Archiving and Annotating Underground VHS Tapes in Breaking Culture

Home , 1995 in home video, Ken Swift

FADING MEMORIES: Archiving and Annotating Underground VHS Tapes in Breaking Culture

Student Author

Saad Mukhtar is a graduating senior in the School Technology Studies Department at Rensselaer Poly- of Interdisciplinary Studies studying film/video and technic Institute and of the History Department and the American studies. He is researching the transnational Information Trust Institute at the University of Illinois, adaptation of Hip Hop dance, and archiving audiovisual Urbana-Champaign; and as a postdoctoral fellow in mediums. He has traveled the world to document break- African and African American Studies at Washington ing culture in countries such as South Korea, Japan, University in St. Louis. the Netherlands, and China. In fall 2018 he will attend graduate school in Purdue’s American Studies Program. Ben Lawton (PhD UCLA, 1976) was cofounder and, for many years, Mentors Director of the Interdisciplinary Film/Video Studies Program at Rayvon Fouché is Director of the Purdue. He is a recipient of the American Studies Program and campus-wide Amoco (now Mur- Professor in the School of Interdis- phy) Best Undergraduate Teacher ciplinary Studies at Purdue Univer- Award. He was visiting professor sity. His work explores the multiple at Indiana University in 1987 and at Dartmouth College intersections between cultural in 2000. He has published widely on Italian and Italian representation, racial identification, American cinema. His translation of Pier Paolo Paso- and technological design. He holds lini’s Heretical Empiricism (Indiana University Press, a BA in Humanities from the University of Illinois, 1988, expanded, NAP, 2006) is widely cited. Most Urbana-Champaign, and an MA and PhD in Science recently he coedited Revisioning Terrorism: A Human- and Technology Studies from Cornell University. Prior istic Perspective (Purdue University Press, 2016). He is to Purdue, he served on the faculty of the Science and a retired veteran of the Persian Gulf War.

32 Journal of Purdue Undergraduate Research: Volume 8, Fall 2018 http://dx.doi.org/https://doi.org/10.5703/1288284316737 During the 1990s, the culture flourished as a sub- Abstract culture and underground networked community. No mainstream films were released. As a result, artists This project examines the oral history of the orig- and event promoters distributed VHS tapes of solos, inal dance style of Hip Hop, breaking. Breaking documentaries, and annual events—most being is performed to music in sequences of movement independent productions, with only a few being while standing, on the floor, and in the air. There commercially sponsored later in the decade. Steffan is minimal quantitative or qualitative data about “Mr. Wiggles” Clemente, in an interview at Purdue the practitioners and scholars in its culture. Most University, confirms that VHS tapes served as a tool of the information regarding its history is spoken to “dump” footage, since “before that, getting footage orally or locked away in Video Home System was impossible.” Furthermore, he comments on how (VHS) tapes. This impacts future generations who VHS tape distribution was analogous to a “bboy/bgirl want to learn the culture and dance because pri- record deal” or “underground hustle,” an entrepre- mary resources are limited and fragmented on the neurial generation of income. As a result, VHS tapes Internet. A hundred VHS tapes, encoded in analog became traded commodities that doubled as pillars of frequency modulation (FM) on magnetic tape, knowledge for breaking culture. Clemente calls them were transcoded into 10-bit uncompressed and “ancient scrolls” (Clemente 2017). Clemente confirms H.264 digital file formats over a 3-month period. that his videos, Breakaway Magazines Vol. 1–3, were Social media was used to crowdsource metada- inspired by Kenneth “Ken Swift” Gabbert’s videos, ta on selected video clips. It was predicted that 7-Gems Video Magazines Vol. 1–2. Both Clemente metadata collection would contribute to annotat- and Gabbert are members of Rock Steady Crew, the ing video clips where supplemental explanations group of dancers featured in films during the 1980s were nonexistent on the Internet or inaccessible mentioned earlier. Their VHS tapes were the first to noncommunity members. Established commu- batch of videos distributed about breaking culture. nity members collectively identified and verified As an effort to preserve these artifacts, both their people, places, and back stories in the video clips. volumes were digitized and annotated with notes This suggests that memories of moments are still during the research process. shared orally in the culture but not widely known or documented. According to Fogarty (2012), both Clemente and Gabbert were setting up “imagined affinities” for the Mukhtar, S. (2018). Fading memories: Archiving community. Breakers shared commonality in medi- and annotating underground VHS tapes in break- ated communication that took place through VHS ing culture. Journal of Purdue Undergraduate tapes. In 7-Gems Video Magazine Vol. 1 (Gabbert & Research, 8, 32–41. https://doi.org/10.5703 Clemente 1996), Gabbert opens the introduction with /1288284316737 a setting in Rio de Janeiro, Brazil: “We’re going to start off this seven grandmasters video tape, we’re Keywords going to start building with y’all, and hopefully with our trip over here we can build with y’all more on digital humanities, breaking, dance, film studies, the capoeira influence that has been seen a lot since American studies, archival studies, Hip Hop the early 90s in breaking” (Gabbert & Clemente studies 1996). Distributors shared their video collection with others in an effort to promote “cultural exchange and knowledge building,” but there were internal barriers. Fading Memories

