above is from their facebook site.)

You can see their myspace site here:

http://www.myspace.com/parttimemodelz

You can see their facebook site here:

http://www.facebook.com/parttimemodels

And you can see a video of them from Elements X here:

http://www.youtube.com/watch?v=EQJQi0GVFAM

Several of their members come from other established street dance crews and choreo teams in NY, NJ, and surrounding areas. We love that because they'll bring different flavors from their backgrounds into one mix. It's like a California crew packed with dancers representing Los Angeles, the Bay Area, San Diego, and everything in between. Imagine the possibilities! From their unique name to their infectious stage presence, PTM aims to please. They play well to the audience and they clearly come alive on stage when they connect with their audience. Part of it is their sense of humor. Another part is their creative choice to showcase different dance styles to bring some diversity on stage. They're a young crew who will grow as they continue to perform.

We'd love to see more of how they bring their unique flavors to some traditionally West Coast styles. Bboying originated in NY so they are representing their heritage. We know that popping and locking (ie, poppin' and lockin') came from the West, so we want to check how they're interpreting these styles. At their Elements X performance, it seemed that their interpretations were similar to some of us on the West Coast in the use of arm waves around the upper body and fresno movements. We didn't see extensive animation which is becoming increasingly popular in the local Los Angeles scene. Nor did we see a hybridization of popping techniques or the hard hitting styles that can set up other moves. Regardless, PTM kept their energy high throughout their performance and maintained an entertaining flow through their show.

Would their on stage personas work well for a reality show like America's Best Dance Crew? Perhaps they could shine in that arena. Since they showcase different street dance styles, a mainstream public can't pigeonhole them as bboys. They could portray themselves as being more diverse and well-rounded. If the crew can put together longer group routines than what we saw at Elements X (which we believe they can), then they should have a good shot at representing well at Season 5 auditions for ABDC. What also works in their favor is their overall branded name and team image. Show producers and writers could have a lot of fun playing off of the "model" image. You can imagine the crew logo for this team as well as the emerging fanbase should they showcase in the upcoming season. No doubt, the costume designers and stylists would have a field day with them.

This makes us wonder if PTM is an example of a new kind of crew that's emerging in this post reality television dance show era. Is it important now for street dance crews to factor in a branded image as they build their skills and represent in local competitions? Do we need a "story" to go with our crew dynamic? Or is this a harkening back to the early 1980s when crews like Rocksteady Crew and Dynamic Rockers were becoming media-saavy as a nation awakened to their presence via televised events and appearances. Perhaps a more relevant question is to ask if self-image branding is affecting the overall street dance culture. That's a discussion which can open a lot of questions.

Spotlight On: Rhythm City

We're catching up with familiar faces for today's spotlight feature: Rhythm City. Many viewers of America's Best Dance Crew Season 4 will remember a condensed version of this crew representing on that show earlier this summer. But they're a much larger company led by CEO/Artistic Director Alonzo Williams. We wanted to show love to this East Coast crew for carrying themselves extremely well in the public spotlight while on ABDC as well as having a continued influence on dancers in their community. (Photo above is from their myspace site.)

You can see their official website here:

http://www.rhythmcityinc.com

You can see their myspace site here:

http://www.myspace.com/rhythm_city

And here's a clip of Rhythm City performing at the Main Event:

http://www.youtube.com/watch?v=x9rA9ycffF0

Since the TV viewing public has met some members of the team through ABDC, we're going to focus more on impressions of Rhythm City before they were on the show. After all, it's no secret that many of us across the country (regardless of our local affiliations) appreciated what Rhythm City brought to the show. We can't speak for the judges or show producers of ABDC for why Rhythm City didn't advance further in that televised competition, but we can show our appreciation for the team. It was hard to see the team leave the show because they appeared to be the strongest contenders representing the East Coast among all the crews. They were a breath of fresh air for the public. And there were many online fans who voiced their support for these guys and gals. They left the show too soon.

If we go a little further back in time, we can recall Rhythm City lighting up the stage at World of Dance NY 2009. They took the stage by storm. Even among the audience, there were whispers of keeping your eyes on Rhythm City for their commanding performances. It seems like their reputation had preceded themselves. With a large number of members on stage, the whole crew displayed nonstop energy and versatility for their entire set. Whether it was incorporating acrobatic tricks, hard hitting moves, bboy flares, or ballet techniques; Rhythm City flowed seamlessly on stage. It was a non-stop spectacle that they put on at WOD and it was just weeks before they were to appear on ABDC. One thing that really stood out about them, as compared to the average West Coast hip hop choreo team, is their aggressiveness across the board. Perhaps it was just the intensity with which they attacked their moves and less about doing tricks. And their intensity didn't seem forced, which only made their performance more enjoyable. At the WOD performance, they also didn't seem locked into one style, which was great because their various members can showcase their unique flavors. In contrast, we may be seeing too much of a popping-inspired choreo trend among some West Coast choreo teams (especially with basic tut sequences and head/chest isolations).

As a performing arts company, Rhythm City has definitely taken the right steps in marketing themselves well online as seen in their websites and organization. Vivid, energetic graphic designs and a cohesive presentation mark their broadcasted image. And they've continued to offer classes as well as community service initiatives that benefit the youth in their local areas. Both sides of their public image can only help their next professional steps, especially after their appearance on ABDC. So what's in store for them now? We hope that Rhythm City will continue to expand their influence across the world. They represent another side of the East Coast scene and people in other countries definitely need to see that. The team seems to have a good sense of their own identity as well as having the administrative skills to create opportunities for their members. Will we see full-on theatrical shows created exclusively by Rhythm City? Or will we see their members being invited to dance studios in Europe, Asia, South America and Africa to spread their unique flavor? Wherever they go, they're an exciting young crew that we hope will continue to make their mark as time progresses.

