“Hip-Hop vs. Urban Choreography”

In a climate where African American expressions are often appropriated consciously and unconsciously, I would like to take this opportunity to address the issues of labeling and classifying dance styles and dance classes. Such an endeavor may seem insignificant, but for those who care to distinguish styles and their lineages, I hope you will indulge me.

T. Damien Anyasi of London England contacted me, requesting I comment on the distinction made between the labels, “Hip-Hop” and “Urban Choreography”. This article is specifically written in response to a letter authored by April Rodriguez titled, Hip-Hop vs. Urban Choreography. In her letter, which can be accessed on her Blog page at http://apesxessence.wordpress.com, April expresses her confusion as she was informed by her teacher in a former dance class that what she was participating in was “Urban Choreography”, not “Hip-Hop”. This made April pause, leaving her with looming questions, namely how do we distinguish what is or isn’t Hip-Hop dance? And are we over-generalizing things to spare ourselves the trouble of analyzing and truly understanding Hip-Hop’s history?

To address her questions and concerns, I begin by stripping down key words in her title to their purest meanings. First let’s look at the word “urban”

Urban: according to Websters, American Heritage, and Funk & Wagnall, the definition for, urban is, “pertaining to or designating to a city or town.” Concepts of communication by the people that live in those areas can differ from city to city and from community to community. To understand this we have to look at the thought process. All human language begins as a thought; vocalizations and gestures are ways of transmitting thoughts. However all languages don’t use the same patterns of sounds or expressions to transmit thought. You don’t use Spanish grammar to speak English; you don’t use English grammar to speak French. You have to know the thought process, grammatically, syntactically, morphologically. You have to pay attention to the lexicon and other characteristics of behavior that are recognized and understood by the people of that community. Every community, be it Jewish, African American, Hispanic etc., may have different word using, meanings or ways of relating to one another e.g. Slang; New York slang can be different from Philadelphia slang. In Philadelphia you may hear the word “Jawn” to describe a person, place or thing (that’s my jawn) while in NY you may here “Joint” (that’s the joint). Another example is how we greet each other. In a black community in New York you might hear “what up God” using the word God in reference to mental and spiritual awareness as much as a way to acknowledge ones fellow man. In a black community in California you might hear “what up dawg” to address a close friend. In a Hispanic community you may hear “hey Mami or Papi”. Mami is Spanish slang for baby or sexy, letting a female know how much you like her. Papi – a Spanish slang term similar to Daddy in the phrase “Who’s your Daddy?” often given by women to their boyfriends or husbands. Just like language, clothing styles, music and movement follow this same thought process from their origins. Funk, Soul, Rock n’ Roll and Hip-Hop music and dance styles are all urban expressions that can differ from one community or region to another. While styles might vary, meanings and aesthetic value seem to remain the same. Most urban American communities are not made up of one monolithic group of people. So we must consider who are this people, what groups or races and how communicable their information is for other groups or races. Urban is also not exclusive to American society or black communities; Japan, Taiwan, Poland, countries in Africa, France, etc. all have urban communities as well. Nevertheless, the above musical styles and dances were all born in America out of the African American communities, but have become a global phenomenon. Because of the different thought process that informs our communication this has aided the misunderstanding of these concepts and how they are communicated on a global cultural level.

Choreography: the definition of choreography is, in the general term, “the arrangement or manipulation of actions leading up to an event.” (dictionary.com) According to Webster Dictionary it is defined as, “The written representation of figures and steps of dancing.” Choreography is not a style of dance but rather a form of movement or dance notation. For instance, a car chase or a fighting scene in a movie is choreographed, however, they are not dances. So my question for April’s teacher is, what are the defining placements, actions and/or characteristics of behavior this teacher is calling “urban”, and how does he differentiate Hip-Hop dance (which is from the urban black community) and urban dance? Let’s suppose this teacher’s distinction is with the notion of choreography and his attempt is to assimilate the styling, attitudes or gesticulations often associated with the urban communities. (Whatever that might be) So if the teacher refers to his movement as “Urban Choreography” usually black is what comes to mind but as I’ve mentioned, urban is not synonymous with black. Therefore the question I have now is as follows: what understanding or experience base does this teacher have that is recognized by the urban community he claims to be choreographing about or is this just another stereotypical view point of how urban community’s communicate? Suppose we are talking about an urban community where European American, African American and Hispanic American people all live. Three different cultural thought processes. Which group of people does the teacher’s choreography relate to? If a hybrid, what purpose does this adaptation of urban expression serve the dancer or community the dance comes from, in terms of critical thinking? Especially if those dancers learning choreography don’t have any interest or opportunity to understand or gain an experience based being in an urban environment?

