Ian Abbott on aspects of masculinity in Hip Hop dance theatre

On portrayals, examples and manifestations of masculinity in Hip Hop dance theatre, Spring 2020

This early 2020 reflection on portrayals, examples and manifestations of masculinity in Hip Hop dance theatre presented across England was originally going to be longer; I had planned to feature eight works presented in different part of the country — in itself an indication of the community’s rude health — that could inspire a wider conversation around similar themes. But with coronavirus taking hold of and effectively shutting down the social fabric, my plan has been reduced to four pre-coronavirus works: Caravan Social Night 7 – The Soulquariains Tribute Edition by Caravan/Chris Reyes at Richmix on January 25; Far From the Norm/Botis Seva’s BLKDOG at Warwick Arts Centre on February 11; Company Nil/Daniel Phung’s Blowin’ in the Wind at Richmix on February 14, and Let’s Shine Mentorship Programme presented by Just Us Dance Theatre at The Vaults on March 14. Those I was unable to include are Artists 4 Artists showcase in Gloucester presented by Strike A Light featuring Happy Father’s Day by Dani Harris-Walters; Fig Leaf by Joshua ‘Vendetta’ Nash, and Man Up by Kloe Dean on March 17, and Born To Manifest by Just Us Dance Theatre at The Courtyard, Hereford on March 26. 

There are a number of journal articles and books looking at masculinity, Hip Hop culture and dance; some of those that have informed my thinking are: Toby S. Jenkins A Beautiful Mind: Black Male Intellectual Identity and Hip-Hop Culture from 2011’s Journal of Black Studies; Sara LaBoskey’s Getting Off: Portrayals of Masculinity in Hip Hop Dance in Film from 2001’s Dance Research Journal; Mina Yang’s Yellow Skin, White Masks from 2013’s Daedalus, and Jessica Nydia Pabón-Colón’s Graffiti Grrlz published by New York University Press in 2018.

Sat amongst this, the Producer/Writer Tobi Kyeremateng (@bobimono) published a three-tweet thread on March 1 which feels more reflective of the dialogue, complexity and intersectionality currently in play at the edges of masculinity and race and although she wasn’t explicitly citing Hip Hop dance theatre it could be read in that way: 

“i’m more and more certain that i’m really not interested in creating or producing work on “the Black experience” that isn’t specific in its focus, pushes Blackness into a monolith or isn’t saying anything new or different or interesting. 
“afros, growing up in ends, road life, knife crime, Black girl magic, masculinity – all incredibly nuanced, but it doesn’t feel like artists are being challenged to push themselves to think about different and creative ways we can talk about these topics”
“also don’t care for respectability work either lol like two ends of the same spectrum”   

In early 2019 Botis Seva talked about the influence — on the early incarnations of his BLKDOG — of Sally Brampton’s compelling and graphic Shoot the Damn Dog: A Memoir of Depression; in it she charts reflectively a depiction of her own isolation, incarceration, addiction and patterns of repeated abusive behaviour (which feels even more resonant in our current situation). This book influenced some of the original thinking and continues to inform the choreographic axis of the now-70-minute version of BLKDOG, co-produced by Sadler’s Wells.

After winning the April 2019 Olivier award for the 20-minute version, the task facing Seva was to build, flesh out and construct this first of seven performance dates across England in Spring 2020; it is framed as ‘Botis Seva’s BLKDOG’ and not as authored collectively by his company, Far From the Norm. This foregrounding of founder and prominence of the auteur/creator/name is a growing London trend (hello Tony Adigun’s Avant Garde Dance and Luca Silvestrini’s Protein Dance) which in some way feeds a masculine ego — I don’t see Kloe Dean’s Myself UK Dance Company or Vicki Igbokwe’s Uchenna Dance — whilst backgrounding all the other people in the company who have fed into the process.

BLKDOG self describes as: ‘A genre-defying blend of hip hop dance and free-form antics…exploring the inner battlefield of an ageing artist trying to retain his youth. Performed by Seva’s powerhouse company, Far From The Norm, BLKDOG searches for coping mechanisms in the ultimate hunt for acceptance. Vital and gripping, BLKDOG is Botis Seva’s haunting commentary on surviving adulthood as a childlike artist.’ 