Spotlight On: Ridonkulous

For many years, Boston has been a hot spot in the East Coast for street dancers whether they're bboys or poppers. So, it's not surprising that a hip hop choreo team would spring up nearby at MIT. Today's spotlight feature is on Ridonkulous. Starting in 2005 and according to their website, they recently revamped to bring dance to their local surroundings. Plus, they just took third place at Elements X in Boston. (Photo above is from their MIT website.)

You can see Ridonkulous' myspace site here:

http://www.myspace.com/mitridonk

You can see their Youtube channel here:

http://www.youtube.com/ridonkey

And you can see a video of them performing at Elements X in Boston here:

http://www.youtube.com/watch?v=4ne2DwfPn78

Ridonkulous' members seem to draw from many of their members' diverse dance training whether it be ballet, tap, jazz, street dance styles, or bhangra. But it's their quirky sense of humor which also helps them to stand out. At World of Dance NY 2009, they took the stage wearing outfits that looked like retro-fitted radiation protective lab coats. Rubber gloves and goggles were included. At Elements X, they started their performance by dancing to the theme song from the U.S. version of "The Office." Why hasn't anyone else thought of using that before? Not to mention that during part of their Elements X performance, some members were actually rolling around on giant exercise balls on stage. If anything, Ridonkulous has shown that they're willing to be different and to take chances on playful staging ideas that are literally outside of the box.

Watching them perform at the WOD NY 2009 was a treat because their energy level was surprisingly higher than many of the preceding groups. They had fewer members on stage in comparison to other competitors. But that didn't take away from their stage presence. Whether it was intentional or not, Ridonkulous gave the impression that they weren't going to be pitied or underestimated. They entertained with their wild yet quirky energy and got the crowd laughing at several points. That can be rare to see among today's hip hop choreo teams when we choose to come off as hard edged with lots of swagger. The value of comedy is rarely considered by some performers, but let's not forget how powerful it is in winning over an audience. On the West Coast, Poreotics has embraced comedy and humor in their performances and it has become one of their strong points. Ridonkulous is embracing it as well but with a different flavor.

We're hoping to see more of Ridonkulous in the near future as well as the unique Boston/Cambridge flavor that they can bring to the stage. We can only imagine how wild some of their shows could be if they had elaborate costumes and props.

Spotlight On: Project D

We want to show some love to our brothers and sisters on the East Coast this week. So to kick it off, today's spotlight feature is on Project D from New Jersey. They're a warm-hearted hip hop choreo team with a heart for community. As the East Coast choreo scene grows, Project D have put themselves out there in showcase competitions as well as extended their presence online to help connect dancers in the surrounding areas. Recently, they competed at the Elements X competition in Boston and took second place. They call Bergenfield, New Jersey home where Step by Step Dancesport, Inc. has been a location for their auditions and classes. (Photo above is of their 2009-2010 team from their pdstyle website.)

You can see Project D's official website here:

http://pdstyle.wordpress.com/

And you can check out their official Youtube channel here:

http://www.youtube.com/projectddancecompany

As stated on their website, the letter "D" in their name stands for "dedication and devotion to dance." Those are words that they don't take lightly. They've represented at several East Coast competitions including the most recent World of Dance New York in June 2009. Project D has been vocal online about raising up the East Coast choreo team scene. And that kind of openness and communal vibe can only bring positive change. For us in California, Elm Pizarro's boogiezone.com site has been a hub for much of the information, videos, and discussions about the collegiate choreo scene as well as those moving into the professional entertainment industry. Project D has partnered with Boogiezone to bring the NJ edition of classes to their area. And several southern California choreographers have traveled to NJ to teach these classes. Project D's focus on growing local dance community is a sign that they're not about glorifying themselves. They're making it clear that they care about others and want to grow together.

Their dancing is energetic, open to many influences, and geared towards raising up the different creative voices within their company. Check out the videos at their official Youtube channel for proof. They've also got a good sense of humor, which spices up their stage presence. At World of Dance NY, one of their most eye-catching creative choices were the LED-style lights on their T-shirts. It's a small thing. But that attention to presentation shows that they care about minute touches that can add to their dance.

They're a young company that continues to grow at each performance. With youth comes great energy, a willingness to experiment, and a visible respect and affection for each other. Sometimes, it can be hard to find a team that has this much love for every member. We're hoping that Project D will continue to contribute to the East Coast community and be a creative force for many local dancers.

First Person POV: Saint City Session

Last night in Santa Ana, there was a progressive arts community gathering at a venue - 511 East Santa Ana Blvd in Santa Ana, CA - known as Saint City Session. Held on bimonthly Thursday evenings, Saint City Session has been a focal point to grow a hip hop community of bboys, bgirls, graffiti writers, DJs, emcees and spoken word artists. It's rare to find a practice spot where these different artists gather to represent as many of the elements of hip hop culture as possible. Often, dancers are segregated from writers and emcees simply because of logistics of the practice location. Now, Orange County has a place to gather and save on gas instead of commuting to Los Angeles.

You can see more info at Saint City Session here:

http://www.urbanartsoutreach.org/

And there's more info on the 511 Creative Space here:

http://www.511sa.com/

Saint City Session is growing. And last night, there was a feeling of starting something new. Right now, the dance crowd is mostly bboys but that could diversify in the future, especially with the burgeoning choreo and street dance communities at local UC Irvine, Cal State Fullerton, and the city of Garden Grove. Any community that gathers needs time to figure out their identity and tone. So the faith-based organizers behind Saint City Session will face these challenges, but they've provided a great start for locals as well as taking measures to reach out to the neighborhood by sponsoring laundry service. In the meantime, we're looking forward to seeing the OC community grow through venues such as Saint City Session.

Listen In: Jackson Sisters' "I Believe In Miracles"

This week, we're going back in time for our Listen In feature, which is on the soulful track "I Believe In Miracles" from the Jackson Sisters. It was written in 1976 and became a groove anthem in the UK almost a decade later. The track also appeared on the soundtrack for the 2006 documentary about the New York Cosmos soccer team Once In A Lifetime. And you'll find bboys and bgirls getting down to it around the world. (Photo above is from a Google Image Search for the Jackson Sisters.)

