V living 24 april 2014

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V living-

Everything you need plus more

APRIL 3 - 9, 2014 THE VOICE | 19

20 | THE VOICE APRIL 24 - 30, 2014

V living dance

JACQUELINE  ASAFU-­ADJAYE   Sponsored  Features  Editor

D IS FOR UKWELI ROACH taking dance to new dizzy heights

S

outh  London’s  Ukweli  Roach  is  both  actor  and  dancer.   Dancing  from  an  early  age  he  saved  up  pocket  money  to  attend  breakdance  and  locking  classes  at  Pineapple  Studios  which  led  to  classes  in  hip  hop  and  commercial  choreography.   He  then  joined  international  dance  company  Dance2XS  and  got  KLV ÂżUVW SURIHVVLRQDO ZRUN DW 18  dancing  for  Mariah  Carey  in  Monaco.    In  the  following  years  he  worked  with  Mariah  Carey  on  other  occasions  as  well  as  stars  like  Kylie  Minogue,  Cheryl  Cole,  JLS  and  Alexandra  Burke  amongst  others.    This  was  all  whilst  training  as  an  actor  at  the  world-­ renowned  Royal  Academy  of  Dramatic  Arts  (RADA)  where  he  achieved  a  BA  (Hons)  Degree.  During  this  time  he  was  a  co-­ founder  of  BirdGang  Dance  Company  which  led  him Â

to  choreographing  and  performing  both  in  the  UK  and  all  over  the  world  as  well  as  working  as  an  DFWRU LQ ÂżOP WHOHYLVLRQ DQG theatre. Ukweli’s  choreography,  whilst  being  largely  hip  hop  based,  borrows  from  disciplines  such  as  tap,  house  dance,  popping,  breakdance,  contemporary  and  jazz,  fusing  them  all  into  theatrical  manifestations  of  whatever  music  he  is  dancing  to.   He  presents  his  striking  piece  Vice  at  this  year’s  Breakin’  Convention  both  at  Sadler’s  Wells  and  across  the  UK  on  the  Breakin’  Convention  tour. Ukweli  Roach,  you’re  both  an  accomplished  actor  and  dancer.   Which  came  ¿UVW" In  terms  of  professional  work  I  suppose  dancing  came  first.  I’d  always  wanted  to  be  an  actor  since  the  age  of  about  14.  But  I  never  really  let  myself  believe  it  was Â

possible  until  18  years  old,  as  it  seemed  like  such  an  exclusive  and  unattainable  world  to  infiltrate.  Who  were  your  early  LQVSLUDWLRQV" 0\ ÂżUVW LQVSLUDWLRQ ZDV Michael  Jackson.  I  idolised  him  as  a  small  child  and  spent  days  in  my  room  trying  to  learn  the  moonwalk!  After  that  it  was  the  Nicholas  Brothers  and  Fred  Astaire  WKDW LQĂ€XHQFHG PH WR VWDUW taking  tap  dance  classes  as  a  10  year-­old.  Their  elegance,  athleticism  and  showmanship  blew  me  away  and  i  became  obsessed  with  where  that  sort  of  ability  comes  from.  Is  it  learned?  Is  it  natural?  Is  there  a  magic  place  where  they  teach  you  to  move  like  that?  I  KDG WR ÂżQG RXWÂŤ   You  studied  at  RADA,  how  did  you  feel  when  you  knew  you’d  got  into  one  of  the  most  coveted  drama  VFKRROV LQ WKH ZRUOG"