There are two tracts that BLKDOG explores; isolation as violence and, leading off from that, dance as violence on the self. A body placed in isolation deteriorates physically and emotionally; it fractures and is unable to heal. Shoot the Damn Dog offers an account of personal proximity to trauma, whereas BLKDOG offers an account of personal proximity to isolation. As an accompanying text — although Seva doesn’t foreground it in the programme notes or marketing copy — Shoot the Damn Dog is an illuminating portal for his thinking. With six dancers on stage (Jordan Douglas, Joshua Nash, Victoria Shulungu, Shangomola Edunjobi, Naima Souhair and understudy Hayleigh Sellors, who replaced the injured Ezra Owen with 24 hours’ notice), BLKDOG is a work of two states and two halves that is clearly still in progress; with a second half dressed in dinosaur onesies and crowns (courtesy of Ryan Dawson Laight) straight out of Where The Wild Things Are, the first half is visually reminiscent of fresh 1970s asylum threads with bespoke quilted hoods. 

Seva has honed and expanded some of the choreographic palette and visual devices (gun toting/pointing and the duckwalkesque ‘nibbles’ that scuttle) from Madhead, his commission for the National Youth Dance Company in Summer 2019. The first half is the foundation of the original Olivier award-winning work demonstrating some of Seva’s core strengths: building rich and interesting choreographic movements that challenge the preconceptions of the dancing body. I like this focus on the half space. If level 1 is work/bodies on the floor, and level 2 is full verticality, there are oodles of sequences where the dancers are existing at level 1.5, demonstrating a gluteal strength and a bodily duality that is neither one thing nor the other —  ready to spring or ready to collapse. It is this space that Seva likes to inhabit as he deflects choreographic boxes and boundaries into which his ‘free form antics’ do not neatly fit.

Long-term music collaborator Torben Lars Sylvester (Seva’s whole creative team is male apart from producer Lee Griffiths) spoke in the post-show conversation of the process of one-upping each other, finding patterns, inflexions and musicalities that the dancers could ride and that would in turn cause him to build extra tracks and layers into the score to create an additional mood for the dancers. Thinking back on the work three days later (when I wrote this and now six weeks later in revisions) I cannot recall the score or any of the emotional drivers behind it.

The proximity of choreographic isolation in both time and relationship for each dancer ensures they do not infect those around them; like a virus they remain immune to each other. There is no being influenced or influencing, and apart from the last 10 minutes when Jordan Douglas really shines brighter, hits harder and erupts, the cast of six are diminished and muted; either in their cumulative number or choreographic difference. We have six ones, rather than one six. 

If this is the first time you’ve seen Far From the Norm in a theatre — and for those non-London audiences it is quite possible — what you will encounter is a band of dancers who are fiercely committed and deliver a slippery blend of choreographic putty under the guidance of the good ship Seva. The first time you see a Norm it is refreshing; you’re in the presence of a set of dancers that don’t look like Hip Hop, don’t look like contemporary dance and don’t look familiar — they are defined by what they are not. Seva is isolating himself from easy choreographic definition and at the same time making a choreographic lineage hard to attribute or to see where the seeds of his influence(s) will fall next. 

Heavy is the Head is the last track before the show begins and Ultralight Beam is the first track after the no-bow; we have BLKDOG as the filling in a Kanye and Stormzy masculinity sandwich. However, having seen six of his works since 2015/16, including his break-out work Reck, it feels like Seva’s choreographic language is intact; he still has a knack of creating unusual moments, motifs and visual food, but (I may be incarcerated by my/his own expectations) five years down the road his ability to sustain interest, to shift a mood or shake a mono dynamic, to think of an audience as a complex layered entity able to receive multiple signals and modes of address, needs further development. He’s in his own suburbs. 

It’s worth reiterating that this was the first show of the tour that should (coronavirus permitting) continue touring into Autumn 2020, and as a work tours and beds in with new audiences it will shift and be modified. I look forward to meeting BLKDOG again at a later junction.