You can hear a clip of the track here:

http://www.youtube.com/watch?v=hBBzrHXu1Fg

Enjoy!

Editorial: Street Dancers & Music Artists

Where can street dancers go for work in the entertainment industry? It's a tough field as we all know. One area that we're looking at today is with music artists. Whether it's music videos, club shows, or national tours; performing with a prominent music artist is a competitive job for many street dancers. But is it different from the early 1980s and 1990s? There are some similarities, but also plenty of differences. (Photo above is from a Getty Images archive.)

Unlike the early 1980s, few mainstream music artists in the 2000s have street dancing as a prominent feature in their show. They're musicians first, not street dancers. Dancers who perform with them are simply eye candy in the background. Street dancers have to compete with more choreo-focused dancers for these jobs. Common knowledge dictates that you have to "look" like the part in order to get the gig as well as being able to pick up the choreography. With this set-up, it's been hard for individual street dancers to shine. But are we seeing a new trend? We're starting to see street dancers appearing in high profile music videos, whether it's Madd Chadd and PopNTod in Chris Brown's "I'll Transform For Ya" or Pandora in Common's "Universal Mind Control." A year ago, the publicized ACDC vs M&M Cru online dance battles brought exposure to many street dancers unknown to the mainstream America. That's good news for these bboys, poppers, and lockers who can showcase specialized skills that few other choreo dancers can provide.

Another possible positive trend is that dance crews can now be seen as marketable commodities in promoting a music artist. Due to the success of America's Best Dance Crew and the online dance fan community, a music artist/executive might spot a win-win situation in bringing a well-known crew on tour or in a music video. The JabbaWockeeZ performed with the New Kids on the Block. We are Heroes appeared in Omarion's "I Get It In" music video. And the Beat Freaks are showing up in Diddy and Dirty Money's "Love Come Down" video. It only makes the music artist look cooler. Plus, it's a guarantee that dance fans will flock to see their favorite crews. That only puts more eyeballs on your promoted music artist. For street dancers in crews, sticking together as a group is like being part of a union. It can benefit the whole team if they brand themselves wisely.

But here are the complications. Music videos are still first and foremost about promoting the music artist. That's the business side of it. Street dancers are there to support the musician. In the realm of music videos, they're not in the spotlight. The same is true for dancing in live shows or national tours. Plus, music videos are rarely featured on MTV. We're more likely to search for them on Youtube or on Myspace Music. Does that mean fewer advertising dollars for music video budgets leading to possibly fewer financial opportunities for street dancers? That's a possibility. The plus side of music videos being distributed via online video sharing sites is that they're given more longevity than in the past. Now, we can search and favorite the music videos with our favorite routines and dancers.

So here are some things we'd like to see. A breakthrough music artist who's also a street dancer and features street dancing in their show. Current musicians allowing dance crews to showcase more at their live shows and tours, which can only bring in more fans to buy tickets. And qualified street dancers being hired as choreographers for group routines in music videos. They all lead to more opportunities for street dancers who choose to pursue work with music artists in their industry. It's not the only path that a street dancer can choose, but simply one of them. Maybe it's possible that street dancers and music artists could collaborate on an equal level to bring a special brand of entertainment that we haven't seen yet. Let's hope for the best.

Editorial: Street Dance & Health Fitness Fusion

Can elements of street dance be incorporated into an aerobic regimen for health fitness? This is surely to ruffle a few feathers because it takes elements of our dance culture and transplants them in a new context with a different spirit. So we can't call it street dance in the traditional sense. This would have to be a hybrid concoction. The question is who benefits? (Photo above is from a Getty Images archive.)

Let's look at Tae Bo in the late 1990s. You may remember the ubiquitous commercials with documented founder Billy Blanks working out with his class of on-camera students. Tae Bo is a portmanteau of taekwondo and boxing. Since then, many gym outlets and instructors have taught derivations of this fitness regimen to thousands of enthusiasts around the world. Many videos have been sold in the process. Have taekwondo and martial arts aficionados voiced displeasure with Billy Blanks and his fitness program? No doubt, there are some detractors. But it's important that anyone who markets such a program distinguish it from its original source. The same would be true if there were a cardio workout program mixing elements of toprocking, arm waving, and leo walks. Keep in mind that we have to be careful about mixing different street styles in one pot because misinformation about the styles could occur. We'd need to really think about what parts of the styles we'd use in a hybrid and how to make it work as a new whole. Sure, there are hip hop dance fitness programs and videos out there. But few have elements drawn from street dancing.

Could this be a profitable business venture for street dancers who want to expand their repertoire? Newbies to street dancing often get a workout just from doing basic toprock and a sixstep in a beginner level bboying class. This kind of dancing is definitely more strenuous than dancing on two feet. But street dancers with some background in health and fitness education could find a supplementary source of income if they choose to package and teach elements of their craft in a new form. Would this be compromising themselves artistically? Not if they present it as different from the original forms of street dancing. As previously mentioned, they would need to market it as a hybrid which would also be designed for a general audience of varying athletic abilities. A fitness program generally needs to be accessible to the widest number of people possible in order to be financially successful. So the movement vocabulary of this hybrid fitness program would be different than original street dance styles. Take a look at the new venture that Reebok and Cirque Du Soleil are doing: Jukari Fit to Fly. Essentially, they're creating a new fitness product which is a hybrid of different acrobatic techniques and branding it with two very visible global companies. And they've made it accessible to a large range of women.

In the end, street dancing combined with health fitness could be an educational field for practitioners in both fields. Dancers can learn how to better condition and preserve their bodies. Fitness experts can explore new ways to workout their clients. Both fields have so much new territory that can be covered. Who's to say that a new genre of health fitness can't evolve from street dancers? We may be able to co-create a genre of fitness that will benefit thousands if we're open to it.

