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Breakin’ Convention
POPPING, LOCKING AND ALWAYS SHOCKING Annual street dance showcase Breakin’ Convention is back for 2012
Got the moves: (clockwise from top) Myself Dance Company, Ne Ne and ILL-Abilities
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INE years after its creation, the UK’s only annual international hiphop dance festival Breakin’ Convention is back. Bringing the street dance phenomenon from the movie screens to a theatre near you, the 2012 event will tour the UK, touching down in cities including Edinburgh and Plymouth. Starting at London’s premier dance theatre Sadler’s Wells and featuring a wide variety of international dance acts, workshops, and DJ demos – as well as the skills of aerosol and photo-realistic graffiti artists – the festival will be an eclectic mix of everything that gets your body popping. Since its inception in 2004, Breakin’ Convention has showcased over 400 international companies and starred over 3,900 performers to an audience in excess of 75,000. Created by UK hip-hop dance veteran Jonzi D, the uni-
versal dance celebration never fails to provide show-stopping performances that keep the audience begging for more. This year’s show looks set to be no exception. Current world and UK b-boy champions Vagabond Crew (see their interview on page 26) will perform their highly anticipated routine Aliens. And heading to Breakin’ Convention for their first outing will be ILLAbilities, a breakdance company that challenges the misconception about people with disabilities. Challenging the male dominated world of hip hop is UK group Boadicea, a 12-strong female crew, founded by and featuring Rhimes Lecointe, star of Street Dance 3D. Also representing for the ladies is the Myself Dance Company, performing their piece Creatures of the Night. Making his first appearance on UK shores from the underground New York ‘flexing’ scene
is Storyboard P, an artist who has created his own ‘mutation’ style of movement. And young talents Da Bratz and ZooNation’s youth company ZYC will also be showing off their skills. Reaching out to the masses, Breakin’ Convention will be staged at eight different theatres around the country. Each venue has appointed a representative from the hip-hop community to engage the dancers and breakdancing devotees in the area. Dancers Nene, Kieran Warner, Nathan Geering and Shane Fenton will represent the convention’s national tour. An event for both street dance enthusiasts and casual fans, Breakin’ Convention 2012 is not to be missed. � Breakin’ Convention is at Sadler’s Wells from May 5-7 before embarking on a national tour. For full tour dates, visit: www.breakinconvention.com
Skills: Breakin’ Convention founder Jonzi D
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Breakin’ Convention
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LADIES FIRST: THE WOM Michelle Norton was there from the start, as Breakin’ Convention’s producer and project coordinator BY HAZELANN WILLIAMS
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EW people know that a woman, Sylvia Robinson to be exact, is celebrated as being one of the pioneers of hip-hop. The late record producer, who was lovingly known as the ‘mother of hip-hop’, is credited to be the driving force behind the two revolutionary hip-hop tracks Rapper’s Delight by the Sugarhill Gang, and The Message by Grandmaster Flash & the Furious Five. In recent times, the genre has been dominated by men both in front and behind the scenes, and hip-hop dance is no different. However, there are plenty of ladies making their contribution to the world of hip-hop. One of them is Breakin’ Convention’s producer and project coordinator Michelle Norton.
Skills behind the scenes: Michelle Norton is the producer and project coordinator of Breakin’ Convention
Slick moves: Norton struts her stuff
The skilled choreographer has had a long career. Dancing in music videos for R’n’B artist Joe and rap troupe PM Dawn, Norton has been a vital part of the dance extravaganza’s production team from the beginning. Along with the event’s founder Jonzi D, she has watched hip-hop dance grow from an obscure form of expression on the streets of London, to seeing dancers like Britain’s Got Talent winners Diversity perform in front of the Queen at the Opera House Theatre. “I’ve been dancing since I was 12-years-old in the early ‘80s,” Norton recalled. “When hip-hop first hit London, I was
“ The UK hip-hop scene has developed to such a high standard” really excited to see beat-boxing in Covent Garden. “When I was at school, none of my friends danced, but now it’s the norm. We work with a lot of young people and all of their friends are dancers. They might sing and dance or act and dance, but it’s the norm. She continues: “The first year that Breakin’ Convention happened , there wasn’t a platform in theatres to see hip-hop dance. Since then, we’ve seen it grow, from the TV dance shows to the hip-hop dance movies.” Greatly influenced by the popular culture greats who took dancing and performing to a new level, Norton started her
professional career on the club scene. “Growing up and watching stars like MC Hammer, Janet Jackson and Michael Jackson, there was a huge influx of people having backing dancers. My first professional work came through a dancer who used to dance for Soul II Soul; I was spotted in a club at the age of 18.” And that is what Breakin’ Convention is all about: development. In the nine years it has been going, the festival has become synonymous with showcasing new talent and is regarded as a key event in putting UK B-Boying on the world stage. “The UK scene has developed to such a high standard and we are now on the same level as the Americans. And as far as seeing something new, Breakin’ Convention encompasses that, more than any other kind of event that you might go to. “There’s dancing, DJs – it’s exciting to watch. It’s got that wow factor you get when you watch really good dance and there’s always something new. This year, we have US dancer Storyboard P, and his moves look quite futuristic. It’s hard to describe – his body waves and it seems quite surreal.” But what is it that keeps Breakin’ Convention so fresh and leaves audiences wanting more? “It’s for anyone,” says the 40year-old. “Regardless of whether or not you know anything about hip-hop culture and dance, it incorporates the best of the culture. Hip-hop grew from the streets; no one was excluded from it in the early days. Later on, hip-hop culture became quite segregated but we try and encompass every part of hip-hop culture in our festival and you can feel that.”