Breaking, notoriously known as “breakdancing,” In many instances, a dancer would receive a “copy has travelled through mainstream peaks and under- of a copy of a copy of a video,” which eventually ground valleys from its creation in the 1970s to the led to VHS tapes becoming safeguarded (Fogarty Youth Olympics, planned for October 2018. Urban 2012). Toronto-based breaker Joseph “J-Rebel” youth in New York City created their own style of Hersco states dancers “did not share” tapes because dance, which was featured in early 1980 films such “there were no formal ways to learn how to break” as Style Wars (1983), Flashdance (1983), Wild Style (Hersco 2017). Hersco is suggesting that VHS tapes (1983), and Beat Street (1984). During this time the were rare resources. Miami-based breaker Rodolfo dance made a transnational impact, spreading to “Rudi Goblen” Cano remembers when he searched Europe and Asia through press tours and promoted for these resources by “calling Blockbuster’s and performances. Mainstream exposure declined in mom-and-pop shops trying to find Beat Street, Wild 1990s and resurfaced during the 2000s. Style, and Style Wars,” which evidently took him “a

33 long time” (Cano 2017). As an alternative method genres of dance have borrowed without giving of “digging” for these films, he was able to find credit to their rightful owners.” The life expectancy short clips of breaking on the television program, of magnetic tape medium is estimated to be 10 to Yo! MTV Raps (1988–1995). The program featured 30 years. This largely depends on how the objects hundreds of rap music videos and is credited to have are stored and the quality of the tape from the put “hip-hop on the map around the globe” (Weing- manufacturer (Council on Library and Information arten 2018). One particular video Cano remembers Resources 2017). Overall, the medium is considered is Chief Rocka (1992) by musical group Lords of the to be obsolete with production of VCRs ending in Underground. The music video included breaking 2006. As Fouché (2012) states, “Hip-hop is about for approximately “2 seconds,” and Cano “would the music and the cultural expression of a sense, a look at those 2 seconds and rewind those 2 seconds” feeling, or a style”; therefore, in an effort to pre- to learn how to “top-rock” and do “footwork,” serve the first texts in breaking culture, this project two essential elements of the dance (Cano 2017). was created. Recording home videos (VHS tapes) using a video- cassette recorder (VCR) was common in the 1990s. For Cano, these short video clips served as a learn- Materials and Methods ing tool until he eventually found and rented Beat Materials Street. His rental accrued “eighty dollars” worth of late fees, and that was okay because the video was Archiving Workstation sacred, like the “Bible” (Cano 2017). Both Hersco I conducted the first part of the study by adapting and Cano are well known for being members of the materials and workflow in Ashley Blewer’s “minimal breaking community with distinct styles, or flavors, viable workstation” (MVW) documentation (Blewer and have established their brand names in the local community of Toronto and Miami respectively. Furthermore, it is possible to link their legacy in Materials Group breaking to films and home videos archived in this Dell Optiplex 7010 Computer research project. Dell 1908FPb Computer Seagate 2TB External Computer In the 2000s, technological innovations such as the Hard Drive Internet and video games changed how new generations encountered breaking. There was a shift from Panasonic AG-1980 Audio/Visual Equipment analog to digital storage mediums. Noncommunity Sony SLV-951 Audio/Visual Equipment members were able to share any type of video by AVT-8710 (Multi-Standard Audio/Visual Equipment uploading content to YouTube, for example. As a Time Base Corrector) result, as stated by Steven “Zulu Gremlin” Roybal, Xdimax Grex 7.4 Audio/Visual Equipment many videos only “show the art, but not ask the (Video Stabilizer) questions of what the art is, and that would make it confusing