A bit late on this but here ya go
http://hiphopnutcracker.com/
Showing posts with label Dance. Show all posts
Showing posts with label Dance. Show all posts
Wednesday, January 4, 2017
Monday, November 21, 2016
Sunday, September 11, 2016
Tuesday, August 2, 2016
Sunday, July 17, 2016
Wednesday, July 13, 2016
Korea's acceptance of breakdancing
"Wing got his big break after winning first place at the prestigious Red
Bull BC One competition in Paris in 2008. Then in 2010, Jinjo Crew went
on to win the Battle of the Year competition. They emerged as one of the
hottest B-boy crews in the world and continued to win at major
competitions across the globe.
Since then, the B-boy craze in Korea has skyrocketed. It is now not only a well-recognized type of dance, but a popular form of entertainment enjoyed by both younger and older audiences, attracting local and international spectators alike.
Today, there are countless nonverbal plays featuring interludes of break dancing and even plots based entirely on B-boying, including shows like “Ballerina Who Loved a B-Boy,” “Jump,” “B-boy Musical Marionette” and the popular “B-boy Kung,” the only B-boy musical in the world to have an exclusive theater.
“I can’t even begin to explain the huge boom in the B-boy movement in Korea over the past several years,” Wing said. “The B-boying culture has become so popular in Korea that even many senior citizens here have heard of it and know what it is, which was unthinkable to me years ago.”
“Even though break dancing was invented by Western dance crews, Asian B-boys have created a reputation for elevating the level and complexity of the dance moves,” he added. “Something about our body type allows us to make for the ideal B-boy dancers.”
The country continues to make great strides in promoting local break dancing and creating an internationally recognized reputation for its pool of talented B-boys and fiercely competitive dance crews.
Capitalizing on the dance form’s substantial popularity here, the Korean government established in 2007 the R-16 Korea, an annual international B-boy competition hosted by the Korea Tourism Organization and the Ministry of Culture, Sports and Tourism."
read rest here
Since then, the B-boy craze in Korea has skyrocketed. It is now not only a well-recognized type of dance, but a popular form of entertainment enjoyed by both younger and older audiences, attracting local and international spectators alike.
Today, there are countless nonverbal plays featuring interludes of break dancing and even plots based entirely on B-boying, including shows like “Ballerina Who Loved a B-Boy,” “Jump,” “B-boy Musical Marionette” and the popular “B-boy Kung,” the only B-boy musical in the world to have an exclusive theater.
“I can’t even begin to explain the huge boom in the B-boy movement in Korea over the past several years,” Wing said. “The B-boying culture has become so popular in Korea that even many senior citizens here have heard of it and know what it is, which was unthinkable to me years ago.”
“Even though break dancing was invented by Western dance crews, Asian B-boys have created a reputation for elevating the level and complexity of the dance moves,” he added. “Something about our body type allows us to make for the ideal B-boy dancers.”
The country continues to make great strides in promoting local break dancing and creating an internationally recognized reputation for its pool of talented B-boys and fiercely competitive dance crews.
Capitalizing on the dance form’s substantial popularity here, the Korean government established in 2007 the R-16 Korea, an annual international B-boy competition hosted by the Korea Tourism Organization and the Ministry of Culture, Sports and Tourism."
read rest here
Friday, March 18, 2016
J Pink
Futuristic
Futuristic...We see you Koreacredit: 제이핑크 & 핑키칙스 - J Pink & Pinky Cheeks
Posted by Illegal Musik on Saturday, March 5, 2016
Thursday, December 10, 2015
Red Bull BC One 2007: Lilou v. Roxrite
Where would you like to see BBoying go in the next 5 years?
For myself I would like to see BBoying stay raw in the underground like it has always been but also I would love to see more and more bboys/bgirls get to shine on a more visible level. I would like to see bboys and bgirls get more endorsements and more opportunity for them to survive off their craft.
Do you ever feel like the pillars of Hip-Hop don’t interact with each other as they used to? If so, how would you like to remedy that issue?
