DOCSLIB.ORG

Hip Hop Dance

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Written & Edited by: Jade Jager Clark Owner & Artistic Director- Jade's Hip Hop Academy INTRODUCTION TABLE OF CONTENTS I.aM.Me............................3 In order to fully appreciate the artistry and skill of I.aM.mE. this Study Guide takes a look back at the History, Origins and Pioneers of the very Dance Styles they perform (and the styles preceding them) in combination with Locking.............................4 their self titled signature "Brain Bangin". Popping............................4 The Dance Styles included in this study guide have long been regarded as styles with no structure, technique or Waacking.........................5 vocabulary. So while Ballet, Jazz, Modern, Tap and Contemporary dance are regarded as high forms of performance art, styles under the umbrella term "street dance" have and are still often looked down upon. This study guide Breaking..........................5 closely examines the dance styles of Locking, Popping, Waacking, Breaking, Hip Hop, House and Krump. Hip Hop...........................6 What makes this study guide unique and one-of-kind are the summaries provided below, which have been provided by the very pioneers who created and developed these styles and in some cases the second generation of House..............................6 trailblazing students on behalf of the creators. Included you will find a brief break down of the history, origins, Krump..............................7 techniques and vocabulary related to each style as told by them. Materials.........................7 Furthermore this Guide Includes suggested Activities that tie in curriculum based learning for students with resources and references for further study. Suggested Activities.......8/9 It is our hope through this study guide to educate and grow audience appreciation and respect for not only I.aM. Terms to Know................9 mE but all dancers and dance crews past and present who train, perform and teach these Styles. It takes years to become proficient in each style. Connect..........................10 Whether you call them Hip Hop, Street Dance, Funk Styles or Urban Dance there is no Denying the wonder, awe- Acknowledgements......11 inspiring power and joy that these styles bring to Audiences. Though there may not be a formal worldwide distributed curriculum and exam based program (yet) for all these styles like there is for Ballet, Jazz, Tap etc. we hope you will join us in passing on the history and knowledge, to your fellow teachers, family, friends and to your students. - Jade Jager Clark Owner & Artistic Director Jade's Hip Hop Academy 2 I.aM.mE Dance Crew Inspire. Motivate. Energize Founded in 2010 by Phillip "Pacman" Chbeeb, Di "Moon" Zhang and Brandon Harrell with original members Jaja Vankova, Emilio Dosal and Chachi Gonzales, this crew won the MTV's America's Best Dance Crew season 6. They were featured on LXD season 3 and were special guest in Cirque Du Soleil. IaMmE took on board new members Tam Rapp, Liza Riabinina, Bebo and Scarlett Nabil in 2015 participating in ABDC 8. IaMmE has been very successful, performing all over the world, featuring in movies like Step Up, choreographing for numerous artists like Skrillex and teaching. Right now IaMmE works with many amazing external members and continue creating their original style called "Brain Bang". THE SHOW Fear, Nerves. Anxiety, Excitement... all emotions that can alter your state of mind or sleeping patterns. The build up the night before an IaMmE performance can sometimes prove to be overwhelming. We take you through a night of our members' dreams....or lack thereof. We find out what can trigger the mind the night before a show. We come to find out a little bit more about every members personality by what goes on as they enter REM Cycle. Our night travels through a variety of interesting dreams. Scary, Romantic, happy, embarrassing, etc. We even come to find that some members might even get any sleep! All this leading up to the BIG DAY, SHOW DAY!! 3 LOCKING Locking is considered the first Street Dance Style. It was created in 1970 by Don Campbell at LA Trade Technical College. After creating Locking by mistake while trying to do the Robot Shuffle, Don "Campbellock" Campbell became a dance maverick, who blazed a distinct trail throughout the clubs of Los Angeles. His dance became so popular, in Feb of 1972, he released the single "The Campbellock" on Stanton Records. That year, Don also went on to appear The TV show "Soul Train", where he became a regular dancer and a fan favourite. In 1973, Don was kicked off Soul Train for standing for the right for dancers on the show to get paid for their time and effort. So together with the Legendary Choreographer Toni Basil, Don founded the dance group first called "The Campbellock Dancers" later called "The Lockers" that would change the face of dance forever. Don, Toni and