for the world.” Unfortunately, in the past, Blackmagic Intensity Audio/Visual Equipment “the media falsely named everything ‘breakdanc- Shuttle ing,’” which included many dance styles in one, Blackmagic H.264 Audio/Visual Equipment such as “popping, locking, and breaking” (Roybal Pro Recorder 2017). Therefore, the absence of primary sources Sony MDR-XRB700 Audio/Visual Equipment limits knowledge in the community and changes the S-Video 4 pin Male Audio/Visual Equipment general public’s perception of the culture. More- over, the Internet transformed “imagined affinities” BNC Male adapters Audio/Visual Equipment (Fogarty 2012) into solid connections through 2-Male to 2-Male RCA Audio/Visual Equipment community discussion forums and social media Audio Cable networking, leaving the cultural value and signif- Blackmagic Design Software icance of VHS tapes depreciated. Today, YouTube Media Express and Instagram are treated as digital repositories Adobe Premiere CC Software where community members shallowly engage with content. In Jorge “Popmaster Fabel” Pabon’s article Sony DCR-TRV280 Camcorder “Physical Graffiti” (2006), he states that “the best Sony DCR-TRV19 Camcorder way to preserve the dances is by learning from the earliest available sources” and that “many other Table 1. Workstation materials for encoding.

34 Journal of Purdue Undergraduate Research: Volume 8, Fall 2018 Fading Memories 35 - - - - Video 4 pin Video Video 4 pin Video time H.264 Male RCA Audio Cables. BIS BIS Cables. Audio RCA Male frames per second with varying bit digitizationbit is approximately bit uncompressedbit capture. Black Male toMale 2- 100GB per while video, H.264 hour encoded of 100GB is Therefore 100 per video. hour approximately 2GB of VHS 10TB. or per tapes hour is 10,000GB 100GB at Since this exter study used 2TB a single (2,000 GB) the Dublintion of Core Metadata Initiative (DCMI) (Dublin Core 1.1 Metadata Set, Version Element 2012). Initiative Metadata magic Design Media Express video preferences were 30- NTSC 720x480, bitrate quality Mbps. 2 Mbps prefer Audio to 10 kbps, 48000ences 256 were Hz, stereo output. Once digitized,were files further packaged shorter into analysis. Thevideos for method was the Hi8 same for and miniDV tapes. This is noted in Figure 2 as the analog formatsecond for option into the workflow. Uncompressed 10- VHS tapesnal 100 hard encoded of were drive, out 95 using H.264 to decrease storage requirements. Annotations I recorded and metadata cataloged using an adapta connected to the converter through an S- adapter Male real- to Male 2 BNC for encoding through Blackmagic H.264 Pro Recorder. using the BlackmagicAlternatively, Intensity Shuttle the TBC was connected(BIS), through S- andMale 2- was used 10- for - - - 1980 1980 bit uncombit Standard Base Time Corrector video The 4 pin Male. TBC was 4 digitalformatted file videos. day period, approximately to one rayed images of workstation materials. images of workstation rayed 951), which was then which connected to 951), 8710 Multi- 8710 1. X- Figure Methods Archiving Workflow The digitizing method of was a linear as workflow diagrammed in Figure 2. The analog signal started with the VHS tape through the Panasonic AG- Inventory VHS of tapes a mixture were personal of collections, purchases from secondary marketplaces and and Amazon), donations from breaking(eBay community members. One hundred VHS tapes were processed in a 90- ware, audio/visual equipment, and cameras. two digital encodings per day. SLV- Sony (or the AVT- stations. In contrast, the VHS tape format is obsolete. The MVW this for study included computers, soft pressed and MPEG- Bothdigital formats are recognized as standard video formats and are used archival work in professional (TBC) through an S- 2016). All hardware inventory was purchased2016). through secondary marketplaces (Purdue Surplus, Although Amazon). this workstation was built eBay, from encoding did allow consumer it and technology, transcoding analog VHS of tapes into 10- Figure 2. Workstation workflow from analog to digital format.