This leads me to another of April’s questions: “Are people generalizing things to spare themselves the trouble of analyzing and truly understanding Hip-Hop history?” My opinion is yes, because this would require them to look in the mirror and come to terms with their own integrity, purpose and conviction to the preservation and education of Hip-Hop dance culture. Are they, in fact, teaching, educating, and passing along Hip-Hop’s history, meanings and message? Are they helping dancers to find, define, and refine their own self-expression through foundation, creation, innovation, improvisation and musical comprehension? Or are they creating robots void of self-awareness? When it’s time to acquire a first hand experience via club, circle, battle many dancers turn into robots, not knowing what to do without being told they are not emotionally connected to the music or the movement. Their concept of expressive dancing seems to consist of going to the club waiting to hear the song from class to which they learned to do a choreographic combination and repeating it in the club. Many take weekly classes labeled “Hip-Hop” and still haven’t acquired the foundation or confidence to dance in front of others or in the circle. One might think or say, “Who cares about dancing in the circle”. If we are going to participate in another cultures movement we must include the concepts that movement is acquainted with. If I study Ballet, in or to relate to and be respected by the other Ballet dancers, I should take on the thought process that informs that movement. The circle is one of those characteristics of behavior I spoke of earlier that comes from the different societies thought processes behind communication. In Hip-Hop culture the circle represents a coming of age, a test of man/woman-hood. Much in the way a Bar/Bat mitzvah is a Jewish ceremony to admit formally as an adult. The circle also says, I have learned how to handle myself in this dance environment be it, battle, sharing, strength, fear, or exposing/expressing personal ego. It also shows they are recognized by their peers as someone who has earned the right to enter the circle and represent the dance at a proficient level.

Hip-Hop Dance Class:

The circles are known as a place to “show n’ prove” this is where we usually see personal egos. Unfortunately, now a days the classroom has also become a platform for the instructor to strut their egos, steeped in narcissism. The didactic approach to giving class damages a dancer’s intelligence, which s/he needs in order to think critically and express him or herself. Though the classroom is not the place for this, big egos and grandstanding exist in authentic Hip-Hop dance classes as well. Many of the pioneers are using “real” Hip-Hop movement, but are still giving choreography without encouraging independent problem solving. Many don’t give the students the attention they need to progress. I recall watching a former friend teach a house dance class and a student in the second row was having difficulty picking up a step. The instructor did not assist him but just kept moving forward, his focus seemed to be more about instructing and completing the combination than educating, teaching and developing the paying customer. I took the time to help the young man during a brief water break and he got it and was able to continue with satisfaction. What dancers need to do is what the Greeks call elunchus, which means, “refute” and further cross-examine teachers, classes, movements, and cultural understanding so they receive the education in dance they seek. Some of these instructors need to remember dance class is not about them, it’s about helping the students with their comprehension of the form so they can express themselves. Not using them as your personal guinea pigs to tryout your choreographic idea. They are paying to learn how to dance their own expression using the foundation and technique of different styles. They are not paying to dance your ideas. My suggestion is if you want to give them your choreography they should train with your company or during your personal rehearsal time not in an open class.

April mentions a few dance labels such as LA style, west Coast style, commercial, and new style. I will give a brief explanation of the labeling of dance styles and classes. For a fuller explanation look for another article I will present titled “What’s in a Name” (a look at the labeling of Hip-Hop dance classes).

West Coast style I believe it’s a misunderstood label that denies some of California pioneers. Some pioneers in the WC styles of Hip-Hop in California belong to groups like Skeme team, Soul Brothers and other popular crews from black communities up and down California’s coast.

LA style is actually a style of dance that came to LA via NYC innovated by Ron, Keith Williams and Omar who together formed the group Shades. They fused styles like Broadway Jazz, Hip-Hop, House, and Vogue just to mention a few. Their influence on mainstream pop culture can be seen during their time dancing with and choreographing for Janet Jackson when she came out with her self-titled album “Janet”.

