hip hop

A Lesson In Breaking

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The Temple Breakers

By Amelia Martinez

Before social distancing was implemented, I went to a Breaking workshop hosted by the Temple Breakers on campus. This week-long event had many movement sessions and lectures by leaders in the breaking field. The Temple Breakers is a student organization on campus that meet in Mitten Hall to build community together through the learning of Breaking technique. You can find the Temple Breakers on Owl Connect: https://temple.campuslabs.com/engage/organization/templebreakers

One of the speakers at this event, Kwikstep, challenged me to think about the lineage of the dance. He spoke about how we as dancers need to orient ourselves within the lineage and history of the dancers and dance form before us, instead of just trying to learn the tricks in the movement. The lessons need to be learned with a respect for the development of the form and the meanings behind it all. Hip Hop was not meant to just be a movement independent from the music but an integrated pairing that, at its start, was a voice of social protest. In this, the aesthetics of cool in Breaking can be examined and understood by the lineage. This gives respect to the history and meaning beyond the perceived aesthetic. Lineage seems to be a powerful value of Breaking that the dancers in this club hold onto. This is one of the reasons they dance this form of movement, because they connect to it in a deeper historical and meaningful context beyond that “it looks cool” or “it’s fun”. Granted, Breaking does look cool and is fun; but the people who really invest in this technique and go far in the field are the ones who take the time to care about the lineage. It is the placing of their own identities within that lineage that carry forth the future of Breaking.

During one of their movement workshops I was able to observe the technique and community environment of the organization. There were various students and local professionals in attendance, and even our very own Dr. Sherril Dodds, who is the faculty advisor to the Temple Breakers, participated in the workshop! The class started off with a group warm up follow-the-leader style around the room, doing various cardio and non-static stretches. The class had various levels, so there were moments in learning the beginner Top Rocks and Side Steps one-on-one while the intermediate/advanced students were in the middle doing an introductory Cypher.

It seems to be an inclusive and inviting atmosphere for people in their movement journey to grow together. After this they learn to Stack, focusing on the proper placement of the body to build up to a Freeze that can be performed in the final Cypher practice. Three groups form of Beginner, Intermediate, and Advanced, and they take turns practicing their Stack in a half-circle format where the dancer can be encouraged from the dancers around them. After the buildup of the Freeze, they take a moment to shake it all out as a group while the President of the organization, Renaissance Ray, tells a story of the Iron T-Shirt. Renaissance Ray leads everyone in a slapping massage of their limbs to “break out the damage from walking all day” and then encourages all to wipe the tension all off, leaving them renewed. Finally, everyone comes together in a circle to take turns in the center performing their newfound skills while the group energetically cheers them on.

In speaking with one of the dancers during the class, he said that he had been training in breaking since he was fifteen. He keeps coming back to these sessions because of the community and understands that it is more than just the initial strength and shapes but about the people he is here to grow with.

Some words of advice from Renaissance Ray, the club president, to beginners in Hip Hop and Breaking is: Know what you are getting into, it is high impact, but you grow more as a person than just in body. It is a self-exploration beyond physical boundaries as you invest in the lineage and history of the dance as a form of communication and community. You may find your identity as part of the rewards you reap through the blood, sweat, and tears that you and the people before you have shed. It is an “Each one, Teach one” mentality that passes the knowledge and lineage to the next dancer, but first, you must Reach one (Kwikstep’s words). 

To advanced dancers Renaissance Ray says: “Know what your goals are, who you are, and what role you play. Not everyone can be the superstar”. This reminds me that all parts in this community are valuable in building and carrying that movement history to the next generation.

So, if you want to go to the Temple Breakers to dance with them in the new academic year, let me know and I will go with you!! Together we can embark on this community journey and find new strength within it. I don’t know about you, but after this season of isolation, I will need some positive community to grow with! Why not let it be with the Temple Breakers?

Amelia Martinez MFA in Dance Student

Crest -By José Raúl

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Ciao! I’m José Raúl. My majors and concentrations have changed several times
during my studies at Temple, from Musical Theater to Acting to BFA in Musical Theater to now,
a BA in Theater with an Acting concentration and a Dance Minor. In my time at Temple, I am
grateful to have twice performed with Koresh Dance Company, and have been a company
member of Nora Gibson Contemporary Ballet (NGCB) since Spring of 2017, while working
professionally with theaters and theater companies throughout Philadelphia.