The Lockers, which included Greg "Campbellock Jr" Pope, Leo "Fluky Luke" Williamson, Fred "Mr. Penguin" Berry, Adolfo "Shabba- Doo" Quinones, and Bill "Slim the Robot" Williams took the Entertainment industry by storm, with Live Performances, as Awards Show Presenters, Commercial Endorsements, Movies, Guest Appearances on Television, and even their own TV special. In simple terms, Locking is a freestyle dance, where you are free to move to the music, returning to "The Lock" as the base. Besides The Lock, Don did a variety of movements when he was creating the dance that are now synonymous with "Locking" Today such as, "The Wrist Roll", "The Points", Knee Drops, "Up Lock", "Down Lock", "Giving Yourself 5", "Giving The Floor 5", Dives, and Splits, Additional movements were later contributed by Members of The Lockers or Dancers associated with The Lockers. They took moves that already existed and "Lockafied" them. These movements include Leo walks (created to Leo "Fluky Luke" Williamson and used in his solos), scoo b doo, scoo bot, stop n' go, scooby walk (all 4 dances credited to Jimmie "Scooby Doo" Foster but brought to the group by Greg "Campbellock Jr." Pope for the unison parts of the shows), The Skeeter Rabbit (Credited to Tony "Go Go" Lewis but brought to the group by Greg "Campbellock Jr." Pope for the unison parts of the shows) and which-a-ways (Credited to Leo " Fluky Luke" Williamson, used in both solos and unison parts). Locking is dance that requires a balance of precision with groove, soul and funk. Locking has most notably appeared in Music Videos from Michael Jackson, Janet Jackson, Justin Timberlake, Wyclef, Jean, and more. And if you watch closely, Locking has appeared in dance movies such as 80's classic "Breakin' 1&2" to "You Got Served" and the "STEP UP" series. - History by Don "Campbellock" Campbell. Written by Dennis Danehy- Son of Don "Campbellock" Campbell. POPPING Popping began in the 1970's. The techniques were created by a man named Boogaloo Sam out of Fresno California. In order to "POP" dancers must flex and release the muscles in their arms, neck/head and snap back their knee joints rhythmically to music. Popping techniques include fresnos, walk outs and twist-o-flexes and styles such as Toy Man, Puppet and Scarecrow. Boogaloo Sam also created Boogaloo, a fluid style that utilizes every part of the body using angles and often using rolls of the hips, knees and head. Boogaloo Sam Founded the dance crew the Electric Boogaloo's who travelled and performed all over the world teaching Popping and Boogaloo. Members including Popin Pete, Suga Pop, Mr. Wiggles, Skeeter Rabbit have performed and choreographed for Soul Train, The Grammy's, Billboard Music Awards, Breakdance the Movie and Music Videos including Michael Jackon's Beat It and Thriller. They have also performed alongside and choreographed for Janet Jackson, Chris Brown, Justin Timberlake and Gwen Stefani just to name a few. It is Important to remember Popping is a single style and is not an umbrella term for Boogaloo, Waving, Tutting (created by Mark Benson), Gliding and Animation. However those styles can be added in when Popping. - Popin Pete Electric Boogaloos 4 WAACKING Waacking started in the 1970's in Los Angeles in the Gay Club Scene. It is derived from Punking and the first dance group was known as the Original Punkers. As Punking spread to the larger dance community and dancers from other dance styles (such as Locker Shaba Doo) began to take part, it took on the name 'whacking' and eventually became known as Waacking. Waacking is stylistically influenced by the highly animated characters of Hollywood silent films and musicals as well as cartoons and martial art films. Dramatic poses, characters and storytelling are combined with, footwork and quick, sharp, strong and fluid arm motions, often in circular patters around the upper torso, shoulders and head. Punkers and Waackers were both featured on Soul Train and waacking spread from Los Angles to New York and around the world by way of pioneers such as Tyrone Proctor. After the popularity of the dance began to fade during the 80's and 90's it experienced a resurgence in the early 2000's by way of Brian "footwork" Green who began teaching in New York and urging the elders to teach. This has led to next generation of Waackers, of all genders and orientations, who continue to be practitioners, trainers and share the dance world wide. Aside from being included in Music Videos and Dance Films, Waacking also debut on Season 8 of So You Think You Can Dance. - Kumari Suraj The Waackers (International), Jungle Jills (LA),House of Suraj (India), CEO & founder of Waackfest BREAKING Breaking is a dance that was born in the early 1970s in the Bronx, New York. Coined as Break Dancing by the media, the correct term is actually Breaking or B-boying/B-girling.
Recommended publications
  • Internet Killed the B-Boy Star: a Study of B-Boying Through the Lens Of