Commercial: You cannot prefix the words Hip-Hop with commercial. It’s suggest that commercial is a style of dance. Hip-Hop dance doesn’t change; the venue may change e.g. Ballet in a movie is still Ballet, its not movie or commercial Ballet. Whether on stage, in a movie, studio or in a club, Hip-Hop is still Hip-Hop.

New style: Correctly spelled Nu-style is short for New York style much like Nuyorican means New York Puerto Rican. The meaning comes from the influence a particular group dancers on the New York dance scene had on people in different parts of the world and many people wanted to dance like them and called their style nu-style.

April uses the word “evolution” in her blog to describe what we see now in Hip-Hop. What we see now in the mainstream is not an evolution of Hip-Hop as much as it is a bastardization of the movement and commercialization of the aesthetic. Hip-Hop dance in the deep structure has not changed; these expressions that are born in the African-Latin-American communities are still present today. Go to any ward in the South or visit Harlem, North Philadelphia, the Bay Area, South Central, or the South side of Chicago and you will find authentic Hip-Hop. I think many dancers are confusing the word evolution with influence. Many dancers today who have studied the Broadway Jazz styling’s of Bob Rizzo, Gus Giordano, Bob Fosse, Eugene “Luigi” Facciuto and others have been influenced by Hip-Hop’s concept of freestyle. They are using Broadway Jazz movements and techniques sprinkled with a bit of Hip-Hop attitude and movement, applying a circle mentality of freestyle. (Direct, strong, aggressive) It is a beautiful movement but it’s not Hip-Hop.

Hip-Hop dance is one of the most popular and misunderstood dance forms of cultural expression in the world today. Similar to authentic, some might say vernacular Jazz, Hip-Hop is a way to express concerns, frustrations, aggressions, ideals, and exuberance. The outlet of music and dance expression can help maintain daily balance and peace while dealing with day-to-day life experiences the manner in which the African American people have expressed themselves since 1619.

In order to secure these forms of expression we must understand the significance of cultural identity in these dance forms and lineages that have been placed under this abstract umbrella we now call Hip-Hop dance. Though the umbrella has helped the communication and unification of people from many different cultures, the term has also caused confusion on a global scale. For instance, some believe Hip-Hop foundation is Popping, Locking and B-boying and not the party dances that are expressed in, through and because of rap music. In fact Popping, Locking and B-boy are funk styles that are placed under the umbrella term. Others are not aware the term Hip-Hop serves a dual purpose as both the name of the culture and a particular dance style (party dances). The definition of the words Hip and Hop are; Hip – a word from the Wolof speaking people in West Africa meaning “To be aware, Open ones eyes, knowledgeable. Hop – in American terms other than the verb action means dance. Misguided thinking can devalue the contributions and deep structure that play part in each separate dance form. If we don’t recognize the distinguishing features of the dances then we not only deny the history, identity and of those that influenced, created, or pioneered them; we also leave our culture vulnerable to be uprooted and told as someone else’s history. It’s important we continue to acknowledge and celebrate the contributions made by those that came before us. The appropriation, adoption, and assimilation of Hip-Hop by mainstream America and youth culture throughout the world has influenced a type of global homogenization of black concepts of communication that can be particular to socioeconomic environments of African-Latin-American people. We must differentiate what Hip-Hop dance is and what Hip-Hop dance is not, separating dance forms and communication practices found in different social circles and their aesthetic values, qualities, meanings and purpose. Through Hip-Hop dance and culture we can illuminate personal and cultural dynamics of race and diversity.

Final thoughts:

Hip-Hop is a concept of communication and as such it has the ability for others to use social, economical and political issues in their countries and cultures to express their selves. You don’t have to dress, walk, talk, or act like Americans.

“The maturity of a movement is measured by the degree that it changes to express the uniqueness of the dancer, the degree that the dancer takes a movement and makes it his/her own, only by making one’s own statement does dance mature”. (Dr. Bernice Reagan, 1990)

Hip-Hop may be young compared to other art forms that have been around for hundreds of years. It is never too early to think about how we safe guard Hip-Hop’s intangible cultural heritage. Hip-Hop’s lineage is just as rich with history as any other old art form and when researched can provide the youth, particularly American black youth, with the cultural identity they seek.

In order to secure our future, we must recognize our past in our present.

Moncell “ill Kozby” Durden