Cadences of Choreomusicality: Investigating the Relationship Between Sound and Movement in Staged Performances of Popping and Animation in the United Kingdom Jo Read A thesis submitted for the degree of Doctor of Philosophy (PhD) School of Visual and Performing Arts (Dance) De Montfort University September 2017 1 Abstract This practice-led doctoral research explores the relationship between staged performances of popping, closely related movement practices such as animation (in dance) and music in the United Kingdom. Through an experiential, choreographic and critical methodology, I consider the ways that popping artists are able to shift, bend and distort perceptions of their performances through complex uses of musicality. Popping is a dance form that is included under the umbrella of street dance, which encompasses a wide range of dance practices with their origins in social and vernacular contexts. I scrutinise the musical trends and characteristics of popping and animation specifically, despite street dance forms usually being considered as a collective. This extensive focus reveals a range of selective rhythmical and textural nuances that engage the spectator in a world of choreomusical play. Placing practice at the centre of my investigation, I carry out a series of choreographed projects and reflect on these experiences from the position of dancer/performer and choreographer. Additionally, I consider the work of other popping artists in the field, presenting extensive choreomusical analysis of a selection of their work. Drawing from interviews that I conducted with nine UK street dance artists, I use a range of practitioner-led terminology to demonstrate the metaphorical vocabulary that they have employed to articulate their choreomusical practices and complicate notions of musicality. Drawing from the fields of choreomusical theory and Animation (in film) studies, I explore the value systems that frame ideas of the music-dance relationship in dance studies, developing an appropriate analytical lens which privileges close relationships between popping, animation and music on stage. I interrogate the anxieties that infiltrate close choreomusical relationships, in order to privilege the complex skill and musical sensitivities that poppers develop through their craft. Given intrinsic connections between animation and Animation, I utilise 2 perspectives from the latter field of study to explore the illusionary potential of the moving body on stage. This, I argue, blurs distinctions between the real and the artificial and ultimately contributes to choreomusical tension and resolve. Through extensive analysis in a range of performance contexts, I contend that this specific, detailed investigation of popping and animation can inform and contribute to the fields of choreomusicology and dance studies. 3 Table of Contents Acknowledgements. p.6 Glossary of Terms. .p.8 Introduction. p.11 Chapter One: Contextualising the Form. .p.22 1.1 At the Root of the Form. .p.23 1.2 (Poly)Rhythm(s). p.26 1.3 Bringing it Back to the UK. .p.28 1.4 Breakin’ Convention. .p.34 1.5 Popping Activity. .p.37 1.6 Conclusion. p.43 Chapter Two: A Curious Choreomusical Canon. Exploring Theories of Music-Dance Relationships. .p.45 2.1 A Meandering ‘Musicality’. p.48 2.2 Music and Dance: Push and Pull. .p.57 2.3 The Trouble with Mickey Mouse. .p.62 2.4 Musician-Dancer Skills. .p.68 2.5 Conclusion. p.71 Chapter Three: “Animating the Real”. .p.73 3.1 Dance and Animation. .p.75 3.2 The Real and the Not Really. p.79 3.3 An animated Presence in Animation. p.81 3.4 Animated animated Principles. p.83 3.5 Tracing the Animated Body in the animated Body. .p.87 3.6 Conclusion. .p.91 4 Chapter Four: An Exploration of Practice-Led Research. p.93 4.1 deConduct (2013). p.95 4.2 Body Stories (2013). p.100 4.3 Interpretari (2014). .p.103 4.4 Boy Blue Entertainment (BBE). .p.108 4.5 Conclusion. p.112 Chapter Five: “Elastic, Fantastic Dancing Bodies” Case Study Choreomusical Analyses. .p.114 5.1 Turbo’s Solo. p.115 5.2 Brooke’s Solo. p.124 5.3 Conclusion. p.129 Conclusion: Cadences of Choreomusicality. p.131 Bibliography of Sources. p.139 Appendix A Interview with Vicky “Skytilz” Mantey. .p.149 Appendix B Interview with Yami “Rowdy” Lofvenberg. p.168 Appendix C Interview with Kenrick “H2O” Sandy. .p.184 Appendix D Interview with Robert Hylton. p.199 Appendix E Interview with Bly Richards. p.219 Appendix F Interview with Fred Folkes. p.234 Appendix G Interview with Shawn Aimey. p.251 Appendix H Interview with Brooke Milliner. p.262 Appendix I Interview with Isaac “Turbo” Baptiste. .p.268 5 Acknowledgements Firstly, I would like to express my special appreciation and thanks to my advisor, Professor Theresa Buckland for her continuous support of my PhD study and related research; for her patience, strong belief in me, and immense knowledge. Her