José as Hervé in Fabulation by Lynn Nottage at Temple University (featuring Satchel Williams as Undine)

This semester, my dance classes include Contemporary Ballet II with Kip Martin, Movement
Improvisation II with Megan Bridge, Flamenco with Elba Hevia y Vaca, and Hip-Hop with Kyle
“JustSole” Clark.

Singularity and community are two things which ignite my curiosity and artistry. I love acting
because “the human mind”, an innately common anatomy amongst people, will lead an individual to function in a way that no one else on earth does, because no two people’s life circumstances are exactly the same. And yet, there are patterns and consistencies in the ways we function. The fractal goes deeper and deeper to the point that an actor, with their own singular humanity, can truthfully inhabit the essence of a character, another human experience, the byproduct of a singular life. It’s magic, to me.

José as Mercutio in Romeo and Juliet at Temple University

Then we take the human body. Generally, we have the same numbers of bones, same types of organs with the same functions. But the proportions are different. Further, my life before I entered this studio is different than yours before you did the same. History is in our bodies. Social constructs suggest what ways we should move and not move. Clothing, family dynamics, values, labor, nutrition, love, neglect, everything shapes the comforts and discomforts of our bodies.

In Movement Improv II, I am learning to evolve the way I dance. My primary method of learning anything has always been mimicry. This class presents opportunities to explore the terrain of my body and expression with new technologies, every day. Instead of following (mimicking) steps, we are handed tools. With these tools, I investigate my singular terrain.

José as Sir Andrew in Twelfth Night at Shakespeare in Clark Park

Dance is personally most magical to watch when the biped vehicle of the standard human body toes the crest of its primary function of doing things, and enters a realm of things being done to it, of riding some unseen wavelength. I think of Tess Voelker’s (dancer with Nederlands Dans Theater II) videos on Instagram, and choreographer Marco Goecke’s works, as well as some of choreographer Juliano Nunes’ works.

This April, NGCB will be performing at the Performance Garage Twentieth Anniversary Gala. The piece we will be presenting is a 10+ minute duet, featuring original video projections designed by Nora Gibson herself. Working with Nora is a tremendous opportunity. She welcomes every bit of who I am to rehearsals and performances, so I very much look forward to what revisiting our choreography for this gala will produce, now that I have had such a wonderfully diverse exploration of different dance styles and vocabularies.

 

José Raúl, Temple Dance Minor, BA in Theater, Concentration in Acting

 

Thank you for taking the time to read. If you wish to follow up, you can reach me at:
www.eljoseraul.com | @josrul (instagram) | rauleljose@gmail.com

Auckland Adventures in Dance

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My Experience Studying Dance Abroad for the Second Time
by Keri Lushefski

Last spring, I expanded my horizons and studied dance abroad for a second time. During my first time abroad, I journeyed 5,000 miles away to Rome, Italy with the Temple University Dance Department for two months. This time, I chose to depart 10,000 miles away to Auckland, New Zealand to train and study with The University of Auckland’s dance program for four months. Having already studied abroad once, I felt comfortable in the process of pursuing yet another unforgettable and enriching experience.


The classes I enrolled in while in New Zealand were Dance Vocabulary III (a contemporary technique course), Professional Dance Practices (similar to Senior Seminar), Ballet, Hip Hop, and Improvisation, and Pacific and Māori Contemporary Choreography. I also joined an Acrobatics Club where I honed in on my strength and balance in performing unique acrobatic poses with a diverse group of college students. Involving myself in a cultural dance form I have never experienced before, Pacific and Māori, was very eye opening to how expansive dance really is, and the many traditions in which it is practiced around the world. It reminded me of when I witnessed dance through other cultural lenses, such as when I took part in Hungarian folk dance in Budapest.


In consideration of having a two-week spring break, I decided to travel to both Sydney, Australia and Queenstown, New Zealand. In Sydney, I surfed at the infamous Bondi Beach, petted kangaroos and koalas, explored the Sydney Opera House, climbed the mast of a ship, saw the breathtaking botanical gardens, and witnessed a 360-degree view of Sydney in the Tower Eye. Furthermore, Queenstown is known as the adventure capital of the world; therefore,  took part in activities I never believed I would do, such as going indoor skydiving, paragliding,  and upside-down zip riding. Throughout the semester, I also spent my weekends exploring Auckland; I hung off of the tallest building in the Southern Hemisphere, hiked to the peak of a volcano, went on whale and dolphin safaris, enhanced my knowledge at museums, watched dance performances, etc.