    Internet Killed the B-Boy Star: a Study of B-Boying Through the Lens Of

    Internet Killed the B-boy Star: A Study of B-boying Through the Lens of Contemporary Media Dehui Kong Senior Seminar in Dance Fall 2010 Thesis director: Professor L. Garafola © Dehui Kong 1 B-Boy Infinitives To suck until our lips turned blue the last drops of cool juice from a crumpled cup sopped with spit the first Italian Ice of summer To chase popsicle stick skiffs along the curb skimming stormwater from Woodbridge Ave to Old Post Road To be To B-boy To be boys who snuck into a garden to pluck a baseball from mud and shit To hop that old man's fence before he bust through his front door with a lame-bull limp charge and a fist the size of half a spade To be To B-boy To lace shell-toe Adidas To say Word to Kurtis Blow To laugh the afternoons someone's mama was so black when she stepped out the car B-boy… that’s what it is, that’s why when the public the oil light went on changed it to ‘break-dancing’ they were just giving a To count hairs sprouting professional name to it, but b-boy was the original name for it and whoever wants to keep it real would around our cocks To touch 1 ourselves To pick the half-smoked keep calling it b-boy. True Blues from my father's ash tray and cough the gray grit - JoJo, from Rock Steady Crew into my hands To run my tongue along the lips of a girl with crooked teeth To be To B-boy To be boys for the ten days an 8-foot gash of cardboard lasts after we dragged that cardboard seven blocks then slapped it on the cracked blacktop To spin on our hands and backs To bruise elbows wrists and hips To Bronx-Twist Jersey version beside the mid-day traffic To swipe To pop To lock freeze and drop dimes on the hot pavement – even if the girls stopped watching and the street lamps lit buzzed all night we danced like that and no one called us home - Patrick Rosal 1 The Freshest Kids , prod.
  • The B-Boy Summit Internationally Acclaimed B-Boy/B-Girl Event

    The B-Boy Summit Internationally Acclaimed B-Boy/B-Girl Event

    THE B-BOY SUMMIT INTERNATIONALLY ACCLAIMED B-BOY/B-GIRL EVENT Produced by No Easy Props OVERVIEW The B-boy Summit continues to be a major trendsetter in Hip-Hop street dance, art and music culture. Established in 1994, The Summit presented innovative ideas in Hip-Hop culture, offering a conference forum complete with competitions, performances, panels, workshops, and a marketplace for consumer friendly products marketed toward the Hip-Hop community. Never content with success, The B-boy Summit continues its mission to bring the hottest street dance, art, and music above ground to the masses. The B-boy Summit has grown into an internationally acclaimed 3 day festival incorporating all aspects of Hip-Hop in different plateaus, including the most intense battles, rawest circles, theatre performances, a DJ/MC Talent Showcase and live aerosol art painting. The B-boy Summit was created in 1994 out of the need for a community orientated Hip-Hop event that encompassed knowledge of the history of Hip-Hop culture and the skills of B-boying and B-girling. At that point in time B-boys and B-girls didn’t have a platform in which to come together, dance and pay homage to the traditional dance of Hip-Hop. Each year the event has expanded to encompass B-boys, B-girls, MCs, Aerosol Artists, and DJs from across the globe, steadily building into what is now the foremost Hip-Hop cultural event in the world. More recently, The Summit has become one of the most important events for Lockers, Poppers, Freestyle and House Dancers to take part in during The Summit’s Funk Fest.
  • In Defense of Rap Music: Not Just Beats, Rhymes, Sex, and Violence