Metadata Element Set Description Identifier An unambiguous reference to the resource within a given context Title A name given to the resource Creator An entity primarily responsible for making the resource Date A point or period of time associated with an event in the lifecycle of the resource Type The nature or genre of the resource Format The file format, physical medium, or dimensions of the resource *Version An original or multigenerational copy *Cover The details of cover art or the type of casing Source A related resource from which the described resource is derived *Location The origin and language of the resource Relation A related resource *Annotation An account of the resource

Table 2. Custom metadata element set. Figure 3. Official panel discussion flyer distributed online and posted on campus.

36 Journal of Purdue Undergraduate Research: Volume 8, Fall 2018 Fading Memories - 37 - - ork City, USA ork City, Y Toronto, Canada Toronto, USA California, Germany Miami, USA USA Connecticut, California, USA California, USA San Diego, Location - World Various, wide - World Various, wide New 3 3 1 1 1 1 2 1 1 2 Version bit uncompressedbit and H.264 VHS VHS VHS VHS Digital8 VHS VHS Format VHS VHS VHS N/A 199x 199x 199x 1997 1998 2001 2001 1997 1995 Date Results Annotations that clips tagged were Video and commented with questions initiated discussion between community Annotationsmembers (CM). analyzed were con for text, then added into the metadata Instagram table. analytics additional provided data impressions about and reach per post, confirmed which number ofthe to with engage CM the able video content. Addi CM sent private messages to thetionally, Instagram University. Gabbert, asUniversity. was mentioned fea earlier, tured in films1980s, created from the VHS tapes in andthe has 1990s, been appointed a teaching position California, Universityat of Los Fukushima, Angeles. Japan,around competes the extensively from Kyoto, in breakingworld competitions and was as chosen the firstannualwomxn flagship to competeRedBull’s at breaking competition, Bull Red One. Panelists BC discussed the relationship between and dance, music archiving, gender in of breaking and the role culture. Archiving the results archiving shows 3 of using the Table Figure in workflow 1 in termsof the adapted DCMI Metadata The Set. data Element set is abbreviated The objects. selected were objects to 10 from 100 both encoded in 10- digital formats. . - - Hop Hop Style Crew Elements Hergenröther Thomas Crew Zero Ground Navator Easy Roc 1 Cros Brats Boogie Ken Swift, Mr. Wiggles Mr. Ken Swift, Wiggles Mr. Honey Rockwell Creator Hop CultureHop girl hiphopscholarship. The girls and Hip- boys, B- Style Elements: Strategic Style Elements: Strategic Monsters 1998 Battle of the Year Roast the Most 4 Who Can Survival of the Illest Overflow Vol. 1 Vol. Overflow Session 1 Freestyle Prove Just To Boogie Brats: a Point 7 Gems Vol. 1 7 Gems Vol. Maga- Video Breakaway 2 zine Vol. B- Honey Rockwell’s Video Title . The three panelists based chosen were girl Fukushima, Ayumi” and Raphael to enable documenting to enable crowdsourced of (1996) video clips were video were clips (1996) Battle the of Year with keywords to initiate with a conversation An abbreviated metadata element set of digitized artifacts. set of digitized element metadata abbreviated 3. An Table 007-SM BP- 008-SM BP- 009-SM BP- 010-SM BP- 004-SM BP- 005-SM BP- 006-SM BP- 001-SM BP- 002-SM BP- 003-SM BP- Identifier Panel Discussion Panel I organized a panel discussion Purdue at University’s to collect Cultural Black Center February on 2018, 10, qualitative data. Kenneth “Ken Swift” Gabbert, Ayumi “B- panelists,Xavier were Schloss Joseph while Dr. moderated the discussion. Schloss has written exten community members. Keywords included DCMI as as well date, creator, and relation), (title, elements oral history, and hashtag # metadata. H.264 encoded I uploaded video clips ranging from to 60 seconds 30 to the Instagram platform.social media Each was video mobile clip tagged posted during 2017 Battle the of Year of the weekend The DCMI description element, , was replaced with annotation comments each section served video for clip as a container annotations. for Community members were free to in engage andconversation tag otherusers. Furthermore,and uploaded video were tagged clips breaking productions. event For to 2017 coincide example, heim Fellowship, and USA Knight Fellowship. Both Knight and USA Fellowship. heim Fellowship, Schloss and Xavier teach Introduction to Hip- sively about the breaking about foundation of sively in his book, Foundation: B- Dance, a lecture/studio hybrid Princeton class, at in New York theiron experience in underground, commercial, and academic perspectives in breaking culture. Xavier has in the Arts,been Fellowship awarded a Pew Guggen Question Can someone comment about Brooklyn rocking in the battle here? In the 90s it was common to see Brooklyn rock, why not in 2017? User Responses “Brooklyn rock was done in a BBOY set because of the feeling, musicality, and the Battle spirit but many later learned that it is a separate Dance from Break- ing and not the same as top rock the prelude to going down. Bboys nowadays understand that Rocking will not be judged and kills your thighs and uses a lot of energy so is usually not expressed in competitions but more so in a solo freestyle show off demo” Figure 4. VHS cover of artifact BP-004-SM. “In Texas it is still used quite a bit. He rock dancers came out around 2005 and heavily started educat- ing the bboys on the jerk and freestyle. Brooklyn style. I’d say for some it inspired and for some it may have discouraged. Although it wasn’t meant to discourage, people didn’t want to misrepresent that dance.” “Can’t say for sure why it’s not seen as much these days . . . many factors at work. First off, the term ‘Brooklyn Rock’ is questionable. Many have stated that the style is NOT from any specific borough in NY. Many have argued the actual timing, steps & technic. In my opinion, it has become yet another Dance Form to fall victim to, TOO much debate. It is simply NOT fun to do anymore because of all the ridicule.”