To  be  honest  I  didn’t  realise  what  a  big  deal  it  was  at  the  time.  I  knew  I  needed  to  go  to  drama  school  to  get  where  I  wanted  to  go  (as  I  had  no  family  or  relatives  involved  in  the  industry  in  any  way),  but  had  no  idea  how  many  people  tried  to  get  in  there  every  year  and  how  prestigious  it  was.  So  of  course  I  was  very  happy,  but  wasn’t  particularly  nervous  at  the  auditions  which  maybe  was  a  good  thing!    What  was  it  like  studying  there  whilst  developing  and  maintaining  your  dancing  and  choreographic  work  ZLWKLQ WKH +LS +RS JHQUH" It  was  very  hard.  My  ¿UVW \HDU ZDV D EOXU RI dancing  almost  every  night  after  RADA,  being  depressingly  tired  every  morning  at  RADA,  and  not  understanding  why  we  weren’t  doing  much  acting,  or  why  people  were  asking  so  many  questions  about Â

what  seemed  like  obvious  scenes  or  dialogue!  But  that  was  mainly  down  to  my  naĂŻvety  and  not  understanding  the  full  depth  of  the  craft. Ultimately  has  your  acting  experience  helped  you Â

SHUIRUP DV D GDQFHU" 'HÂżQLWHO\ 7KH WZR JR hand  in  hand.  Just  like  singing  and  acting.  The  stage-­presence,  physical  awareness  and  â€˜intention’  that  is  necessary  in  both  acting  and  dancing  can  be Â

HIP  HOP  THEATRE:  Ukweli  Roach  at  Breakin’  Convention

APRIL 24 - 30, 2014 THE VOICE | 21

V living diary boosted  by  either  discipline. How  long  have  you  been  going  to  Breakin’  Convention?   What  does  the  festival  mean  to  you? , ¿UVW SHUIRUPHG WKHUH with  Dance2XS  in  2005  ZKLFK ZDV P\ ¿UVW WLPH at  the  event.  The  next  \HDU %LUG*DQJ P\ GDQFH FRPSDQ\ KDG RXU GHEXW VKRZ DW WKH HYHQW DQG RXU relationship  with  Sadler’s  Wells  and  especially  Breakin’  Convention  has  EORVVRPHG VLQFH WKHQ They  have  always  taken  D FKDQFH RQ XV DQG JLYHQ XV D SODWIRUP WR VKDUH RXU ZRUN DQG KRQH RXU FUDIW DV SHUIRUPHUV ,W¶V ZLWKRXW GRXEW WKH ELJJHVW DQG PRVW credible  Hip  Hop  Dance  IHVWLYDO LQ WKH 8. DQG SRVVLEO\ HYHQ (XURSH , IHHO KRQRXUHG WR EH DEOH WR SHUIRUP RQ WKDW VWDJH DPRQJ VR PDQ\ WDOHQWHG DFWV IURP DURXQG WKH ZRUOG    Tell  us  about  Vice,  the  piece  you’re  performing? ‘Vice’  is  a  very  personal  SLHFH EXW , OLNH WKH IDFW WKDW LW FDQ EH XQGHUVWRRG DQG LQWHUSUHWHG LQ D QXPEHU RI GLIIHUHQW ZD\V GHSHQGLQJ RQ \RXU DJH DQG SHUVRQDO EDFNJURXQG , GRQ¶W ZDQW WR LPSRVH P\ RZQ SUHFLVH YLVLRQ RI ZKDW LW PHDQV WR PH RQWR SHRSOH ZKR PD\ watch  it,  so  all  I’ll  say  is  that  LW¶V D SLHFH DERXW DQ LQWHUQDO VWUXJJOH WR UHDFK DQ LGHDO DQG WKH YDULRXV REVWDFOHV WKDW KLQGHU \RXU SURJUHVVLRQ WR WKDW SODFH  The  soundtrack  is  very  different  to  the  public’s  perception  of  urban  dance  on  stage  â€“  how  did  \RX FRPH XS ZLWK ¿QGLQJ the  right  music  for  it? ,¶P D +8*( IDQ RI PXVLF ,¶G HYHQ JR DV IDU DV WR VD\ WKH PXVLF FKRLFHV FDQ GR RI WKH ZRUN LQ D SLHFH , ¿QG WKDW ERWK LQ ¿OP and  theatre.  It  can  create  KXJH HPRWLRQDO UHVSRQVHV LQ SHRSOH IRU JRRG RU EDG , SLFNHG PXVLF TXLWH FDUHIXOO\ WKDW , IHOW ZRXOG UHÀHFW WKH WKRXJKWV RU HPRWLRQV LQ WKHLU UHVSHFWLYH sections.  And  also  I  like  to  try  and  change  peoples’  stereotypes  that  anything  XUEDQ RU µKLS KRS¶ RQO\ FRQFHUQV \RXQJ SHRSOH DQG LPPDWXUH LVVXHV 8QIRUWXQDWHO\ ZKDW LV SURPRWHG LQ WKH PDLQVWUHDP PHGLD DV µXUEDQ¶ GDQFH DQG µXUEDQ¶ PXVLF RQO\ VHUYHV