guidance helped me at every stage of this process, and I know that I could not have been in safer hands. I would also like to thank the other members of my committee: Sally Doughty for her support and helpful advice for the practical aspects of this doctoral research, and her warmth and encouragement throughout the journey of being a part-time student; Michael Huxley for coming on board for the later stages of the PhD, consistently guiding me through the logistical aspects of the process, along with his supportive, encouraging approach; and Professor Ramsay Burt for his logistical support in the earlier stages of the process. My sincere thanks goes to all of my colleagues at the University of East London and particularly the rest of the BA (Hons) Dance: Urban Practice programme team, for their generous support and encouragement throughout the last six months of working towards submission. A heartfelt thanks goes to everybody who was involved in collaborating with me for my practical work: The team at Breakin’ Convention, DJ Psykhomantus, Lukas Salna, Alasdair Purkis, Caroline Lofthouse, Anna Tabbush, Rachel Palmer and The Dance Movement, everyone that I have danced with in Boy Blue Entertainment, Kenrick Sandy and Vicky “Skytilz” Mantey. I have absolutely loved sharing my love of making and performing dance with each and every one of you. Thank you so much to all of the artists who kindly agreed to do interviews with me: Shawn Aimey, Isaac “Turbo” Baptiste, Fred Folkes, Robert Hylton, Yami “Rowdy” Lofvenberg, Vicky “Skytilz” Mantey, Brooke Milliner, Bly Richards, and 6 Kenrick “H2O” Sandy. Your thought-provoking, inspiring responses have shaped the direction and scope of this research. Thank you to all of my teachers and mentors, without whom I would not have undertaken this PhD. Special thanks to my popping and animation teachers, past and present, who have undoubtedly inspired this research: Vikkie Steege, Robert Hylton, Shawn Aimey, Rajib “Holistik” Manandhar, Fred Folkes, Vicky “Skytilz” Mantey, and Kenrick “H2O” Sandy. Last, but not least, I would like to express a huge thank you to all of my close friends and family, who have provided me with more love, support and understanding than I thought possible. I would especially like to thank Loren Willis, who has encouraged and helped me consistently in endless ways over the last year, such as sending me motivational postcards, making me playlists, and being my gardener! Special thanks also goes to Ellie Read, Sherril Dodds, and my Nana (Doreen Barrett) for their imaginative methods of support and endless encouragement and belief in me. I would like to say a special thank you to Vicky “Skytilz” Mantey for her unfaltering belief in me, and for many useful and stimulating discussions about issues relating to the thesis, along with many relaxing outings. Finally, a huge thank you to my parents, Jane and Andy Read, for bringing me up to believe that I can do absolutely anything I put my mind to, and for welcoming me home regularly for much needed writing retreats. 7 Glossary of Terms “Animation” - refers to film animation techniques. “Animation” - in italics refers to the style of dance inspired by stop-motion techniques that is often considered a sub-genre of (or a close relation to) popping. Cypher - A circular dance jam, which is a common way to practise and train for a range of street dance forms. Usually made up of dancer-spectators, one dancer enters the centre of the circle and ‘throws down’ (performs) whilst the rest of the circle engages with what is happening. It is considered to involve the exchanging of energy between people in the circle. Dimestop - A ‘stop’ achieved by tightening the muscles suddenly to create a rigid, robotic affect. Drop - “A drop in popular music, especially electronic music styles, is a point in a music track where a switch of rhythm or bass line occurs and usually follows a recognizable build section and break” (Infogalactic planetary knowledge core, 2016). Egyptian Twist - A travelling movement by alternating between the heels and toes with the feet together whilst also rotating the wrists so that the hands mimic the feet. Fixed point - Refers to a “set or stationary” (Schrader, 2005: 56) joint or body part that forms the point from which the rest of the body can move. Freestyle - A term used by street dancers to signify moving freely, often in response to music and within a particular technique. The term is used similarly to improvisation. Groove - The basic physical response to the feeling of the music. Master-flex - A movement that involves isolating and rotating the legs and torso with a low centre of gravity to create an illusion of disconnection and a half turn. Neck-o-flex - A movement that involves rotating the head and the rest of the body alternatively to create an illusion that the two are unattached.