jennmeck-blog

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I make my students do it...so why shouldn’t I?

We’re currently discussing this history of hip-hop in dance history 2. I tend to refrain from sharing all of my thoughts and opinions to allow for others to create their own, BUT hip-hop is my jam. Also, transitioning to online learning gives me more of a reason to express thoughts via blog, so here we go.

After discussing the origins of hip-hop and all of the elements involved (djing, mcing, graffiti, dance), we’ve moved on to discuss globalization and masculinity within this form. I am hoping most of you reading this know that hip-hop developed out of extreme situations in the Bronx in the African American and Latino communities. If you didn’t know, you do now. The disco jockeys were the creators of the beat, the vibe, and the culture. Breaking is considered the original dance style due to the relationship they had with the DJs and the MCs. All of them together are the culture. However, if you were on the west coast you were also experiencing new forms of dance that became a part of this movement: Locking and popping (not pop, lock, and drop it). Funk styles that kept it groovy.

So, if this form is so connected to the sociopolitical events in the Bronx in the 1970s, how can people from other countries really know and understand what it’s like to live, experience, and breathe hip-hop? The intercultural body. As Halifu Osumar suggests in “Global Breakdancing and the Intercultural Body”, you don’t need a language to understand the culture. We speak with our bodies and if you know the culture you know the systems and procedures. Embodied movement is a thing. In hip-hop dance, there is room to express individuality within a set foundation. That foundation is known by anyone and everyone who lives the culture. If you know hip-hop, you know the rules of battling and, therefore, can battle without verbal communication, which is essential to surviving the street culture. 

As a woman who loves the style of breaking, it’s hard for me not to get a little heated when I read about masculinity in hip-hop, especially in the article “Getting off: Portrayals of Masculinity in HIp-hop Dance in FIlm” by Sara Labosky. Not because I’m offended or don’t see the necessity of “masculine” qualities in breaking to maintain aggressiveness or power, but because I’m sad that women had to fight so hard to be a part of something that has always felt welcoming. As a white, gay woman I have felt accepted by this community, for the most part. But as a woman, in dance in general, I have felt that I can only use my strength and power in silence. Of course, there are now badass women out there who have challenged the stigma of women in breaking (shout out to the one and only Teena Marie). There is so much more involved in the sexualization and masculinity in hip-hop, but that would be a dissertation, not a blog. 

We also discussed Rennie Harris (bowing down as we speak) and his incredible contribution to hip-hop. He blessed the concert dance community by bringing the street culture to the stage in a way that was powerful, thoughtful, and pure genius. He really connected to African roots, personal experiences, and made sure to present all of the elements essential to the hip-hop culture (djing, rap, breaking, popping, locking, socialization, and freestyle). He’s not the only artist to explore this transition, but he was one of the firsts. Of course, there’s Doug Elkins, Raphael Xavier, and the new genius Ephrat Asherie. I am going to leave you with only a part of Harris’ “Rome & Jewels” to chew on and digest. 

https://www.youtube.com/watch?v=NBx4NDCflR8&t=2028s

Also, here is “Wild Style” that was frequently referred to in some of the readings from this week. 

https://www.youtube.com/watch?v=GaXMfw0IJOo

Jenn Meck is signing off! 

[jennmeck-blog]

In full swing with a bunch of weirdos.

Dance History 2 2020 here we go. 

[jennmeck-blog]

And the award goes too... Appropriation

My favorite word or my least favorite word depending on how you look at it. It seems to always come up in the many aspects of my life. I try to avoid it, I try to solve it, I try to not do it. But no matter what, it’s like an ex that you just can’t get rid of. 

The fire of appropriation has been reignited in recent readings and conversations about the history of Ballet. I didn’t think this was possible because Ballet is sooooooo structured and sooooo traditional. However, what we don’t realize is everyone is inspired by everything and other things and new things and old things. I know some people don’t care if they get credit when they create something, but some do. More specifically, why is there such a hesitation from choreographers to acknowledge dancers for their contributions to choreography? I know! (or at least I have a theory) We (as people) are obsessed with ownership. If it’s not completely ours, or if people know it’s not completely ours, we feel almost less valuable. LIke, the hard work we put in doesn’t hold the same value. You want more of my theory you say? You got it. I personally find it more valuable when I know that others have contributed to one thought/process. To me, that means the head honcho has decided that their perspectives and ideas aren’t the only ones that matter and they’re willing to let go of the ego to learn and create. 

When we talk about dance, we tend to focus on the choreographers, but what don’t realize is dance, even Ballet, is full of collaboration. So just give credit! As Nike says “Just do it.�� 

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Ballet is not for me.. or you either.

I’ve failed to be the “good” teacher and post a blog with the rest of my students exploring dance history this semester, but here I am now (lucky you), and I’m coming in HOT! 

I’m sure you’re wondering what the heck my title is talking about. Especially, those dedicated ballerinas out there who live for this stuff, and by this stuff I mean Ballet. 

I’ll admit, I always wished I was a ballerina. The ability to hold their leg up high, a 180 degree turn out, nailing multiple pirouettes without a stumble, but here I am over here with a barely 90 degree turn out, a shakey develope, and a wobbly double pirouette ( if I’m lucky).

“What am I trying to get at” you ask? Ballet is not for me, but It’s also not for you either. Whether you’re a trained Ballerina(o) or not, Ballet is for no one in particular. Ballet was for the high class and those nobles that ran the courts, but then it wasn’t. Ballet was for men only and then it was geared more towards women, and now it’s for both, kinda. Because now and days Ballerinos (male ballet dancers) aren’t seen as masculine by many or just straight gay (see what I did there?)  Ballerinas are seen as anorexic and unhealthy by some, but also women are seen as the ideal beauty through all of the components of Ballet. 

If you’re saying to yourself, “well, I love to watch Ballets”, you’re probably not wrong. And so maybe it is for you, but it’s not performed just for you. It’s performed for the WHOLE audience or for me (Jenn) or for the dancers themselves or for the choreographer. No one really knows. It could have been created specifically for someone, but it doesn’t ever just stay for that one someone. 

So who is it for? No one and everyone at the same time. 

I know, your mind is blown. So, I’ll be back next week to continue the explosion!