Table 4. Crowdsourced annotation of artifact BP-004- SM. Figure 5. Screenshot of video from artifact BP-004-SM.

account wanting to donate VHS tapes, and request- The idea of what should be remembered, what ing copies of video clips posted on the account. In should be documented, and how and who should some cases, video clips were downloaded through make that decision because we are getting to a third-party applications, then uploaded by other users point where there is a history now and for the for their followers (audience). In these cases, I created most, right now, that history exist in individuals a new set of annotations for video clips, distinguish- people’s minds, and those people won’t necessar- able by Instagram’s post identification number. ily be around forever. Should history be preserved in breaking? If it should, how or what should be preserved and what aspects in ways of preserving Discussion are important? (Breaking Project 2018)

The results of archiving primary sources and enhanc- Xavier responds: ing metadata with annotations indicate that the con- cept of creating a breaking archive is a useful tool for As a relatively young genre it still has some preserving and teaching breaking history. Supported growing to do. This is the first time anything in by practitioners and scholars, a breaking archive the older sense has been able to be done because must preserve individual experiences as well as the they were kids before. For example, Jazz musi- collective culture. Information and knowledge about cians 188 years old, they play drums and they the culture should be monitored before circulation. better than they were, they become masters. That thing has yet to be seen in this form. So Schloss discusses these topics with panelist during there’s a lot of stuff [Gabbert] holds that people the 48-minute mark in the panel discussion, he states: may not know or they may haven’t seen before