First Person POV: The Movement Fashion Show

Last night at the El Rey Theatre in Hollywood, an organization called Spare Some Change hosted a fashion fundraiser supporting programs reaching out to homeless youth in the U.S. Needless to say; it was a vibrant, high-energy event that brought artists, musicians, dancers, designers, and models together under one roof. And it was fabulous. We'll leave the fashion commentary to the qualified professionals, but we want to compliment Spare Some Change for bringing together a great calvacade of creative minds to support youth in need. (Photos above are from the online fliers distributed by Spare Some Change.)

You can see the site for Spare Some Change here:

http://www.sparesomechangethemovement.com/

There were many great designs by RJ, Victor Louis Couture, ABS, and ONI showcased as well as performances by Starpool, DJ Taryn Manning and the White Kidz, DJ ZAD, and dance troupe In Rhythm With Him. Perhaps we'll see more multi-arts collaborations like these in the future to support social change!

Editorial: Why We Need Dancer-Directors

There always seems to be debates about what's needed in the Hollywood film industry to bring greater legitimacy to dance movies featuring street dancers or the culture. Since the early 1980s, there have been a slew of these films. Many have come and gone. Some remain in our memories. If we look at the lineup of these films, there were some who were remembered as inspirations and others who were derided for their agenda to capitalize on the popularity of street dance. Do we need more dancers as film directors? Or at least, filmmakers with some dance experience surrounded by the right collaborative team of experienced street dancers? This is a tough call because we have to ask if it's feasible to find both talents in one person. (Photo above is from a Getty Images archive.)

It's easy to hypothesize that we might have better dance movies if the directors were street dancers themselves. This perfect candidate would understand the culture after having lived it. The director would know the terminology, the feel of the dance style, and know how to translate it into a believable and moving storyline on film. This director would also have accomplished filmmaking skills and the right financial backing from strong producers and a major Hollywood studio. Believe it or not, these are all tall orders. They're not impossible. But let's consider the fact that for most of us, it's hard enough to excel at one artistic craft. We spend hours and hours honing our skills and then testing ourselves through competition and showcasing. How long would it take to develop considerable professional-level skills in street dancing and in filmmaking? Are there enough hours in the day for one person to do this? It could be possible if you're a natural talent in both fields or a genius. But the limitations of time make it difficult for most of us to excel in two areas at once.

Plus, the Hollywood studio system operates on different business principles than the street dance world. Currently, our studios are banking on franchises based on well-known creative properties to guarantee some kind of financial return at the box office. With a struggling economy, not even big-name movie stars can command the same audiences as they once did in the '90s and early 2000s. We're seeing Transformers 3, two more Harry Potter movies, and new films developed from beloved toys, board games, and old TV shows in the near future. Perhaps it isn't that the Hollywood system is lacking in creativity. There's just a general concern that audiences won't show up in theaters if they don't have some emotional involvement in a movie that they're planning to see. Can a street dance film thrive in this economic climate? More importantly, what is the demographic that studio executives are seeing as the audience for street dance films? It makes sense from their perspective to aim for a lower to medium budget for a dance film if they see an audience limited to a teenage to twenty-something crowd. After all, they want to make their money back. We know that box office returns aren't the financial boon for studios. It once was DVD and ancillary sales. But today, those cash flows are reduced as well. Would this make it harder for a street dance film to be made?

What we can fight for is more filmmaking professionals who are informed and intimately collaborating with street dancers on green-lit dance movies. That seems to be the compromise at this time. Until we see a dancer like Fred Astaire or Gene Kelly take the reins of a Hollywood production, it's seems unlikely that things will dramatically change in the genre of street dance films from the studio system. Perhaps a film education should be embraced by street dancers who want to influence the world through Hollywood films. In a world where filmmaking is democraticized by easier access through digital video, there might be a Fred Astaire or Gene Kelly waiting in the wings.

Editorial: A United Street Dance Nation

Even though there are other countries that may be geographically larger, the U.S. can feel like a big place at times. As a nation of street dancers; we're spread across different coasts, inland areas, and everything in between. So as we near the end of this decade, why is it still hard to communicate between different dance communities? Has social networking and online forums failed to go further in easing community tensions and bridging gaps in our differences? We need to reflect on where we are and how we can help our communities to support and learn from each other. (Photo above is from a Getty Images archive.)

Let's face it. Although we're a technologically advanced society, we still have regional mentalities. We're proud of our hometowns. And we enjoy the solidarity that comes from standing shoulder to shoulder with folks who've had similar experiences. Even different cities within the same state can have regional unity whether it be Los Angeles, San Francisco, San Diego, or Fresno in California. It's human nature and it's neither right or wrong. So assuming we have these tendencies, how can we better communicate with other street dancers in other states and cities? Through the late 1990s and 2000s; online forums have played a huge role in creating a space for dancers to share information, videos, tips, and engage in heated discussions on various topics. They've helped to direct new dancers into the scene and towards available classes, practice sessions, and local competitions. BBoys and Bgirls have bboyworld.com, bboy.org, freestylesession.com and other sites. Poppers have mrwiggles.biz and westcoastpoppin.com. And hip hop choreo dancers have boogiezone.com. There are plenty of other sites we as well, but we simply name these few as examples.

The negative side of online communication has been the occasional spread of misinformation and heated personal attacks between conflicting personalities. As a reaction to this negativity, perhaps some social networking sites have been adopted as the next step in online sharing. Myspace and facebook are places where event information, performance videos, and tips are being passed on through a more personal approach. Maybe we feel a little more safe sharing our thoughts with people who we know, even on an casual basis. It's interesting to note that a whole new archive of personal dance information is being amassed on facebook, which can't be reached by Google or Youtube's search engines. Anyone can see a video on Youtube if it's made public. But on facebook, you can only see a private video if you're a member or if the poster has allowed you to see it as a friend. Of course, there are exceptions, but these are generalities made for the sake of this article. Now, personalized archiving and sharing of dance info isn't a bad idea. It doesn't necessarily lead to segmentation among our dance nation. If anything, it could help promote better communication especially if we have friends in other cities and states. With a more personalized approach, we can honestly communicate and share ideas because we've based our interaction on some degree of knowing each other. This isn't always true on online forums.