WR UHLQIRUFH QHJDWLYH RU LPPDWXUH VWHUHRW\SHV Many  choreographers  in  hip  hop  tend  to  present  work  to  showcase  once  for  Breakin’  Convention  and  never  revisit  it  afterwards  â€“  What  does  it  mean  to  be  touring  the  piece? ,W¶V D WHVWDPHQW WKDW WKLV VRUW RI ZRUN FDQ EH appreciated  by  people  ZKR DUH XVHG WR ZDWFKLQJ PRUH FRQYHQWLRQDO +LS +RS SLHFHV ,W¶V REYLRXVO\ D PDVVLYH FRQ¿GHQFH ERRVW IRU PH EXW DOVR KRSHIXOO\ ZLOO LQVSLUH RWKHU FKRUHRJUDSKHUV WR PDNH Hip  Hop  Theatre  pieces  that  deal  with  darker  or  PRUH VHULRXV LVVXHV DQG not  to  pander  always  to  the  VWHUHRW\SH WKDW LV IRUFHG onto  this  genre.   Within  Hip  Hop,  both  music  and  dance,  who  are  your  heroes  and  why?

HOT DATES FOR THE DIARY

'DPQ WKDWV GLI¿FXOW DV +LS +RS FDQ PHDQ VR PDQ\ things…  (YHQ WKRXJK , GRQ¶W UDS ,¶P DFWXDOO\ D PDVVLYH IDQ RI UDS HVSHFLDOO\ PRGHUQ EDWWOH UDSSHUV ORO OLNH 43 -RQ -RQ 'D 'RQ 6RXO .KDQ &RXWXUH & +ROORZ /X[ $\H 9HUE +LWPDQ Holla,  Donnie  Menace,  Fatz  DQG PDQ\ PDQ\ PRUH 0RUH PDLQVWUHDP WKRXJK , ORYH 7HFK QH %XVWD 5K\PHV (PLQHP 7\OHU 7KH &UHDWRU Earl  Sweatshirt,  Pharoah  0RQFKH &RPPRQ /DXU\Q +LOO DQG ORDGV PRUH WKDW L¶P IRUJHWWLQJ HAVING  SAID  THAT,  I  IHHO , QHHG WR VKRXW RXW WKH ZHDOWK RI WDOHQW WKDW FRPHV IURP ULJKW KHUH LQ WKH 8. 5DSSHUV ZKR VNLOIXOO\ UDS DERXW LPSRUWDQW SROLWLFDO LVVXHV DQG JOREDO LQMXVWLFHV DQG WKHUHIRUH won’t  ever  be  signed  in  WKH PDLQVWUHDP PXVLF VFHQH OLNH $.$/$ DQG /2:.(< , DOVR DP D IDQ RI 6:$< .$12 DQG ',==(( 5$6&$/ EHIRUH KH VWDUWHG PDNLQJ SDUW\ PXVLF 'DQFH ZLVH P\ LQVSLUDWLRQV DUH PDLQO\ ULJKW KHUH LQ WKLV FRXQWU\ 3HRSOH OLNH P\ IHOORZ %LUG*DQJ choreographers  Ivan  %ODFNVWRFN 6LPHRQ 4V\HD DQG .HQGUD +RUVEXUJK $OVR .HQULFN 6DQG\ 7RQ\ $GLJXQ %URRNH 0LOOLQHU *OHQQ +XGVRQ Jack  Mackenzie,  Sisco  *RPH] 6KDQQHOOH )HUJXV .LPEHUOH\ 7D\ORU DQG D ZKROH EXQFK PRUH WKDW LQVSLUH PH DOO WKH WLPH

