6.3: Hip-Hop Coast to Coast
- Page ID
- 292826
\( \newcommand{\vecs}[1]{\overset { \scriptstyle \rightharpoonup} {\mathbf{#1}} } \)
\( \newcommand{\vecd}[1]{\overset{-\!-\!\rightharpoonup}{\vphantom{a}\smash {#1}}} \)
\( \newcommand{\id}{\mathrm{id}}\) \( \newcommand{\Span}{\mathrm{span}}\)
( \newcommand{\kernel}{\mathrm{null}\,}\) \( \newcommand{\range}{\mathrm{range}\,}\)
\( \newcommand{\RealPart}{\mathrm{Re}}\) \( \newcommand{\ImaginaryPart}{\mathrm{Im}}\)
\( \newcommand{\Argument}{\mathrm{Arg}}\) \( \newcommand{\norm}[1]{\| #1 \|}\)
\( \newcommand{\inner}[2]{\langle #1, #2 \rangle}\)
\( \newcommand{\Span}{\mathrm{span}}\)
\( \newcommand{\id}{\mathrm{id}}\)
\( \newcommand{\Span}{\mathrm{span}}\)
\( \newcommand{\kernel}{\mathrm{null}\,}\)
\( \newcommand{\range}{\mathrm{range}\,}\)
\( \newcommand{\RealPart}{\mathrm{Re}}\)
\( \newcommand{\ImaginaryPart}{\mathrm{Im}}\)
\( \newcommand{\Argument}{\mathrm{Arg}}\)
\( \newcommand{\norm}[1]{\| #1 \|}\)
\( \newcommand{\inner}[2]{\langle #1, #2 \rangle}\)
\( \newcommand{\Span}{\mathrm{span}}\) \( \newcommand{\AA}{\unicode[.8,0]{x212B}}\)
\( \newcommand{\vectorA}[1]{\vec{#1}} % arrow\)
\( \newcommand{\vectorAt}[1]{\vec{\text{#1}}} % arrow\)
\( \newcommand{\vectorB}[1]{\overset { \scriptstyle \rightharpoonup} {\mathbf{#1}} } \)
\( \newcommand{\vectorC}[1]{\textbf{#1}} \)
\( \newcommand{\vectorD}[1]{\overrightarrow{#1}} \)
\( \newcommand{\vectorDt}[1]{\overrightarrow{\text{#1}}} \)
\( \newcommand{\vectE}[1]{\overset{-\!-\!\rightharpoonup}{\vphantom{a}\smash{\mathbf {#1}}}} \)
\( \newcommand{\vecs}[1]{\overset { \scriptstyle \rightharpoonup} {\mathbf{#1}} } \)
\( \newcommand{\vecd}[1]{\overset{-\!-\!\rightharpoonup}{\vphantom{a}\smash {#1}}} \)
\(\newcommand{\avec}{\mathbf a}\) \(\newcommand{\bvec}{\mathbf b}\) \(\newcommand{\cvec}{\mathbf c}\) \(\newcommand{\dvec}{\mathbf d}\) \(\newcommand{\dtil}{\widetilde{\mathbf d}}\) \(\newcommand{\evec}{\mathbf e}\) \(\newcommand{\fvec}{\mathbf f}\) \(\newcommand{\nvec}{\mathbf n}\) \(\newcommand{\pvec}{\mathbf p}\) \(\newcommand{\qvec}{\mathbf q}\) \(\newcommand{\svec}{\mathbf s}\) \(\newcommand{\tvec}{\mathbf t}\) \(\newcommand{\uvec}{\mathbf u}\) \(\newcommand{\vvec}{\mathbf v}\) \(\newcommand{\wvec}{\mathbf w}\) \(\newcommand{\xvec}{\mathbf x}\) \(\newcommand{\yvec}{\mathbf y}\) \(\newcommand{\zvec}{\mathbf z}\) \(\newcommand{\rvec}{\mathbf r}\) \(\newcommand{\mvec}{\mathbf m}\) \(\newcommand{\zerovec}{\mathbf 0}\) \(\newcommand{\onevec}{\mathbf 1}\) \(\newcommand{\real}{\mathbb R}\) \(\newcommand{\twovec}[2]{\left[\begin{array}{r}#1 \\ #2 \end{array}\right]}\) \(\newcommand{\ctwovec}[2]{\left[\begin{array}{c}#1 \\ #2 \end{array}\right]}\) \(\newcommand{\threevec}[3]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \end{array}\right]}\) \(\newcommand{\cthreevec}[3]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \end{array}\right]}\) \(\newcommand{\fourvec}[4]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \\ #4 \end{array}\right]}\) \(\newcommand{\cfourvec}[4]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \\ #4 \end{array}\right]}\) \(\newcommand{\fivevec}[5]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \\ #4 \\ #5 \\ \end{array}\right]}\) \(\newcommand{\cfivevec}[5]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \\ #4 \\ #5 \\ \end{array}\right]}\) \(\newcommand{\mattwo}[4]{\left[\begin{array}{rr}#1 \amp #2 \\ #3 \amp #4 \\ \end{array}\right]}\) \(\newcommand{\laspan}[1]{\text{Span}\{#1\}}\) \(\newcommand{\bcal}{\cal B}\) \(\newcommand{\ccal}{\cal C}\) \(\newcommand{\scal}{\cal S}\) \(\newcommand{\wcal}{\cal W}\) \(\newcommand{\ecal}{\cal E}\) \(\newcommand{\coords}[2]{\left\{#1\right\}_{#2}}\) \(\newcommand{\gray}[1]{\color{gray}{#1}}\) \(\newcommand{\lgray}[1]{\color{lightgray}{#1}}\) \(\newcommand{\rank}{\operatorname{rank}}\) \(\newcommand{\row}{\text{Row}}\) \(\newcommand{\col}{\text{Col}}\) \(\renewcommand{\row}{\text{Row}}\) \(\newcommand{\nul}{\text{Nul}}\) \(\newcommand{\var}{\text{Var}}\) \(\newcommand{\corr}{\text{corr}}\) \(\newcommand{\len}[1]{\left|#1\right|}\) \(\newcommand{\bbar}{\overline{\bvec}}\) \(\newcommand{\bhat}{\widehat{\bvec}}\) \(\newcommand{\bperp}{\bvec^\perp}\) \(\newcommand{\xhat}{\widehat{\xvec}}\) \(\newcommand{\vhat}{\widehat{\vvec}}\) \(\newcommand{\uhat}{\widehat{\uvec}}\) \(\newcommand{\what}{\widehat{\wvec}}\) \(\newcommand{\Sighat}{\widehat{\Sigma}}\) \(\newcommand{\lt}{<}\) \(\newcommand{\gt}{>}\) \(\newcommand{\amp}{&}\) \(\definecolor{fillinmathshade}{gray}{0.9}\)By 1973, hip-hop had made its way from New York to California and Don “Campbellock” came onto the scene. Hailing from Los Angeles, he created locking. His group, The L.A. Lockers put the steps and moves into a codified format where hip-hop dance vocabulary was named and cataloged. Some of these include: the lock, points, skeeters, stop ‘n go, scooby doos, the which-away, and fancies. Locking is known for giving a freeze-frame effect, but can also incorporate flips, tucks, dives, and other aerial moves.