Since my future aspirations are to move to Europe and take part in a graduate dance program to further build my professional dance career to become a performer, choreographer, university dance professor, and dance researcher/educator, these study-abroad opportunities have prepared me to become motivated in doing so. I now feel highly confident in being independent, moving to new places, meeting new people, experiencing new languages and cultures, taking various forms of transportation, and traveling by myself. I no longer feel the need to worry about getting lost, since there are multiple GPS systems and local advice that help me ease my way around. Having been on a 24-hour round trip flight, any travel time less than that seems like a breeze to me. Leaving for long periods of time also always makes me appreciate everything I left back at home even more. I now know what it is like to study dance in a different country as well as experiencing life in a total of fourteen countries. I am excited to see what my future dance career brings as I transition into yet another experience abroad. My adventures will surely last a lifetime.

Keri Lushfeski BFA in Dance Student

MFA Thesis Concert I-Victorious

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By Princess Tanagna Payne

My piece for my Thesis Concert on September 27th and 28th 2019, was about sexual abuse and the traumas that can occur after an attack. Often times, victims are afraid to speak up not because the abuser may get punished, but because there nothing seems to be in it for them. I wanted to focus on healing and where that could possibly begin for someone, which led me to group therapy, one-on-one therapy with a licensed therapist or simply sharing with a loved one. In the piece, I chose to focus on group therapy and the idea of how abusers can also be victims too. In the beginning of the piece, there is a small visual to give an idea of the aftermath of the rape that leads into the first group therapy section where victims are invited to share their stories, but it can be difficult. Following therapy, the abuser knew that his actions were wrong and was tormenting himself. In the next group section, the victims are working to move from victim to victor where they are learning to build confidence and rely on their group members for support. The duet follows, and this is where the abusers and his victim are communicating about their tragedies, the last scene is where they invite the abuser to come to therapy, although his actions are not excused, they understand that he too needs help.

There were many changes to my piece last minute due to cast members leaving and the challenge was to present the same idea with a new framework. The challenge was a scary one, having to alter things four weeks before the show, but it was something that brought the cast members together and it made our relationship stronger. We trusted that each person would commit to their role and come in each day ready to work. We kept an open line of communication and shared things that worked and did not work. No one took anything personal and there was always positivity in the room.

For anyone presenting work soon, I say to stay committed to your idea and use your advisor to the best of your ability. Trust that your dancers will bring your vision to life and allow them to feel like they are also a part of the creative process. There will be things that you love one day, that you may not like the following week and that is okay. Scrap it and move on. Do not be afraid to be vulnerable with your cast members, it will only make the process easier. They can offer insight that you may not have thought about. Remember to take a break every now and then, sometimes your mind just needs a moment to shut down for a few hours. Do not be afraid to go for what you want, the only way you will know if it is achievable, is if you try.

Princess Tanagna Payne MFA in Dance

Carpentry and Dance Collide

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Dr. Onye Ozuzu, Dean of the College of the Arts at the University of Florida.

By Muriel Peterson, MFA Student

Dr. Onye Ozuzu; is the Dean of the College of the Arts at the University of Florida; in Gainesville, Florida. She came to Temple University for the “Dance Studies Colloquium” lecture on September 10th and is known as a performing artist, choreographer, administrator, educator, and researcher. Her most recent work, “Project Tool,” unites the world of construction with the world of dance. The result, several hexagon shaped floors that can be easily transported and performed on, as well as an examination of “the inter-relationships between body, task, and tool” (http:// ozuzudances.com/).

Project Tool image courtesy of http:// ozuzudances.com.

Ozuzu explained the process of building the floors and choreographing based on that experience. She describes it as arduous, meticulous work, yet satisfying and humbling. However, the most interesting aspect of this project, in my opinion, is the appreciation it elicits from the performers/builders for the floor itself. Dividing each rehearsal between construction and choreography, Ozuzu and her dancers are able to develop a relationship with each floor they build. Although at times the performers do not enjoy the tediousness of the building, a sense of gratitude and protectiveness emerges for the floors regardless.

As a practitioner of both break dancing and tap, I find it surprising that it took the actual construction of the floors to elicit appreciation for them. More often than not, dancers like myself have to fight for the floors of our choice and in many cases settle for less. With tap, I remember my teacher explaining the importance of the floor and how it connects to the music we make as we dance; in order to hear it at its best, it must be played on a wood surface because it generates a high quality sound and it is not too harsh on the dancer’s body. Similarly, break dancers appreciate its smooth surface and gentleness on the body as well.