Sadler’s  Wells’  critically  ac-­ FODLPHG LQWHUQDWLRQDO IHVWLYDO RI KLS KRS GDQFH WKHDWUH Breakin’  Convention,  is  back.  Now  in  its  11th  year,  WKLV KXJHO\ SRSXODU 6DGOHU¶V :HOOV SURGXFWLRQ LV KRVWHG DQG FXUDWHG E\ HPLQHQW 8. hip  hop  theatre  artist  Jonzi  D.  7KH OLQH XS LQFOXGHV 2OLYLHU $ZDUG QRPLQDWHG ILL-­Abilities,  an  international  JURXS RI E ER\V ZKR KDYH RYHUFRPH H[WUDRUGLQDU\ challenges,  helping  to  VSUHDG WKH PHVVDJH ³1R ([FXVHV 1R /LPLWV´ DQG UHGH¿QH VRFLHW\¶V YLHZ RI GLVDELOLW\ SURPRWLQJ HPSRZHUPHQW  $OVR IHDWXULQJ LV /RQGRQ¶V 8NZHOL 5RDFK ZKR SUHVHQWV a  piece  titled  Vice.  A  highly  VNLOOHG DUWLVW DQG IRXQGLQJ PHPEHU RI %LUG*DQJ 'DQFH &RPSDQ\ 8NZHOL 5RDFK KDV FKRUHRJUDSKHG

DQG SHUIRUPHG ZRUOG ZLGH as  well  as  working  as  an  DFWRU LQ ¿OP WHOHYLVLRQ DQG theatre.  France’s  Wanted  Posse  is  widely  respected  and  KDV ZRQ PDQ\ RI WKH ZRUOG¶V PRVW KLJK SUR¿OH KLS KRS GDQFH EDWWOHV IRU over  a  decade.  Their  work  H[SUHVVHV WKH URRWV RI WKHLU SHUVRQDO UHYROXWLRQV  London  has  3  days  RI QRQVWRS 8. DQG international  crews  and  each  WRXU GDWHV RSHQV ZLWK ORFDO acts  to  represent  hip  hop  LQ HDFK FLW\ )XOO GHWDLOV RQ ZZZ EUHDNLQFRQYHQWLRQ FRP  Following  its  dates  at  Sadler’s  Wells,  Breakin’  &RQYHQWLRQ ZLOO WRXU WKH 8. YLVLWLQJ 'RQFDVWHU .LQJV /\QQ ,QYHUQHVV %LUPLQJ-­ KDP :KLWOH\ %D\ %ULJKWRQ Bristol,  Blackpool  and  %RXUQHPRXWK

ON TOUR NOW

)RU PRUH LQIRUPDWLRQ VHH ZZZ EUHDNLQFRQYHQWLRQ FRP Sadler’s  Wells,  London Sat  3  -­  Mon  5  May ZZZ VDGOHUVZHOOV FRP 0844  412  4300  Doncaster  CAST Sat  10  May ZZZ FDVWLQGRQFDVWHU FRP 01302  303  959 Kings  Lynn  Corn  Exchange 7XH 0D\ www.kingslynncorn H[FKDQJH FR XN 01553  764864  Inverness  Eden  Court Fri  16  &  Sat  17  May ZZZ HGHQ FRXUW FR XN 01463  234  234  Birmingham  Hippodrome 7XH :HG 0D\ ZZZ ELUPLQJKDP KLSSRGURPH FRP 0844  338  5000 Â

Whitley  Bay  Playhouse Sat  24  May ZZZ SOD\KRXVH ZKLWOH\ED\ FR XN 0844  248  1588  Brighton  Dome 7XH :HG 0D\ ZZZ EULJKWRQGRPH RUJ 01273  709709  Bristol  Colston  Hall Sat  31  May www.colstonhall.org 0844  887  1500  Blackpool  Grand 7XH -XQH ZZZ EODFNSRROJUDQG FR XN 01253  290190 Bournemouth  Pavilion 6DW -XQH ZZZ ERXUQHPRXWK SDYLOOLRQ FR XN 0844  576  3000