This is definitely true. It’s like each element forgot about one another and only those that truly understand that this is a culture and not just music see it for what it is supposed to be. Honestly, I don’t know if there is a remedy. I feel some elements are only based on hits and money, so they don’t keep up with one another. Bboys/bgirls, graffiti artist and some DJs are fans of one another. Once they reach mainstream success they don’t incorporate what Hip Hop is. They just push whatever the trend is. I guess the best way to change this is to start with education and teaching people what Hip Hop was, where we’re at, and where we can take it from here as a whole, not just one element.
read full interview here
Wednesday, November 25, 2015
Dance Crews in Music Videos; Bringing hip hop back together
I've noticed that YG, an entertainment company in Korea, has been collaborating with dance choreographer Parris Goebel in a few music videos. I have to admit, I like the incorporation of dance crews. They add a certain charisma that is absent in many hip hop music videos - at least at the populist level - and provide a certain edge that so many try to mimic.
At a social level, what this does is to bring the music (which has detached itself from the other elements of hip hop - dance crews, djs, graffiti artists - due to capitalist pressures of the industry) back to re-merging with the aspects of hip hop culture that has been marginalized in the mainstream.
From an artistic/aesthetic point of view, despite its capitalizing aspects, I applaud this move of bringing dance crews back into the manifold of visible hip hop. And Parris Goebel is certainly one of the best out there to collaborate with - if you need additional evidence I suggest you check out her megacrew 'Royal Family'.
In this sense, I would like to see the mainstream further incorporate the djs (the backbone of hip hop) and the graffiti artists. The MCs have taken so much of the pie in the visible eye of the public of what constitutes hip hop that it is about time that they've started to bring the diversity of hip hop culture along. The industry has fragmented the culture and it is a welcome sight to see the culture beginning to dictate the industry; hip hop needs to take back the modes of production and pay homage to the people that keep it alive.
*the two examples are, of course, mainstream examples that are within the modes of reproducing capitalist moralities. Nonetheless, I think there is something to be said about the social and aesthetics
At a social level, what this does is to bring the music (which has detached itself from the other elements of hip hop - dance crews, djs, graffiti artists - due to capitalist pressures of the industry) back to re-merging with the aspects of hip hop culture that has been marginalized in the mainstream.
From an artistic/aesthetic point of view, despite its capitalizing aspects, I applaud this move of bringing dance crews back into the manifold of visible hip hop. And Parris Goebel is certainly one of the best out there to collaborate with - if you need additional evidence I suggest you check out her megacrew 'Royal Family'.
In this sense, I would like to see the mainstream further incorporate the djs (the backbone of hip hop) and the graffiti artists. The MCs have taken so much of the pie in the visible eye of the public of what constitutes hip hop that it is about time that they've started to bring the diversity of hip hop culture along. The industry has fragmented the culture and it is a welcome sight to see the culture beginning to dictate the industry; hip hop needs to take back the modes of production and pay homage to the people that keep it alive.
*the two examples are, of course, mainstream examples that are within the modes of reproducing capitalist moralities. Nonetheless, I think there is something to be said about the social and aesthetics
Monday, November 23, 2015
Chicago Footwork - Meet the Era (documentary)
"The music was for the dance," Chief Manny, a footwork dancer from the South Side of the city, told THUMP. "When I hear footwork, I can't not be thinking about dancing. So it's kind of weird that everyone loves this stuff around the world but doesn't know or interact with dancing origins of it on the ground in Chicago."
In Meet The Era, a new THUMP-produced documentary by Wills Glasspiegel, we meet a group of talented young people determined to preserve and push footwork culture forward in Chicago and beyond. Co-founded in 2014 by South Side native Litebulb, now 25, The Era brings together some of the city's finest battle dancers—including Chief Manny himself, as well as P-Top, Steelo, and Dempsey—all young Chicagoans spreading the message that footwork is an art form that brings music and dance together. "Please don't forget who's out there sweating blood and tears every day and giving their everything just for the music and moment itself," Bulb implores. "We bring those tracks to life."
read more here
Sunday, November 8, 2015
Wednesday, October 7, 2015
Royal Family (New Zealand) - Megacrew Silver @ HHI 2015
10 minute version @ World of Dance in LA
Closeup:
Sunday, October 4, 2015
Wednesday, September 23, 2015
Friday, September 18, 2015
Wednesday, September 2, 2015
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