More personal face-to-face interaction can only help unite us. The hip hop choreo scene is taking more steps in this direction by supporting instructors to travel and teach classes outside of their home city or state. Boogiezone.com has opened up chapters in other states outside of California as well as the U.S. to allow teachers to travel as well as teach locally. We're seeing West Coast dancers teaching workshops at East Coast events, and vice-versa. For some street dance communities, we're not seeing this at the same level yet. Perhaps this is due to lack of funding or organization. Often, the street dancers who have a broader view of the world are the ones who have been lucky enough to save up and travel for competitions or teach outside of their hometown. Do we need to see more sponsorship of street dancers to allow for broader communication and sharing? Perhaps. Or we can try to organize larger competitions that will bring dancers from different parts of the country to enter. How Tha West Was Won has been one of the high-profile popping and locking events based in Los Angeles during the past few years. We've seen dancers from Japan, France, Taiwan, Korea, Atlanta, Arizona, Texas, Colorado, and New York come out and represent. But we'll need competitions that are more affordable to bring a diverse crowd. Right now, some of the high profile events are too expensive for the average street dancer to attend.

Where does this leave us? It seems whatever the means of communication; the more personalized it is, the better the chance for greater understanding. We need community leaders to step up and voice their opinions in fair, balanced ways. We need more collaborations between dancers from different regions to help each party grow. And we need to teach each other what we know in an open-minded, tolerant context where making mistakes aren't seen as fatal but as opportunities for growth. The truth is that we can start making a difference in our situation today. And then we'll realize that a united street dance nation not only means within our own country but that it extends to the rest of the world. What steps can you take to help build your dance community?

Editorial: The Challenges Faced By Our Youngest Dancers

We're returning to writing a series of editorial articles this week as we move closer to the holiday season. Autumn is often a reflective time and it's worth looking back at this past year of 2009. Soon, we'll be starting a new decade. It's a crucial period for our newest generation of street dancers as our traditions will live on through how they handle them. So today, we're looking at some of the challenges faced by our youngest dancers as they take their first steps into street dance culture. (Photo above is from a Getty Images archive.)

Where do we begin? Our information age has made insights and online videos of street dance more accessible to anyone who has web access. One of the biggest challenges facing a young street dancer is misinformation of technique. But our youngest dancers can't be blamed for turning to Youtube for information. When you don't have access to an experienced mentor/teacher, a thriving dance studio with street dance classes, or a collaborative community; it's easy to turn to the Internet for answers. However; how does a new bboy, popper, or locker distinguish between correct, experience-informed technique and shoddy imitation? For the uninformed, it's like studying a foreign culture by starting off with imitations of it from movies and television. With this approach, you can either be misled down the wrong path or you can burn a lot of time before you discover the facts.

"Know your history" has been the prescribed mantra of many established street dancers as they pass on their knowledge to a younger generation. That's a good place to begin. A dedicated student will want to identify the pioneers of a particular style as well as learn the timeline of how it developed. A hungry dancer will consult many established sources and cross-reference what they learn in order to create a more balanced picture of the past. Youtube is a spotty reference for street dance culture from the 1970s and 1980s. We can find clips on there for some jam sessions, television appearances, and stage performances. But it's not comprehensive. Those who lived the culture during the '70s and '80s either have the video footage themselves and haven't uploaded it to Youtube or they have chosen not to do so. For whatever reason, there is a sea of visual information and historical documentation that a new generation hasn't witnessed. The majority of the most high-profile dance video clips on Youtube are from our current new generation. You'll easily find footage from the past month or even past few years. However, this won't give you a better portrait of the past.

So what can a new dancer do? Perhaps they can consult with an established street dance teacher/mentor and ask to view priceless footage from two decades ago. Or they can check public archives for television shows and recorded stage performances. Along with getting a picture of the past, a new dancer needs to understand the social/historical context of back then. Knowing why our first generation of dancers did what they did is as important as how they performed their dance. It only grows a deeper appreciation for our culture within all of us.

Learning and studying from an established mentor is key. Along with this is the training that comes from taking classes and learning how to perform with eight counts. Unfortunately, there is a trend among many young street dancers who love to freestyle but they can't follow an eight count of choreography. Freestyling is fine, but if you want to perform in a professional project, you'll likely have to work with a choreographer who operates on eight counts. If you can dance to eight counts and follow choreography, it's just one more thing that will help you be considered for a dance gig. Plenty of hip hop choreo dancers in the competitive collegiate scene can do eight counts. So why can't our solo freestylers do it? The probability is that we can, but we haven't applied ourselves in that way. It just takes more practice. We call this "pick up" skill. That is, how well you "pick up" choreography when you're learning it.

Young street dancers need to know that they have to be technically proficient in their style, but they also need to present their moves well. At an audition, they may be asked to freestyle for a a few eight counts. No doubt they will be excited to do so. But if the audition committee can't see or read your moves, then you're shooting yourself in the foot. For any of us who have gone on auditions, we've seen competitors who may not be as technically proficient in a style, but they present their moves extremely well. And sometimes, they get the job instead of us. Best thing to learn from this situation is to simply work on presenting your moves and your dance in a way that can be read by an audience. Sometimes, our youngest dancers dance inwardly. Their heads are facing down. They're hunched over with their backs to the audience. Or maybe their moves are directed inside towards their core without ever projecting outwards. We can do better than this. Auditioning more will bring experience. Being humble and accepting of constructive criticism from our mentors is also helpful.