    In Defense of Rap Music: Not Just Beats, Rhymes, Sex, and Violence

    In Defense of Rap Music: Not Just Beats, Rhymes, Sex, and Violence THESIS Presented in Partial Fulfillment of the Requirements for the Master of Arts Degree in the Graduate School of The Ohio State University By Crystal Joesell Radford, BA Graduate Program in Education The Ohio State University 2011 Thesis Committee: Professor Beverly Gordon, Advisor Professor Adrienne Dixson Copyrighted by Crystal Joesell Radford 2011 Abstract This study critically analyzes rap through an interdisciplinary framework. The study explains rap‟s socio-cultural history and it examines the multi-generational, classed, racialized, and gendered identities in rap. Rap music grew out of hip-hop culture, which has – in part – earned it a garnering of criticism of being too “violent,” “sexist,” and “noisy.” This criticism became especially pronounced with the emergence of the rap subgenre dubbed “gangsta rap” in the 1990s, which is particularly known for its sexist and violent content. Rap music, which captures the spirit of hip-hop culture, evolved in American inner cities in the early 1970s in the South Bronx at the wake of the Civil Rights, Black Nationalist, and Women‟s Liberation movements during a new technological revolution. During the 1970s and 80s, a series of sociopolitical conscious raps were launched, as young people of color found a cathartic means of expression by which to describe the conditions of the inner-city – a space largely constructed by those in power. Rap thrived under poverty, police repression, social policy, class, and gender relations (Baker, 1993; Boyd, 1997; Keyes, 2000, 2002; Perkins, 1996; Potter, 1995; Rose, 1994, 2008; Watkins, 1998).
  • Fall 2018 Contact Information

    Fall 2018 Contact Information

    SKYHORSE PUBLISHING Fall 2018 Contact Information Editorial, Publicity, and Bookstore and Library Sales Field Sales Force Special Sales Distribution Elise Cannon Skyhorse Publishing, Inc. Two Rivers Distribution VP, Field Sales 307 West 36th Street, 11th Floor Ingram Content Group LLC One Ingram Boulevard t: 510-809-3730 New York, NY 10018 e: [email protected] t: 212-643-6816 La Vergne, TN 37086 f: 212-643-6819 t: 866-400-5351 e: [email protected] Leslie Jobson e: [email protected] Field Sales Support Manager t: 510-809-3732 e: [email protected] International Sales Representatives United Kingdom, Ireland & Australia, New Zealand & India South Africa Canada Europe Shawn Abraham Peter Hyde Associates Thomas Allen & Son Ltd. General Inquiries: Manager, International Sales PO Box 2856 195 Allstate Parkway Ingram Publisher Services UK Ingram Publisher Services Intl Cape Town, 8000 Markham, ON 5th Floor 1400 Broadway, Suite 520 South Africa L3R 4T8 Canada 52–54 St John Street New York, NY, 10018 t: +27 21 447 5300 t: 800-387-4333 Clerkenwell t: 212-581-7839 f: +27 21 447 1430 f: 800-458-5504 London, EC1M 4HF e: shawn.abraham@ e: [email protected] e: [email protected] e: IPSUK_enquiries@ ingramcontent.com ingramcontent.co.uk India All Other Markets and Australia Penguin Books India Pvt. Ltd. General International Enquiries Ordering Information: NewSouth Books 7th Floor, Infinity Tower C Ingram Publisher Services Intl Grantham Book Services Orders and Distribution DLF Cyber City, Phase - III 1400 Broadway,
  • Funkids Amb La Black Music Big Band & Brodas Junior

    Funkids Amb La Black Music Big Band & Brodas Junior

    Dossier pedagògic — FunKids amb la Black Music Big Band Dossier pedagògic FunKids amb la Black Music Big Band & Brodas Junior Auditori de Girona Dossier pedagògic — FunKids amb la Black Music Big Band —3 Presentació —4 Fitxa artística —5 Black Music Big Band- BMBB —6 Què és una Big Band: una gran orquestra de jazz —7 Ball urbà — 2 Dossier pedagògic — FunKids amb la Black Music Big Band Presentació Qui no es mou amb la música funky? La proposta fresca Un espectacle i rítmica de l’Auditori Obert, en què els alumnes desco- briran l’essència de la música negra amb el funky i el soul amb més de 45 com a protagonistes. Un concert formatiu sobre la Big participants dalt Band, els seus instruments i estil amb explicacions en català i pinzellades en anglès (fàcilment comprensibles de l’escenari per als nens i nenes). Tot plegat de la mà dels joves de la entre músics i BMBB i al costat dels ballarins de Brodas Junior, que fa- ballarins ran del FunKids un concert ple d’espectacularitat i ritme! Qui no es mou amb la música funky? Arriba una proposta fresca i rítmica de l’Auditori Obert, en la qual els més joves descobriran l’essència de la música negra amb el funky i el soul com a protagonistes. Un concert formatiu i pedagògic que ens parlarà de la Big Band, els seus instru- ments i estil, el mon del ball urbà, etc.... Què podrem conèixer a FunKids? - Els seus instruments: secció de saxos, trompetes, trombons i la base rítmica - Escoltarem les diferents veus de la Black Music - Viurem els diferents estils de balls urbans com el locking, el popping, el bboying o el hiphop I tot això amb explicacions en català i pinzellades en anglès.
  • Types of Dance Styles