22 | THE VOICE APRIL 24 - 30, 2014

V Living

Brought to you by Sadler’s Wells

YAMI GETS ‘ROWDY’ Godfather of hip hop theatre for Breakin’ Convention returns with another funky Child  etc.  changed  the  scene  for  many  of  us.  Coming  from  Sweden  Hip  Hop  theatre  was  QRQ H[LVWHQW VR LW ZDV PRUH about  show  choreography,  in  which  a  lot  of  the  time  girls  were  better  at.

slice of Breakin’ Convention

Nowadays  there  are  many  strong  females  in  the  industry  but  most  women  don’t  get  involved  in  hip  hop  theatre  choosing  to  focus  on  competition  and  TV  work.  Your  career  includes  some  impressive  achievements,  tell  us  about  some  of  the  highlights

Widely  acknowledged  as  the  UK’s  leading  female  funk  style  dancer,  Yami  â€˜Rowdy’  Lofvenberg’s  CV  includes  showcases,  performances,  battles,  video  shoots,  workshops,  TV  work  and  teaching.  She  was  a  dance  captain  for  the  Olympic  Opening  Ceremony  for  London  2012  and  instigated  two  female  dance  crews  Flowzaic  and  Funkamental.   Her  passion  for  funk  styles  has  earned  her  a  place  DV RQH RI WKH 8.ÂśV ÂżQHVW dancers  and  a  positive  role  model  for  women.   This  year  she  performs  her  piece  Other,  which  examines  themes  of  being  mixed  race  at  Breakin’  Convention,  Sadler’s  Wells  in  London.  Rowdy,  tell  V-­LIVING  about  your  background,  whereabouts  did  you  grow  up  and  how  did  your  work  with  dance  begin? I  was  born  in  Colombia  and  aged  3  was  sent  for  adoption  to  Sweden.  I  grew  up  in  a  predominantly  white  neighbourhood  and  school  and  suffered  greatly  because  of  this.  I  was  a  troubled  kid  but  my  parents  realised  early  on  that  I  become  alive  when  I  did  small  performances  for  the  family. It  was  not  until  the  age  of  15  that  I  saw  a  mesmerising  Dancer  called  Damon  Frost Â

and  realised  that  it  was  dance  that  I  wanted  to  do.  I  began  taking  Damon’s  classes  and  was  hooked  on  Hip  Hop.  I  formed  Sweden’s  ¿UVW DOO IHPDOH JURXS DQG also  started  taking  my  teaching  role  more  seriously,  working  as  a  dance  teacher  locally.  In  2002  I  moved  to  England  to  pursue  a  career  in  dance. With  Hip  Hop  and  performance  in  general,  who  were  your  early  inspirations? I  remember  seeing  a  group  called  the  Wanted  Posse  (who  perform  and  tour  with  Breakin’  Convention  this  year)  at  Battle  of  the  year  2001  and  was  so  inspired  that  I  watched  their  show  on  repeat  and  wished  that  one  day  I  could  perform  on  that  same  stage...A  wish  that  came  alive  2005  with  )ORZ]DLF 8.ÂśV ÂżUVW DOO IHPDOH Breakdance  group.   As  a  woman,  have  you  encountered  any  problems  or  restrictions  within  hip  hop  dance  and  theatre? It  used  to  only  be  a  few  of  us  back  in  the  day  so  to  stand  out  was  easier..  if  you  dared!  Because  there  was  not  many  female  role  models  within  hip  hop  dance,  we  didn’t  have  much  to  go  on  but  artists  such  as  Missy  Elliot,  Destiny’s Â