Last of all, our youngest generation needs to persevere. Our mentors have encouraged us with these very words. We can't lose hope. We can't give up. Keep going. Stay strong. Whether these words ring as cliches or as truthful gems, they contain valuable meaning for us. Only with time will our skills grow and mature. Think about the first generation of street dancers. Many of them have danced for thirty years or more by this time. Some of us have only danced for a few years. We still have a long way to go. But we also have a lot to look forward to. That's hard to grasp in our fast-food culture. However, there will be endless insights and revelations that we may never experience if we don't persevere. Dancing and being a street dancer is just as relevant to one's life journey as your core beliefs, passions, and dreams.

Inspiring Show: Gemini's "The Case of Locky Lockiano"

In 2004 at BBoy Summit, a well-known locker from France named Gemini brought some of his friends to the Henry Fonda Theatre in Hollywood for a show-stopping performance. It was magical to say the least. They presented "The Case of Locky Lockiano," which played out as a Broadway stage musical-style show with a storyline told through locking foundation and movements. The crowd was amazed. And you could hear them cheering throughout the performance as they were engrossed in a 1940's style gangster crime story unveiled by some of the best lockers on the international scene. (Photo above is from the Locking4Life project as seen on their blog.)

You can see a trailer clip of the performance here:

http://www.youtube.com/watch?v=s6pBjvUSA_8

And you can check out the Locking4Life website featuring Gemini here:

http://locking4life.com/

There have been few locking showcases like this performance among the new school generation. In Los Angeles, the locking community is small compared to the popping and bboying communities. While there are dancers within the hip hop collegiate choreo and professional choreo scenes who embrace locking, there are only a select group of competitive lockers in street dance competitions who hold it down in cyphers. Locking needs to get some more love from our new generation. The exuberant energy, character, and feel for this soulful dance precedes popping and bboying in history. We can't lose it. Perhaps Gemini and his friends have sealed a memorable moment in street dance history through this "Locky Lockiano" show, as it wonderfully presents locking in a new storytelling context. Their daring performance only further argues for more showcases featuring street dancers.

"The Case of Locky Lockiano" also stands out because it featured great showmanship from its cast. Locking really shines when it is presented well to an audience. Gemini and his friends dressed the part, used visible props, and grooved to a catchy soundtrack that both told a story as well as moved the audience emotionally. That night at the Henry Fonda Theatre, we were witnessing skilled performers entertaining an international crowd. They were the whole package. It was well-executed, clever in its storytelling, and inspirational in its delivery. The show was a direct result of their love for locking. The performance seemed uncompromised by any desire to cater to a specific demographic. These lockers simply wanted to share their love for dance with us. And we were invited to come along for the party.

Since then, Gemini has launched the Locking4Life project along with his closest collaborators. They've traveled, performed, and competed worldwide. Does this represent a big jump for locking on the international stage? Our hope is that we can see equally stronger organization and performance groups emerging from the Los Angeles scene. There seems to be a renewed interest in locking among the youngest current generation of street dancers, especially among the college age community in Orange County. Now, the question remains is if these young lockers have the ambition to strive artistically as well as the perseverance to grow and mature their dance skills. Perhaps "The Case for Locky Lockiano" can be an inspiring milestone for them to ponder.

Listen In: Feist's "Sealion" (Chromeo Remix)

Music-wise, we're wrapping up this week with a Listen In feature on Feist's Sealion (Chromeo Remix). It's got a groovy bassline with Chromeo's trademark synth sound and vocals interspersed throughout the track. Nova Scotian musician Feist covered the pre-remix version of this song on her 2007 album The Reminder. Initially, the title was Sealion Woman, since that's title of the original American folk song. It was documented as being first recorded by Herbert Halpert in 1939. (Photo above is from the Wikipedia entry on Feist.)

Here's a version of the song:

http://www.youtube.com/watch?v=d8DZ6t8X6uk

It's the kind of track that has a lot of layers you can play with as a dancer. Great opportunities for musicality. Enjoy!

First Person POV: Slanguage presents Brutalism at MoCA

Last night, there was an excellent outdoor performance at the Museum of Contemporary Art (MoCA) in downtown Los Angeles. Only a short walk away from the Walt Disney Concert Hall; MoCA hosted an all-night performance and party jam with spoken word poets, DJs, performance artists, and street dancers. It was a lively night marked by people from strikingly different walks of life meeting together in one place. They were experiencing a beautiful collision of art and soulful expression amidst the concrete jungle of downtown LA. Slanguage, an artist collective based in Wilmington, presented the event called Brutalism: A Dance Performance. (Photo above is from the MoCA.org website for Slanguage.)

You can see the website for Slanguage here: http://www.slanguagestudio.com

And you can see the MoCA website for the event here: http://www.moca.org/party

The evening was made possible by a grant from the James Irvine Foundation. It's wonderful to see these kind of events where performers of all ages can gather and share their passions. Hosted by MC Mario, there were performances by bboy crew Dub City Tribe from Wilmington, dances by the Black Squirrel Girls, a shoe-decorating workshop, performance sets by Mario "Dred Lopez" and Mario "Autoe" Cuen, freestyle sets by Homeland dancers like OG Iceman and Coco, and a broken word (bboying and spoken word combined together) piece performed by BBoy Don Sevilla.

Anyone who went can tell you that the night was filled with incredible energy. BBoys and Bgirls got down in the cypher. Poppers represented hard. And the DJs were getting everyone grooving all around the open air plaza at MoCA. It almost felt like a revival of the early days when Rocksteady Crew performed for art gallery crowds in Manhattan in the early 1980s. The night concluded with a dance-a-thon with many attendees hitting the floor in a fun-spirited jam session.

Props go out to the Slanguage collective as well as the MoCA affiliates for bringing street dance and art culture to a fantastic venue in the heart of downtown LA. It was a memorable experience. Perhaps we'll see more and more elements of street dance culture filtering into other venues of Los Angeles. There seem to be more organized events promoting love for our culture into areas outside of our usual borders. Is this a new era of change for us?