38 Journal of Purdue Undergraduate Research: Volume 8, Fall 2018 Fading Memories 39 SM.

005-

Screenshot of video from artifact of video from 7. Screenshot BP-005-SM. Figure Crowdsourced annotation of artifactof annotation BP- Crowdsourced 5. Table VHS cover of artifactVHS cover BP-005-SM. 6. Figure Question Is this an airtrack, body is The airflare,or airtwist? in moving he’s vertical. than Also, horizontal more and in on the ground windmill pattern a circular, the air. Responses User My recollection Tracks.’ ‘Star this as a to “He referred learning emulating airflareswere ppl who were is, everyone refer time, the which at Track’ ‘Star Ivan’s recollection this is just my *Note, ‘airtracks.’ as to continuous first doing for who is credited Control), air flares.” & not to take anything away from Pablo (Soul (Soul Pablo from away take anything & not to

C’s, and all these different typesC’s, tions the about history know I think and you an experience,everybody know, has, and if you up. can shareyou that what’s experience that’s want don’t Definitelyyou everyone has a story, wantto to may read read book you one maybe and 30 then or and25 that’s make a conclusion, archiving people of need their a lot we why and did the research. We just did 140 8mm justand did 140 did the research. We VHS, VHS- media just that had dumpedof we we them all to hard was expen drives, It all it done. got protected. . . . was worth it but and it it’s sive inRight the now scene, just to finalizeI’m what saying, the real importance a is because there’s information of lot that and out rushed is going informationout in the Internet and the culture and so many so many questions worldwide, all these have interesting people young ques older, our siblings and families don’t realize our and siblings familiesolder, don’t the with connection the have things we we . . . I think have. I took up, archiving is what’s into notes, heavy I got it right of aftera lot that symposium [archiving and I in Harlem] started looking at bad I own what at and how I was storing was aging it and it how so fast I can identify with become as the we way because he’s holding on to on that. holding puts Until he because he’s until or a book out has he that someone who is studying him those specifically, things may be known.never years 25 So from someone now these things now says comes along need to be startdocumented. with the people young You do thingswho that came from the generation do things who before, from the generation do things who before, from the generation before era, and . . . thenuntilto before get Kenny’s you a difficult I think thing I but it’s thinkdo, to it’s important. (Breaking Project2018) the same Japan]. [in have kind problem of We used toIn many this videos. We have scene we YouTube, When have have. I start[ed], we not really bad on know because I’m I didn’t but is really It the Internet, DVD. have so I always the chance really have to see all don’t special. We watch Let’s the time—‘Somebody Okay! it. got to come my know? The DVD’s together’—you town and day one I need to to and the give people I learnedthen how the person. next I when That’s (Breakingstart[ed]. Project 2018) I think the archiving thing deal. . . . is a big Fukushima responds: Gabbert responds: Figure 8. Ayumi Fukushima pictured with students after panel discussion and dance workshop. Image courtesy of Monica Chang.

experience. . . . It’s good for the students of the breaking culture’s dance moves could be matched culture to have as much access to the infor- with video content in a database. Operations such mation as possible, so archiving is what’s up. as searching, filtering, and linking can take place (Breaking Project 2018) through gamification (Viana & Pinto 2017). Once metadata structures are implemented, oral history of breaking culture can be further researched and ana- Conclusion lyzed. For example, in terms of the United Nations Human Development Index, a three-dimensional By creating a sustainable archiving workflow for index including life expectancy, education, and gross media tapes, it is possible to work directly with national income indices (United Nations Develop- donors and community members in archiving their ment Programme 2016). personal collections. There is an opportunity for Purdue University to contribute to this initiative There is a genuine opportunity to discover valuable by creating physical and digital space for a break- cultural information about the Hip Hop dance dias- ing archive in its Archives and Special Collections pora by establishing a platform for discussion. This Research Center. Academia is the perfect bridge can be accomplished through academic program- between the underground and commercial worlds in ming. Breaking is one of many styles that are under breaking culture. the umbrella of Hip Hop dance. Other dance styles also deserve the same research and resources because Next, an innovative, collaborative approach for video they share cultural roots with breaking in Hip Hop annotating must be explored further. Crowdsourc- culture. Members of Mop Top, Mystidious Misfits, ing verification of metadata can be applied to larger and Elite Force featured in the documentary Reck’n semantic-based technologies, allowing for a search- Shop—Live From Brooklyn (1992) visited Purdue able index to be created. For example, an index of University in April 2018 to teach dance workshops