(Alexander Zabara (8 October 2007). B-boy freeze in Moscow, Russia. https://commons.wikimedia.org/wiki/File:B-boyFreeze.jpg)
Then in the late 1970s, the Electric Boogaloos (1978) emerged from Fresno, California, a group directed by Sam “Boogaloo” Soloman who created “Popping”. Popping is distinctive from locking in that it has a more fluid style where the dancer pops each limb joint in successive way to give a truncated, staccato flow to the execution of movement as it moves through the body. Some of Sam's early inspirations were 1970s martial arts films, Chubby Checker’s “Twist” and popular dances “the Popcorn” and “The Jerk” innovated by James Brown.
In the 1980s hip-hop dance was popularized in the mainstream by Rock Steady Crew when they appeared in the hit movie Flashdance (1983). MC Hammer on the new MTV video Can’t Touch This (1989) really helped to put hip-hop dance on the cultural map! Soon after, hip-hop dance became mainstream and was adopted into dance studio training in the 1990s. Janet Jacksons’ Rhythm Nation (1991) introduced sharp, angled battle simulation choreography in a stark but familiar urban setting. Later, Pop It, Lock It, Drop It (2000) ushered in a new school hip-hop initially characterized by rock and roll with drum–beat minimalism. ‘New skool’ was notable for taunts and boasts embedded within rapping. Socio-political commentary was delivered in aggressive, self-assertive stylistic expression projected via a tough, cool, street b-boy attitude.
Hip-hop fashion correlated to ‘gangsta’ rap, a subgenre of hip-hop that often focused on the violent lifestyles and impoverished conditions of inner-city youths. These artists were known for mixing the political and social commentary of political rap with the criminal elements and crime stories. A dance form that mirrored this new style of hip-hop was krumping which originated in south central L.A. in the early 2000s. Some movements are linked to African dance forms, as krumping is more of an expression of emotion in free form physicality.
One of the key concepts related to hip-hop dance is the cypher. Traditional dance training in Euro-American forms such as ballet, jazz, or modern dance, tend toward individualistic training, with critique and correction under the guidance of a dance ‘master’, with intense win-lose competition. Hip-hop culture, by contrast, borrowed from its strong cultural and historical origins in African dances. While a cypher in hip-hop class is a competitive circle formation, in this instance, the community celebrates each dancer for their virtuosity and brave execution of individualistic expressive skills to the rhythm of the beat. In this type of dance environment, b-boys and b-girls battle to attain a prestigious reputation based on their competence in dance performance as much as their expression of pride in oneself and community. Hence, cypher in hip-hop dance is a communal experience where a diversity of movement is displayed to cultivate a community of practice.
DCyphers are dance sessions where a circle formation in a dance space invites dancers take turns dancing competitively in the center, while the ring surrounding is made up of onlookers who clap and holler out in support as they are awaiting their chance to dance.
(NexusMoves (2007). B-boy Pumba (Urban Force) dancing in the cypher of Rock Steady crew 30th Anniversary - Concrete Battle (The Bronx - July 2007). https://commons.wikimedia.org/wiki/File:Breakdance_cypher.JPG)
In the 21st century, hip-hop culture has evolved is now comprised of:
- Dance
- DJ/MC Rhythm
- Music
- Fashion
- Graffiti Art
- Global Corporatism
- Political Messaging
Hip-hop was – and remains – a revolutionary form, and in all its cultural expressive modes, the undercurrent of decrying disenfranchisement is the through-line that makes the music, dance, fashion, art – even the marketing – evocative, and relatable, globally.