    Types of Dance Styles

    Types of Dance Styles International Standard Ballroom Dances Ballroom Dance: Ballroom dancing is one of the most entertaining and elite styles of dancing. In the earlier days, ballroom dancewas only for the privileged class of people, the socialites if you must. This style of dancing with a partner, originated in Germany, but is now a popular act followed in varied dance styles. Today, the popularity of ballroom dance is evident, given the innumerable shows and competitions worldwide that revere dance, in all its form. This dance includes many other styles sub-categorized under this. There are many dance techniques that have been developed especially in America. The International Standard recognizes around 10 styles that belong to the category of ballroom dancing, whereas the American style has few forms that are different from those included under the International Standard. Tango: It definitely does take two to tango and this dance also belongs to the American Style category. Like all ballroom dancers, the male has to lead the female partner. The choreography of this dance is what sets it apart from other styles, varying between the International Standard, and that which is American. Waltz: The waltz is danced to melodic, slow music and is an equally beautiful dance form. The waltz is a graceful form of dance, that requires fluidity and delicate movement. When danced by the International Standard norms, this dance is performed more closely towards each other as compared to the American Style. Foxtrot: Foxtrot, as a dance style, gives a dancer flexibility to combine slow and fast dance steps together.
  • University of California, Los Angeles. Department of Dance Master's Theses UARC.0666

    University of California, Los Angeles. Department of Dance Master's Theses UARC.0666

    http://oac.cdlib.org/findaid/ark:/13030/c8833tht No online items Finding Aid for the University of California, Los Angeles. Department of Dance Master's theses UARC.0666 Finding aid prepared by University Archives staff, 1998 June; revised by Katharine A. Lawrie; 2013 October. UCLA Library Special Collections Online finding aid last updated 2021 August 11. Room A1713, Charles E. Young Research Library Box 951575 Los Angeles, CA 90095-1575 [email protected] URL: https://www.library.ucla.edu/special-collections UARC.0666 1 Contributing Institution: UCLA Library Special Collections Title: University of California, Los Angeles. Department of Dance Master's theses Creator: University of California, Los Angeles. Department of Dance Identifier/Call Number: UARC.0666 Physical Description: 30 Linear Feet(30 cartons) Date (inclusive): 1958-1994 Abstract: Record Series 666 contains Master's theses generated within the UCLA Dance Department between 1958 and 1988. Language of Material: Materials are in English. Conditions Governing Access Open for research. All requests to access special collections materials must be made in advance using the request button located on this page. Conditions Governing Reproduction and Use Copyright of portions of this collection has been assigned to The Regents of the University of California. The UCLA University Archives can grant permission to publish for materials to which it holds the copyright. All requests for permission to publish or quote must be submitted in writing to the UCLA University Archivist. Preferred Citation [Identification of item], University of California, Los Angeles. Department of Dance Master's theses (University Archives Record Series 666). UCLA Library Special Collections, University Archives, University of California, Los Angeles.
  • Redalyc.Mambo on 2: the Birth of a New Form of Dance in New York City