All-in-all, “Project Tool,” is an intriguing piece of art. It combines real life carpentry with the art of dance. In addition, it challenges both the audience and the dancers to recognize the value in ordinary things; in this case the value lies in the floors themselves.

Muriel Peterson

Last Spotted In London

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Temple dance professor, Dr. Sherril Dodds, went to London to give a performative lecture on break dancing. The lecture was entitled “Drilling, Grit and Flava: Epistemologies of Breaking” at a symposium on ‘Hip Hop Pedagogies’ at the University of East London’s Centre for Performing Arts and Development and the Dance.

The lecture reflected upon Dodds’ experience as a 50-year old novice b-girl.  She reflected on how breaking has prompted ontological and epistemological ruptures that move her literally and metaphorically.  In conversation with a practice-led methodology, she placed ‘doing’ at the centre of knowledge production.  From this she came to understand concepts of drilling, grit, and flava, and she engaged in alternative models of learning, collective pedagogy, and community belonging.  Through the performative lecture, she examined how sessions and cyphers enable her to encounter the aesthetic and history of the b-girl body, confront her present identity position, and begin to re-imagine the social and physical expectations of her body.

-Alissa Elegant, MFA Student

Learning the FUNdamentals of Hip Hop

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Over the winter break, I participated in the January Residency with Kyle and Dinita Clark. The husband and wife team have their own company called Just Sole! Street Dance Theater Company. Both Kyle and Dinita are extremely passionate about the history and culture of Hip-Hop dance. One of their major goals is to teach the next generation the true roots of the art form. Throughout the week they taught us about different the aspects of creating and running your own company. We learned a lot about the obstacle that they had to go through to get to where they are now.

The program consisted of both B.F.A and M.F.A students. we  explored the fundamentals of hip hop; Studying styles like house, whacking, popping, locking, and breaking. Kyle and Dinita taught us the history of each style through fun new routines. Each day they taught a new style. We learned about different eras, the music, and the people who created a popular style of hip hop dance during that time.

We also got to experience being a part of one of Kyle and Dinita’s piece’s for the Faculty Dance Concert. We learned a 12-minute piece in less than two days. It was a lot of choreography that required a lot stamina. We would run the piece multiple times a day so that every time we did it, the movement would feel more comfortable in our bodies. By the end of the residency, the steps were already inside of us and we got to dance, feel the music and have fun.

Overall, it was one of the most inspiring dance experiences I have ever had. It was a week filled with hard work, a lot of sweat, and many inspirational quotes from Kyle. Their love of dance exudes out of them so much that it allows you to grow in your own artistry.

 

— Talia Montone, B.F.A. Student

Photo by Jonathan Gene

D2D: Dare to Dance Hosts Prelude Philadelphia 2016

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This past Sunday, D2D: Dare to Dance, Temple University’s dance company, hosted Prelude, an urban dance competition and dance battle that tours to cities across the country to showcase regional dance groups and strengthen the dance community. The #90sandChill themed competition was filled with passion, artistry and fun.

The house was full at the Kurtz Center for the Arts at William Penn Charter School in Philadelphia and radiated with positive energy. First in the competition was the dance battle, judged by Dinita “Princess Di” Clark, D2D’s co-founder Béa Martin, and Academy of Phresh’s leader, “Smart Mark.” Dancers circled the battle with shouts and leaps of encouragement for both battlers, while family and friends joined in from the audience, giving the battle an inviting feel. The battle advanced to the top 8, top 4 and then top 2 against So You Think You Can Dance’s Virgil Gadson and Kidd. From razor-sharp angulations to arms being pulled out of the socket to back flips, ticks and clicks, these battles gave dancers the chance to express themselves as a dancer and a creator.

Next was the dance competition, which consisted of about nine dance groups from the north coast that performed various styles of hip-hop. The diverse range of ages, gender and body types in the competition were pleasing to see. The crowd favorite was a local group called Academy of Phresh, who performed an entertaining routine that involved headlamps, a “Straight Outta Philly” sign, and young dancers grooving for their life. The dancer’s raw movement brought out their personalities that beamed with a love of dance.

Last in the program to perform was D2D themselves. The crew raced onstage with smiles, laughter and energy, looking like they just walked out of a 90’s fashion magazine. The 90’s theme continued as D2D danced to a mash-up of throwback hits featuring artists like Busta Rhymes and Notorious BIG. D2D danced with synchronicity, heart and a genuine family connection. The classic songs got the crowd up on their feet dancing and spreading the love.