Inspiring Show: Expression Crew's "Marionette"

To love and to be loved in return is one of our deepest desires. Perhaps the greatest one. It's no surprise that this universal theme is at the heart of today's inspiring show - Expression Crew's Marionette. The show has been performed in many events and stages worldwide. But its simple message continues to haunt us even as new cast members have been added to the show. (Photo above is from Expression Crew's website.)

You can see a video clip of the show here:

http://www.youtube.com/watch?v=PkUnoG-wmLU

And you can check out Expression Crew's website here:

http://bboymaster.com

The main story of Marionette is about a puppet who falls in love with a little girl who comes to see his show over time. She grows older and he yearns to express his love for her. But when she grows older, she stops coming to the show. It's touching, fragile, and heartbreaking. Expression Crew from South Korea has taken their international status after Battle of the Year 2002 and turned their talents to theatrical performances. In Marionette, they use bboying moves and transitions along with some popping-inspired isolations to create an imaginative world. Is it possible for hip hop dance to make you cry? Yes. Expression Crew has proven that point. Among mainstream audiences, it may be hard to believe that hip hop and street dance can cause tears since we often see explosive tricks and hard-edged choreography displayed in the media. But, there are plenty of us who are doing emotionally moving work with our styles. We're not limited to eye-catching acrobatics or aggressive swagger. Expression Crew aspires to be different and to reach different creative heights with Marionette, and we're all the better for it.

Check out the music for this show. We're not hearing the usual breakbeats and soul/funk tracks that you'd expect from your familiar bboy jam. Instead, Expression Crew goes with sweeping orchestral music and they play with toy-inspired sound effects that sound like they could emanate from a toy factory or a jewelry box. That's a big step for our culture because dancers like the Expression Crew bboys are challenged to interpret new music with their traditional movements. There's a lot of new ground that we can break here. It's similar to those of us who freestyle to music outside of our comfort zone. For example; dubstep, glitch, and drum 'n bass have been filtering through the Los Angeles popping scene for several years. That's a movement that can only inspire new interpretations with popping styles. For Expression Crew, they're consolidating their ideas about moving to a different style of music into a coherent show. That only makes it more powerful upon viewing.

Moving bboying and street dancing onto the theatrical stage is an important step for our culture. It forces mainstream audiences to see how our styles can work in a cohesive performance. It allows them to be emotionally moved and to feel the storytelling potential of our dance. We can freestyle. We can do routines. And we can move your hearts with our stories. Imagination can flow through our bodies as we take the floor. Expression Crew has done all of this with Marionette. It's a beautiful thing to watch unfold on stage. The theater allows for our styles to expressed and explored in new ways that weren't possible beforehand. It doesn't mean that we have to lose the raw street sense that our styles already possessed. No, it allows us to grow in a different direction that could enhance the initial beginnings of our hip hop dance culture. Presentation of your dance is a key performing skill that we can all develop and refine over the years. Why not sharpen it with a theatrical showcase? Not only can we build upon the journey of our global dance culture, but we can leave influential impressions on a world hungry for meaningful stories.

First Person POV: Michael Jackson's "This Is It"

There's only a few more days until the Michael Jackson documentary This Is It leaves theaters. While many of us have lined up early to see this film, there are plenty of our peers who have mixed feelings about it. Already there are discussions in close-knit circles and online about if the film should be considered a money-making venture capitalizing on MJ's death or if it is a respectful gesture to leave a lasting impression on his fans. None of us will ever get to see the final This Is It concert series that was planned to debut in London. That is, unless we invent a time machine or step into a parallel universe. Where does this leave us? Perhaps with time, we'll be able to reflect more on how this film adds to MJ's legacy. (Photo above is from the Wikipedia entry for this film.)

So this article is not a film review of the documentary. In the end, we individually have the right to make a decision if we want to see the film or not. The article is more about what the film means to us as fellow street dancers and as MJ fans. After all, there are many of us who will have our emotions stirred up just by the mention of his name or a glimpse of the footage from this film. It's undeniable. As a musical artist and entertainment icon, Michael Jackson was a presence in our hearts. It can be strange to reflect on how we mourned his passing earlier this year. Most of us probably didn't know him personally. We knew his persona as seen through his music, media appearances, and charity work. So when he passed away, the emotional reaction across the world was huge. We had fans who were devastated. We had detractors who criticized the outpouring of emotions. And we had folks in the middle who were neutral on the subject. For many street dancers, it wasn't that we knew MJ personally. It's that his music formed a bond for all of us to relate to each other. We shared in his musical triumphs. His songs gave us a means to express ourselves through dance. And now that he's gone, we feel a rift. It's as if the bond that connected us has been compromised, maybe even lost.

Where does this leave us? There won't be an endless series of new music from him. Yes, we may hear new songs from his archive but it will be limited. As with other influential artists who have passed away, Michael Jackson's music will be his most memorable legacy. Thanks to digital technology and archiving, his songs will be remastered, reissued, and rediscovered by future generations. But for those of us who lived in the era of his creative height, we have to keep moving on. We can't give up the artistic endeavors in our lives that were inspired by his music. Whether you are a dancer or a musician or an artist of another craft, we have to dig deeper into our own creative selves. We may not be seeking the legacy that MJ left but we can enrich the lives of our friends, families, and communities with our artistic gifts. Why not continue the mission that MJ so lovingly embraced with his charity work and his creative projects? Let's give purpose to our creativity outside of ourselves. It's easy to seek self-promotion and personal glory through our art. But can we be different by making the well-being of others are greater priority?

Maybe this realization is one of the most powerful suggestions from This Is It. We do see Michael Jackson pushing his dancers and musicians to be better than where they are in their artform. He wants them to do their best because only as a team can they deliver a mind-blowing experience to the audience. We were a global community of MJ fans through the past several years. And now, we find ourselves in smaller communities measured by our peers, our interests, and our closest relationships. How do we help each other to be our better selves? Let's keep asking that question as we move on.