More dance news: The Impending Storm @ CONTINUING until May 19, the International Dance Festival Birmingham (IDFB) is once again proving that dance is very much alive in Brum. In addition to Breakin’ Convention, which will touch down in the city on May 14, IDBF will also showcase the skills of South African dance company Remix, who will present the world premiere of their dynamic piece, The Impending Storm. The company, made up of UK and South African artists, both disabled non-disabled, will perform with UK-based David Toole and Lucy Hind. UK musician Dom Coyote, in collaboration with South African singer Sandile Gontsana also provide a passionate spoken text and sung score that effortlessly crosses geographic and cultural continents. The piece itself is both personal and political. Pushing the
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Breakin’ Convention
MEN BEHIND THE SCENES Sign language specialist Jacqui Beckford will be on hand to interpret the action for the event’s deaf audiences BY HAZELANN WILLIAMS
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IP-HOP has always been known as an inclusive musical form of expression, but like many major artistic movements, people with disabilities have more often than not been excluded. Refreshingly, this year, Breakin’ Convention is taking huge strides to ensure that disabled people can be a part of the dance extravaganza, firstly by showcasing dance crew ILLAbilities, who have physical limitations, and secondly, by enlisting sign language specialist Jacqui Beckford to interpret during the London performances. Beckford is aware that signing during a dance event may seem like an unusual concept. But she explains that dancing is as much about the messages as it is the physical activity. “Dance has moved on,” says the interpreter. “Although there is music to be heard, there are also lyrics in the music and that narrative can be carried forward to help deaf audiences understand the messages the performers are trying to portray.” As a former dancer, Beckford is perfectly placed to understand the subtle nuances of popular dance performances. But as a sign interpreter she can also relate to the deaf experience in the theatre. “Breakin’ Convention wanted an interpreter who had the jargon and vocabulary of dance and I love dance. So the opportunity to work with them is brilliant. I get the opportunity to work in the domain where all of my interests lie,” says the mother-of-two. More likely to be recognised as the interpreter on the BBC News 24 channel, Beckford has
On point: Beckford (right) signed in a video project for poet Deanna Rodger
previously worked as a performer/interpreter with performing arts company Graeae, who provide a platform for deaf and disabled talents. “When I worked with Graeae years ago, I was employed as an actor/performer. I had my own lines to learn and role to play. I had a character who was clearly defined, who had a right to have a presence on stage, rather than just an interpreter on the side of the audience, flapping their arms around.”
“When I started 20 years ago, interpreters were few and far between” But there was a time when the Londoner never considered signing as a career path. It was not until she realised that she would not be able to support her family as a dancer that she had to look at other career options. “I have an older sister who is deaf, although it wasn’t that that made me become an interpreter. It was more to do with needing to earn a living and support two children. I had a background in contemporary
dance, but I knew I would never earn money being a dancer. “My sister reminded me that I was already interpreting for her and friends and I didn’t earn any money from it, so I decided to become an interpreter and earn some money. “When I started out about 20 years ago, interpreters were few and far between. So if you had the skills, even if you were not qualified yet, but recognised by the community, then you would get lots of work.” Indeed, Beckford’s work as an interpreter has been varied. Not just working in the arts and on TV, she also works for the NHS, providing a service for people with mental health issues. “It’s a specialist service for deaf people with mental health issues. It’s really varied work. I could be at the House Of Commons one day and the Queen’s garden party the next. No two days are the same.” For now though, Beckford is gearing up for her role at Breakin’ Convention and she hopes her presence will add something, not only for deaf audiences but hearing audiences too. “For the hearing audience, I hope the level of awareness of deaf issues will be raised to a higher level; enabling them to think about performances from a deaf person’s perspective.”