Danzel Thompson-Stout and Béa Martin founded D2D in 2012 at Temple University. Now, both Temple graduates and working artists in Philly, they continue to serve as a father and mother figure for the crew.

D2D members completely ran the competition. Frankie Markocki, a third year D2D member and dance major, worked as stage manager for the competition. Other members worked tirelessly on piecing together the competition, from contacting the teams, acquiring a theater, deciding the creative design, all while managing their own performances. The smiles that beamed on every D2D member’s face clearly displayed Prelude’s success.

D2D members and alumni have recently been certified in Umfundalai, traveled to Florida for an event called The Thesis, and are working dancers and choreographers in the field. The 29 current members study a range of fields from business to communications to dance. Béa Martin recently graduated with a degree in neuroscience.

D2D has also competed at Battle on Broad, where they won 1st place, and World of Dance.

Mark your calendars for April 22 and 23 at 7:30pm, when D2D will host their Third Annual Showcase titled “Undefined” at Conwell Dance Theater.

D2D hosted Prelude Philly 2016 with grace, organization and sheer fun. Their level of professionalism is unmatched by any school organization, and their accomplishments have reached far outside of just the Temple community and into the professional dance world. D2D’s intentions of spreading the joy of dance and the love for the arts were clearly reflected during Prelude.

Photo by Jonathan Gene

 

-Meghan McFerran

B.F.A. Dance

B.A. Journalism

Meghanmcferran.com

Dr. Dodds Awarded the Gertrude Lippincott Award

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Dr. Dodds Awarded the Gertrude Lippincott Award

Dr Sherril Dodds was awarded the 2015 Gertrude Lippincott Award for her essay, “The Choreographic Interface: Dancing Facial Expression in Hip-Hop and Neo-Burlesque Striptease.” Named in honor of its donor, a devoted teacher of modern dance in the Midwest and mentor to many students, Gertrude Lippincott Award was established to recognize excellence in the field of dance scholarship.

The committee commented: In her article, ‘The Choreographic Interface: Dancing Facial Expression in Hip-Hop and Neo-Burlesque Striptease’, published in Dance Research Journal, Professor Sherril Dodds issues a call to arms, or rather, a call to the face. Using a direct and arresting writing style, Dodds identifies the face as a blind spot in dance research, and urges dance scholars to join her in reclaiming the face as an integral part of the dancing body that, nevertheless, has a distinct role in the production of meaning. The article is grounded in a critical engagement with Deleuze and Guattari’s theory of faciality, as well as Darwinian universalism, Richard Schechner’s perspectives on acting, J.L Austin and Judith Butler’s concepts of performativity and Phillip Auslander’s ‘guitar face’. From this discussion, Dodds develops the notion of the choreographic interface, foregrounding interactions between the face, other body parts and other dancing faces. The usefulness of this concept is demonstrated through two popular dance examples, the hip-hop dancer Virgil “Lil O” Gadson, and a performance by neo-burlesque striptease artist Darlinda Just Darlinda. Dodds’ article exemplifies how attention to popular dance practices can reveal and challenge the assumptions underlying dance studies methodologies and ways of seeing constructed around ‘art dance’. Her argument has implications not just for popular dance studies, but also for dance studies more broadly, performances studies and beyond. It this broad contribution to scholarship, as well as the article’s eloquence and clarity, that renders the article deserving of the highest recognition.

 

-Sherril Dodds

Professor, Chair, Dept. of Dance

Life Lessons in Hip Hop

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Life Lessons in Hip Hop

Dr Sherril Dodds, in collaboration with b-boys Steve “Steve Believe” Lunger and Mark “Metal” Wong, Co-Directors of Hip Hop Fundamentals, have initiated a new research project called “Life Lessons in Hip Hop”. The project focuses on on Temple Bboys, a student-led organization formally affiliated with Temple University, and the local North Philadelphia bboy community. The project has two main aims:

  • to document and preserve the vibrant dance practices of a Philadelphia ‘breaking’  community as its members engage in collective practice sessions and dance battles with other local dancers.
  • to elucidate how bboys draw on their embodied knowledge of breaking and battling to shape and inform other areas of their lives.

For more information on Hip-Hop fundamentals, please visit http://www.hiphopfundamentals.com/

-Dr. Sherril Dodds

Professor, Chair, Dept. of Dance