I  had  to  grind  my  way  up  but  had  help  from  many  people  along  the  way  and  one  of  them  has  been  Sunanda  %LVZDV ZKR , FR FUHDWHG Flowzaic  with.  With  Flowziac  I  got  to  perform  on  amazing  stages  such  as  Battle  Of  The  Year  in  front  of  10,000  people.  I  also  performed  a  solo  at  the  New  York  Lincoln  Centre  in  2006.  For  the  Olympic  Opening  Ceremony  2012  I  was  Dance  Captain  and  featured  dancer  for  the  renowned  NHS  section.  At  Breakin’  Convention’s  tribute  to  Greg  Campbellock  Jnr  in  2010  I  got  to  perform  alongside  living  legends  and  now  I  lecture  at  East  London  University  which  I  thoroughly  enjoy.  Tell  us  about  your  history  with  Breakin’  Convention I  was  one  of  the  dancers  whose  outline  was  featured  on  the  merchandise  such  as  7 6KLUWV DQG Ă€\HUV LQ 7KH ÂżUVW WLPH , SHUIRUPHG was  2005  and  then  again  in  2009  and  2010  with  various  groups.  I  have  then  gone  on  to  teaching  for  Breakin’  Convention  and  have  hosted  the  Tiny  Tots  Cypher  during  several  festivals. What  can  we  expect  to  see  this  year  from  you  at  Breakin’  Convention?  This  year  I’m  coming  from  a  whole  new  angle,  another  me!  I  want  to  showcase  different  skills  and  shake  a  few  feathers!  With  Other,  I  want  to  speak  up  for  the  SHRSOH LQ EHWZHHQ WKH people  who  cannot  decide,  the  people  who  want  to  belong  and  for  the  people  who  stand  proud  knowing  exactly  where  they  belong.

Jonzi D Hip  hop  theatre  artist  Jonzi  D D 6DGOHUÂśV :HOOV Associate  and  the  Artistic  Director  of  internationally  acclaimed  Breakin’  Convention,  talks  next  week  exclusively  to  V  Living  on  the  return  for  the  long  awaited  national  street  dance  tour. On  what  to  expect  for  the  next  instalment  of  Breakin’  Convention  Jonzi  D  said:  â€œBreakin’  Convention  has  been  going  for  11  years.  Its  left  the  UK  and  played  out  around  the  world,  its  gone  home  to  the  Apollo  in  the  states.   Saturday  3  May  ZH VWDUW DOO RYHU DJDLQ DW 6DGOHUÂśV :HOOV /RQGRQ Actually  I’d  say  that  New  York  learnt  somethin’  from   Breakin’  Convention  that  Hip  Hop  theatre  is  the  next  level  of  â€˜tings‌  and  before  \RX VD\ LW ZKDW ZH GR LWV not  urban.â€? Read  the  full  interview  LQ QH[W ZHHNÂśV 9 /LYLQJ and  chat  to  Jonzi  D  live  and  direct  on  The  Voice  NEWSPAPER   Facebook  on  Thursday  1  May.

6

JONZI D FASCINATING FACTS

Jonzi  has  been  actively  involved  in  British  hip  hop  FXOWXUH UDSSLQJ DQG E ER\LQJ VLQFH WKH HDUO\ œV

Since  graduating  from  the  London  Contemporary  Dance  School,  Jonzi  has  championed  the  development  of  hip  hop  theatre.

His  past  creations  include  TAG‌  just  writing  in  name,  IVAN  and  Markus  the  Sadist.  As  an  MC  and  poet  he  has  worked  with  The  Roots,  Stece  Williamson,  Mannafest,  Lenny  Henry  and  has  toured  with  Gangstarr. Â

His  solo  pieces  Silence  da  Bitchin’  and  $HURSODQH 0DQ ZHUH VFUHHQHG RQ &KDQQHO LQ 1997  and  2003.

Jonzi  was  listed  as  one  of  the  top  10  positive  black  musical  role  models  by  MOBO.  Jonzi’s  The  Letter  is  a  solo  work  which  explores  the  responses  to  Jonzi  being  offered  an  MBE  in  the  New  Years  Honours  List  and  uses  choreopoetry  to  look  at  this  sensitive  subject  matter  through  the  eyes  of  an  animated  cast  of  characters  DOO SOD\HG E\ -RQ]L

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