@ Birmingham Hippodrome Talent: performers from Remix Dance Companyf
boundaries of integrated dance, The Impending Storm, created by Mark Storor, is an explosive look at the stories we tell, and the stories that we are. Storor says: “The roots of the piece are the artists’ true stories. “Sharing their experiences in order to communicate better, has led to an emotionally raw, fragile piece, with a beating heart that is strong and true. It has a poetics all of its own.” Remix Dance Company present The Impending Storm
at The Patrick Centre, Birmingham Hippodrome, Hurst Street, Southside, Birmingham B5 on May 1-2. For more information visit www.idfb.co.uk/impendingstorm
Signed, selaed, delivered: Jacqui Beckford will provide sign language interpretation at Breakin’ Convention
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THE ULTIMATE BATTLE B-boy collective Vagabond Crew say dancing battles are a social, not artistic fight
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Multicultural crew: Vagabond Crew say they’re best received in the UK, where hip-hop dance is respected
ORLD B-Boy champions Vagabond Crew will be returning to London for Breakin’ Convention this year, their first participation since 2004. The French collective, founded in 2000 by Mohamed Berlarbi, quickly earned a fierce reputation as one of the most consistently exciting hip-hop dance companies around, winning the highly regarded UK BBoy championships in 2006 and 2010. In their forthcoming performance at Breakin' Convention, the dance troupe hope to amass another b-boy championship win with their thought-provoking routine Alien, which promises to tackle the fundamental issues of life, mortality, faith, science and humanity, through dancing. Long-time crew manager Mohamed Zerrouk salutes the event for continually showcasing authentic street dance styles. “Breakin' Convention and the UK B-Boy Championships are two major events for breakers,” says Zerrouk. “We really love the respect shown to real hiphop energy. Nobody tries to change anything in our raw
expression and it helps dancers to exist completely as artists. “We're still fighting in France to get this appreciation. It looks like an artistic fight but in realty, it's a social fight.” He continues: "In France, there's a long-standing debate about whether hip-hop dance is a sport or an artistic expression. For Mohammed Belarbi, hiphop is a contemporary art form with its own energy, its own moves and its own influences. "This is why Alien has been performed in places such as Holland, Belgium, Italy and China. But the most openminded place is always going to be the UK where the Vagabonds really feel understood and listened to as artists.” The group was formed out of the nucleus of classic French 90’s hip-hop crew Family, which also featured Breakin' Convention favourite Salah. The current line-up includes both original members and newcomers, says Zerrouk. "Every dancer in the crew has his own inspirations but the Vagabonds always fight to maintain a French touch. Before the Vagabonds, Mohamed was dancing in a hype crew called the O'Posse, renowned as the first French
crew to battle against American hip-hop dancers.” The Vagabonds are renowned as a multicultural collective, all hailing from French cities such as Lille, Paris, Grenoble, Nantes, Toulouse, Angers and Strasbourg. Ethnic origins of crew members are diverse, with dancers whose families originate from Morocco and Algeria, as well as other parts of Africa and countries such as Italy and the Reunion Islands. Reflecting true multiculturalism, dancers are chosen for their skills and personality, with emphasis on an understanding of positive and constructive values. Conscious of an age marked by cultural and social turmoil, Berlabi pays particular attention to setting a precedent, and a good example as a hiphop dance crew who are followed worldwide by millions of people, young and old alike. "Dancers are trained by Mohamed in order to get an international level. It takes about a year for newcomers to perform solos in major international battles. “All dancers are selected on their dancing capacities, but the most important criteria is their human values.”
Quick chat with... Clash 66 DYNAMIC duo Skills: Clash 66 Sébastien Ramirez and Honji are Clash 66, an award-winning contemporary hip-hop duo. Ballerina turned b-girl, Honji studied dance in Germany for 10 years before dedicating herself to the hip-hop technique of newstyle. Perennially popular at Breakin' Convention, Sébastien Ramirez is known for his choreographic finesse. Here, he reveals what happens when two dancing cultures collide. As Honji is from the world of ballet, can you explain how, as a duo, you devise your work? We both look for our own language and expression and we feed back with each other. But it also causes conflict sometimes, just as much as our communication in everyday life. Honji grew up speaking Korean and German and I grew up speaking French, Spanish and Catalan. Together, we communicate in English yet add elements of our respective languages. Also we create our own way of communicating – this is how evolution works, no? Can you tell us more about the piece you’ll be performing? Our research was based on questioning cultural differences when making theatre, using
verbal and physical elements and dance. We were also looking at the way we connect with each other in spite of, or thanks to our differences. We bring this together but in an extremely concentrated form, based only on movement. How do you maintain core hip-hop elements in your work while pushing the boundaries? The base of my moves are rooted in hip-hop, mostly in b-boying – this is the core element. When it comes to choreographic composition, we are in another medium and this wasn't originally part of the artistic expression of hip-hop dance. Even though Honji did not grow up with this culture, she practiced hard to an astonishing technical level. More than this, she feels hiphop, when it comes to its values and interaction with others. How did you find Breakin' Convention the first time around? Breakin' Convention is one of the main events dedicated to hip-hop dance theatre. It is an amazing place. Sadler's Wells is huge and the audience seems limitless, yet Breakin' Convention is managed by a small crew of warm-hearted professionals and maintains the core values of our genre – and with no stress! Everybody just seems to chill and enjoy it.