Presented and commissioned by Chinese Arts Now, Daniel Phung/Company Nil’s work Blowin in the Wind self describes as: ‘…a powerful and dynamic dance theatre piece addressing the complexity of the current patriarchal society, it challenges our perspective on ‘power’. Four characters who are forced to place their ‘power’ within patriarchy, use mind blowing Contemporary and Hip Hop dance (emphasis is mine) to take you through multiple episodes of masculinity: Sensitivity, emotion, conflict, aggression and adolescence. It is an emotional response to these following questions: What is masculinity? Does masculinity exist? What is cultural masculinity? Does cultural masculinity exist?’

This is the first full-length work Phung has created, and these are some large claims and questions he attempts to answer with four performers in several episodes over 50 minutes. Either the questions are so grandiose that they are impossible to answer or are so simplistic that we’ve heard them before. There are a few nice sketches and motifs — mainly featuring Fern Grimbley who has a physical elasticity and watchabilty that warrants a deeper choreographic challenge — but a tender wrestling duet in which two people try to wear the same jacket is indicative of Blowin’ in the Wind’s facile representation. It offers a 2D stereotypical masculinity that belongs in the Daily Mail with little thread or authorial commentary. Despite a couple of nice lift sections and a solo for Grimbley that showcases what a fine dancer she is, the visibility of a Hip Hop choreographic language is hard to find and the throwing of paper aeroplanes into the audience and inviting their return is a fine but shallow attempt at audience engagement. I find myself leaning back to what Tobi said earlier around a need for nuance: masculinity is a big word, with a set of expectations alongside it; it isn’t a monolith. A smaller, tighter focus is needed if Blowin’ in the Wind is going to add to any future dialogue around masculinity and Hip Hop.

The possibilities offered by the choreographic, masculine Hip Hop dance theatre body are numerous; it can be expanded, reduced, presented in binary or opposition, it can be fragile, in mourning and in so many other different states. Yet I find it hard to recollect a Hip Hop dance theatre work made recently that offers either a new narrative or an alternate angle on masculinity without relying on what Yang calls: “…overt displays of masculine swagger and power, and built on a value system derived from the streets of corporeal risk-taking, competitiveness, and improvisation.” I am left yearning for the complexity, prowess, emotional strength and honesty of Kloe Dean’s Man Up which I wrote about last year and now consider a yardstick for other Hip Hop dance theatre works. So far nothing has come close. 

Caravan Social Night 7: The Soulquarians Tribute Edition was an evening presented by Caravan — a project founded by Chris Reyes — which celebrated the legacy of artists J Dilla, ?uestlove, D’Angelo, James Poyser (all who shared the Aquarius starsign) and the wider 90s Neosoul movement. Although definitely not a Hip Hop dance theatre work in itself, Caravan Social Nights are primarily events and fundraisers for Reyes’ other Hip Hop dance theatre work; they are a place for some of the community to gather, to showcase and see peers exercise different creative muscles, inviting and encouraging acts to bridge music, art, dance and improvisation with all the rich pollination that comes from them.

Comprising roughly five 20-minute stage sets (with a drinks interval between each), live painting by Isaac Bonan and Gatien Engo and hosted by the triple threat Ashley Joseph, the luxurious opener saw L’atisse Rhoden slow jam to Marli Artiste’s vocals and Vicky ‘Skytilz’ Mantey on drums; next up was Ben Ajose-Cutting (aka Mr Ben of The Locksmiths) with a playful set where he would control the various instruments/band members (including Turbo on drums) by lightly stamping an imaginary start/stop button in front of each musician as he layered/stripped away levels of funk and lyrics to lock to. There were other sets featuring T-Boy and Inga Be with a New-Style Hustle partner duet leading into an improvisation with Dani Harris-Walters, a work from Reyes himself, and Boy Blue’s Kenrick ‘H20’ Sandy topping off the night spitting J Dilla’s Pause with a trio of male dancers.