40 Journal of Purdue Undergraduate Research: Volume 8, Fall 2018 Fading Memories

41 - - with - .org

/pub54 hop station - .com .undp hdr (3), 449–462. scholarship .ashleyblewer - reinvention /reports - transfer hop, technology, hdi - bits - hop /dces/ - raps /pubs - .rollingstone /hip index viable - - .org -mtv yo .clir - star Brooklyn Rolling show. /documents www .org /minimum development - /02 launching - w519265. /breakingproject /12 based video annotation using gamification. (pp. 18–26). New York: BasicCivitas.hop York: New (pp. 18–26). /mtv .com /human show- /2016 - centric Computing and Information Sciences, Sciences, Information and centric Computing (pp. 505–525). New York: Oxford University (pp. York: New 505–525). /news . . Retrieved from www https:// _expectancy. /blog 1. - /content (1), 1–21. documentation/ brooklyn vol - semantic time- Human- 7 Raps’ reinvention with all- Stone /music /en - expectancy:Life long will How magnetic medialast? Retrieved from https:// / 4 l i f e from http://dublincore thetics of hip- development reports. Retrieved from http:// in mediated youth cultures. Continuum, 26 and the maintenance racial of authenticity. Pinch In T. & K. Bijsterveld The (Eds.), Oxford handbook of sound studies Press. Gems 1 [VHS]. United Vol. States. dance. chaos: In Chang The J. Total art (Ed.), and aes - scholarship podcast]. vol. Retrieved 1 [Audio from https:// soundcloud documentation. Retrieved from https:// .com References Viana, P., & Pinto, J. (2017). A collaborative approach & Pinto, for (2017). J. Viana, P., MTV MTV April launchingWeingarten, 18). R. ‘Yo! C. (2018, Cano, R. (2017, September Personal interview. 3). Cano, R. (2017, September Personal interview. 3). Clemente, S. (2017, Council on Library and Information Resources. (2017). Dublin Core Metadata Retrieved Initiative. June 14). (2012, September Personal interview. 3). (2017, Roybal, S. J. United Nations Development Human Programme. (2016). Fogarty, M. (2012). Breaking expectations:Fogarty, M. (2012). Imagined affinities Analog turns R.Fouché, (2012). digital: Hip- Gabbert, K. (Director), & Clemente, 7 S. (Director). (1996). September Personal interview. 3). Hersco, (2017, J. Pabon, (2006). Physical graffiti: J. The historyof hip- Breaking hop February Project Hip (Producer). (2018, 10). Harmeyer (Archives and Special Collections); Ken Harmeyer and Special Collections); (Archives dall Roark, Library Assistant of Professor Science and Corp M (Libraries); Industries. December Minimum 2). A. (2016, viableBlewer, station - ork City house dance ork City house dance Y at Purdue University CoRec. Image courtesy CoRec. University of Saad Purdue at Mukhtar. Ejoe Wilson demonstrating the difference difference the demonstrating Wilson 9. Ejoe Figure Chicago and New between cknowledgments A Thanks mentors, project my to the College; Honors and Benjamin Rayvon Lawton; Fouché the Student Organization Grant Allocation Board (SOGA); Margo Katherine Wilke Undergraduate Research JamillahInternship Debrah Bradford (CLA); (Wilke); Gan Hock AmyR. (Writing Gabriel Li (BCC); Lab); Veterinary Section of Heng, Diagnostic Imaging, Purdue University Veterinary Hospital; Teaching Neal (Libraries); Fritch Associate John W. Professor riences clarifiedHop what danceHip was like in inthe parallel early 1990s with breaking. Through additional panel discussions research, and scholarly connections can be made between geographic locationsof where differentdance styles flavors or formedwere and created, as such the transnational connections between dance Hip Hop styles in North America and Europe Asia. or and talk about their underground and commercial experiences with students. Their expe collective