    Redalyc.Mambo on 2: the Birth of a New Form of Dance in New York City

    Centro Journal ISSN: 1538-6279 [email protected] The City University of New York Estados Unidos Hutchinson, Sydney Mambo On 2: The Birth of a New Form of Dance in New York City Centro Journal, vol. XVI, núm. 2, fall, 2004, pp. 108-137 The City University of New York New York, Estados Unidos Available in: http://www.redalyc.org/articulo.oa?id=37716209 How to cite Complete issue Scientific Information System More information about this article Network of Scientific Journals from Latin America, the Caribbean, Spain and Portugal Journal's homepage in redalyc.org Non-profit academic project, developed under the open access initiative Hutchinson(v10).qxd 3/1/05 7:27 AM Page 108 CENTRO Journal Volume7 xv1 Number 2 fall 2004 Mambo On 2: The Birth of a New Form of Dance in New York City SYDNEY HUTCHINSON ABSTRACT As Nuyorican musicians were laboring to develop the unique sounds of New York mambo and salsa, Nuyorican dancers were working just as hard to create a new form of dance. This dance, now known as “on 2” mambo, or salsa, for its relationship to the clave, is the first uniquely North American form of vernacular Latino dance on the East Coast. This paper traces the New York mambo’s develop- ment from its beginnings at the Palladium Ballroom through the salsa and hustle years and up to the present time. The current period is characterized by increasing growth, commercialization, codification, and a blending with other modern, urban dance genres such as hip-hop. [Key words: salsa, mambo, hustle, New York, Palladium, music, dance] [ 109 ] Hutchinson(v10).qxd 3/1/05 7:27 AM Page 110 While stepping on count one, two, or three may seem at first glance to be an unimportant detail, to New York dancers it makes a world of difference.
  • DJ Skills the Rise of the Hip-Hop DJ 3

    DJ Skills the Rise of the Hip-Hop DJ 3

    The Rise of the Hip-Hop DJ 1 74 The Rise of The Hip-hop DJ DJs were Hip-hop’s original architects, and remain crucial to its contin- ued development. Hip-hop is more than a style of music; it’s a culture. As with any culture, there are various artistic expressions of Hip-hop, the four principal expressions being: • visual art (graffiti) • dance (breaking, rocking, locking, and popping, collectively known in the media as “break dancing”) • literature (rap lyrics and slam poetry) • music (DJing and turntablism) Unlike the European Renaissance or the Ming Dynasty, Hip-hop is a culture that is very much alive and still evolving. Some argue that Hip-hop is the most influential cultural movement in history, point- ing to the globalization of Hip-hop music, fashion, and other forms of expression. Style has always been at the forefront of Hip-hop. Improvisation is called free styling, whether in rap, turntablism, breaking, or graf- fiti writing. Since everyone is using the essentially same tools (spray paint for graffiti writers, microphones for rappers and beat boxers, their bodies for dancers, and two turntables with a mixer for DJs), it’s the artists’ personal styles that set them apart. It’s no coincidence that two of the most authentic movies about the genesis of the move- ment are titled Wild Style and Style Wars. There are also many styles of writing the word “Hip-hop.” The mainstream media most often oscillates between “hip-hop” and “hip hop.” The Hiphop Archive at Harvard writes “Hiphop” as one word, 2 DJ Skills The Rise of the Hip-Hop DJ 3 with a capital H, embracing KRS-ONE’s line of reasoning that “Hiphop Kool DJ Herc is a culture with its own foundation narrative, history, natives, and 7 In 1955 in Jamaica, a young woman from the parish of Saint Mary mission.” After a great deal of input from many people in the Hip-hop community, I’ve decided to capitalize the word but keep the hyphen, gave birth to a son who would become the father of Hip-hop.
  • 'What Ever Happened to Breakdancing?'

    'What Ever Happened to Breakdancing?'