Inspiring Show: Salah's "The Dream of Gluby" (2008)

Have you ever seen one man command the attention of hundreds of people in one room? That's what Salah did with his one-man show of "The Dream of Gluby" at Freestyle Session 2008. We're taking a look at that inspiring show, which happened in late August at Club Circus in Hollywood. Known for his dynamic tricks and character work, Salah has emerged among the elite of new generation poppers in the past decade. Hailing from France, he has earned the admiration and respect of all dancers worldwide, but it is his Gluby character which may be his legacy. (Photo above is from his myspace site.)

You can see a video clip of one rendition of the Gluby performance here:

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

And you can see Salah's myspace site here:

http://www.myspace.com/spidersalah

Salah has both his fans and his detractors, but regardless he stands out by the strength of his personality when he dances. He engages the audience. He plays with their imagination and expectations. And he delivers surprises. Perhaps the character of Gluby is the culmination of all of his refined skills. With Gluby, he can express many emotions, storylines, and bring a new sense of character to showcasing that draws from the best of Charlie Chaplin, Buster Keaton, and Marcel Marceau. Watching Salah perform is a treat because he makes you feel like you are part of his world. We're not simply sitting in the audience watching a show. He is interacting with us and revealing bits and pieces of his colorful world through his mannerisms, comedy bits, and energetic moves. Many of the greatest performers on stage had their alter egos. Chaplin had the Little Tramp. Marceau had Bip. And Salah has Gluby. It's a perfect stage for him to showcase what he wants to do with his dance.

On the second day of Freestyle Session 2008, Salah performed in a large club filled with hundreds of bboys and bgirls. It was amazing to see the entire room captivated by one man on stage. Rarely do we see solo street dance performers get the time of day with a large crowd. But Salah entertained and had the crowd cheering for him. They even interacted with his Gluby character. The crowd was amazed by how he pulled off different illusions with his body like simultaneously doing waves with one arm while doing tuts with the other. Or they marveled at his quirky cartoon voice that was high-pitched, slightly grating, yet endearing at the same time. Salah looked like he had stepped out of a Vegas performance with a shiny, slivery loose long-sleeved shirt and a bowler hat. When he first stepped on stage, everyone in the room was wondering where is he going to take us now? This Gluby performance stood out at Freestyle Session because it re-introduced character work in showcases that are often shunned in favor or well-executed group routines and tricks. True, this kind of performer also needs to have some acting ability. And it can be hard to dancers with trained backgrounds in acting. But Salah's experience in performing for crowds was paying off with this Gluby showcase.

Is this an exciting new development for poppers and street dancers worldwide? Will we see more character performers taking the stage and using their styles to further their art on stage? Let's hope so. It only shows the depth with which we can take hip hop dance as we explore deep-seated emotions from fear to anger to love. As humans, we're wired to tell stories and to seek meaning through hearing stories of others around us. Maybe with Gluby, Salah has struck a chord by creating a jolly fellow who speaks to the playful child inside each of us. He wants to share parts of his inner self with us. And that is often the greatest gift we can give to each other.

Inspiring Show: Ichigeki at Battle of the Year 2005

Let's jump forward from 2003 to 2005 now. And we're at Battle of the Year in Germany. Our inspiring show for today is Ichigeki's showcase at BOTY 2005. This bboy crew from Japan has most recently been documented in the film Planet BBoy. Highlights from their show are in that film along with some of their personal stories. On the international bboy stage, this one showcase has inspired many bboys and bgirls worldwide. (Photo above is from the Dance Delight website where Ichigeki won BOTY in Japan prior to going to the final competition in Germany.)

You can see a video of their performance here:

http://www.youtube.com/watch?v=KBuqq6KdOzc

The central concept of the show was a DJ on stage using his turntables to motivate the movements of the other dancers. The other Ichigeki bboys were arranged in two circles, laying on the ground, as if they were the actual records on the turntables. As our lead DJ started the music, the dancers then moved in circles along with the beat. They dynamically leapt, stopped, and turned at specific moments. You can imagine how the crowd went wild for this presentation. In Planet BBoy, the crew had been documenting practicing the routine in walkways of the subway system as well as sharing their personal thoughts on what the show meant to them. They went on to win the prize for best show at BOTY 2005 as well as battling in the final round against South Korea's Last For One. Although this 2005 team has retired from the bboy scene, their turntable-inspired showcase continues to live on in our memories. It was cleverly staged and made excellent use of bboy footwork and ground transitions to create the turntable movement. There were dramatic climaxes and punctuation marks that peppered their performance. They simply weren't doing a show. Ichigeki was making a statement.

Perhaps the documentary film revealed their intentions at its best by sharing their journey to the international competition. They wanted to really put themselves out there - to share who they are without regards to pressures of winning the competition. Now that's artistic freedom. These bboys were brave enough to be themselves and to bare their creative souls. That's pretty rare nowadays especially when it's so easy to want to please others with our craft. Too often we find ourselves compromising our artistic spirits by seeking comfort and protection in what is safe and known. We base our decisions in fear. And when we act out of fear, creativity is crushed. That's why Ichigeki is so inspiring with this BOTY 2005 showcase. Yes, it was a great concept. Yes, it was well-executed. But it was their understated willingness to be true to themselves, which stands out. Imagine if more of us were willing to take that risk. What if more of us stepped into cyphers and freestyled regardless of what others think? What if more of us competed in contests with a healthy sense of being willing to improve after receiving constructive feedback? Our culture might actually be filled with new voices that haven't had the courage to speak up until now.

In the end, Ichigeki's show represented some of the best work that bboys were doing in showcases up to that point. Several crews have gone on to contribute equally stunning work at Battle of the Year as well as other top tier competitions. But the 2005 Ichigeki crew ended their careers on an artistic high, which will likely be studied and remembered for years to come.