    'What ever happened to breakdancing?' Transnational h-hoy/b-girl networks, underground video magazines and imagined affinities. Mary Fogarty Submitted in partial fulfillment Of the requirements for the degree of Interdisciplinary MA in Popular Culture Brock University St. Catharines, Ontario © November 2006 For my sister, Pauline 111 Acknowledgements The Canada Graduate Scholarship (SSHRC) enabled me to focus full-time on my studies. I would also like to express my deepest gratitude to my committee members: Andy Bennett, Hans A. Skott-Myhre, Nick Baxter-Moore and Will Straw. These scholars have shaped my ideas about this project in crucial ways. I am indebted to Michael Zryd and Francois Lukawecki for their unwavering kindness, encouragement and wisdom over many years. Steve Russell patiently began to teach me basic rules ofgrammar. Barry Grant and Eric Liu provided comments about earlier chapter drafts. Simon Frith, Raquel Rivera, Anthony Kwame Harrison, Kwande Kefentse and John Hunting offered influential suggestions and encouragement in correspondence. Mike Ripmeester, Sarah Matheson, Jeannette Sloniowski, Scott Henderson, Jim Leach, Christie Milliken, David Butz and Dale Bradley also contributed helpful insights in either lectures or conversations. AJ Fashbaugh supplied the soul food and music that kept my body and mind nourished last year. If AJ brought the knowledge then Matt Masters brought the truth. (What a powerful triangle, indeed!) I was exceptionally fortunate to have such noteworthy fellow graduate students. Cole Lewis (my summer writing partner who kept me accountable), Zorianna Zurba, Jana Tomcko, Nylda Gallardo-Lopez, Seth Mulvey and Pauline Fogarty each lent an ear on numerous much needed occasions as I worked through my ideas out loud.

  • From the Inside: Getting Down to Business

    the WEB EXCLUSIVE: Check thebreeze. org this weekend for Justin Thurmond's next movie review BreezeJames Madison University's Student Newspaper Volume 84, Issue 54 1 Thursday. April 24, 2008 From the Inside: Getting Down to Business BY AMY PASSAKEni Ihtitmt After whal fell like the most dit ticult semester of their lives, th- 1 BY TIM CHAPMAN members of Key Free Security ean Iht tmit walk away with a sense of ■ccoru plishment. a prestigious a Ward and most notably. $6,ooo. At about ±:'SO in the morning last Friday, an unlikely fig- This team ofsh business mtjoi ure toted a ratty old broom and dustpan through the V.I.P. won the sixth annual ('()B {on Bud lounge of the Rorktnwn Bar and Grill. ness Plan Competition. Sponsored With his hulking 6-foot-2, 240-pound-frame, Lov^H by JMU's College of Business and pears a bit out of place with the cleaning materials. I*t ir» the Executive Ad\isor> Council, tin just another "perk" to being the head of security ,it Harri- competition provides an opportu sonburg's hottest spot on Thursday nights. nit\ to win more than $25,000 in "It's peaceful now at least," JMU senior Drew I.oy says scholarships between each of th after releasing a long sigh. "Cleanup takes awhile, hut it feels top live teams. Nearly 150 poesfl>l like nothing compared to dealing with the people." teams, from over three Mm can be nominated or submit their The people, JMU students, age 21 or older, have left what own proposals for review.
  • The Miseducation of Hip-Hop Dance: Authenticity, and the Commodification of Cultural Identities

    The Miseducation of Hip-Hop Dance: Authenticity, and the Commodification of Cultural Identities

    The Miseducation of Hip-Hop dance: Authenticity, and the commodification of cultural identities. E. Moncell Durden., Assistant Professor of Practice University of Southern California Glorya Kaufman School of Dance Introduction Hip-hop dance has become one of the most popular forms of dance expression in the world. The explosion of hip-hop movement and culture in the 1980s provided unprecedented opportunities to inner-city youth to gain a different access to the “American” dream; some companies saw the value in using this new art form to market their products for commercial and consumer growth. This explosion also aided in an early downfall of hip-hop’s first dance form, breaking. The form would rise again a decade later with a vengeance, bringing older breakers out of retirement and pushing new generations to develop the technical acuity to extraordinary levels of artistic corporeal genius. We will begin with hip-hop’s arduous beginnings. Born and raised on the sidewalks and playgrounds of New York’s asphalt jungle, this youthful energy that became known as hip-hop emerged from aspects of cultural expressions that survived political abandonment, economic struggles, environmental turmoil and gang activity. These living conditions can be attributed to high unemployment, exceptionally organized drug distribution, corrupt police departments, a failed fire department response system, and Robert Moses’ building of the Cross-Bronx Expressway, which caused middle and upper-class residents to migrate North. The South Bronx lost 600,000 jobs and displaced more than 5,000 families. Between 1973 and 1977, and more than 30,000 fires were set in the South Bronx, which gave rise to the phrase “The Bronx is Burning.” This marginalized the black and Latino communities and left the youth feeling unrepresented, and hip-hop gave restless inner-city kids a voice.