Caravan is without doubt a valuable space for some of the Hip Hop community; the event was slick, full of original content and one of the few places to see artists trying something different without the pressure of their own brand. There was a consistent acknowledgement of Reyes as the driving force and focus of the night, shouted out by Joseph as the man who got the funding and who made it happen (not the producer of the event, Emily Crouch). 

However, what I found strange was that Reyes had a ft. in all of the stage works as well as his own set, whether that was taking over as conductor in Mr Ben’s locking stamp band, dancing in Ken’s work or improvving during L’atisse’s opener. While there’s respect for Reyes having made the evening happen and for bringing people together, when is that line crossed? When does the consistent presence of masculine ego draw focus away from the other acts? What signals does the continued attempt to assert a veneer of alpha status send to the audience and participants? 

Do people in Hip Hop dance theatre really want to talk about masculinity? Do they see how some may be perpetuating problematic behaviours of masculinity? Are they able to engage in the complexity that surrounds the question? Or is it a shallow and facile fundraising hook on which to hang a set of technically adequate routines whilst looking winsome and drawing attention to themselves?

In 2013, Just Us Dance Theatre (JUDT) set up Let’s Shine, a mentoring project to empower young Hip Hop performers and provide them with tools and opportunities to develop as artists and individuals. In the latest edition of the programme (which runs weekly) ten young men aged from 16 to 23 have worked with Joseph Toonga and Ricardo Da Silva to create and perform a response — entitled Let’s Shine, like the project — to Toonga’s work Born To Manifest. Part of the problem of not having seen Born To Manifest is that I’m unable to gauge the success of this 40-minute response by the seven Let’s Shine dancers, but since the original was inspired by first person accounts of young Black men from across London, there are multiple things that need acknowledging in such a political and socially resonant work. The lived experience and racial profiling that young Black men in London face is radically different from any other cultural or racial group; in 2018 43% of the Metropolitan Police’s Stop and Search targets were Black people who make up just 15.6% of the London population. In the same report it said that the likelihood of Black people being stopped is 4.3 times higher than White people. In 2018, 76% of homicide victims were male, with 62% being of African-Caribbean heritage aged under 25, and in relation to victims of knife injuries under the age of 25, 455 were White and 1,370 were ‘BAME’. 

Sat alongside these statistics and lived realities, this 2017 study — Racial Bias in Judgements of Physical Size and Formidability — published by the American Psychological Association says: “Black men tend to be stereotyped as threatening and, as a result, may be disproportionately targeted by police even when unarmed. Here, we found evidence that biased perceptions of young Black men’s physical size may play a role in this process. The results of seven studies showed that people have a bias to perceive young Black men as bigger (taller, heavier, more muscular) and more physically threatening (stronger, more capable of harm) than young White men.” Toonga has himself received some highly problematic language in previous reviews of Born To Manifest, like “Toonga, an imposing presence who wouldn’t look out of place at the Rugby World Cup”, which again plays into the inflammatory stereotype that is perpetuated by the majority of the UK media. This is only some of the societal context within which this work operates.

Let’s Shine attempts to provoke, make us answer questions on our own biases and pose deeper questions about masculinity and power. We are presented with examples of choreographic contagion as one dancer emerges from the bunch, delivers a dance popularised by the video game Fortnite in a swift Tik Tok burst and suddenly all seven are mimicking, summoning up a collective energy. Then it disappears as quickly as it manifested, only to be replaced by another authored by someone else and repeated. This cycle is a fine demonstration of the difference in the behaviour and psychology of a man on his own — what he would/could do and what he can/can’t do in comparison to the behaviour of a group of men when they’re together.

Arnold Tshibangu is an absolute stand out fizzing with a performance magnetism, focus and an ability to draw and hold our attention when he is on stage, like an echo of a young Ivan Blackstock; previously he was Tin Man in the 2017 version of ZooNation’s Groove On Down The Road. The other performer that had a cleanness in execution and a barrelfull of energy was Musa Mohamed aka Moose; knowing that Born To Manifest is a duet, I’d be interested to see if the pairing of Mohamed and Tshibangu could step up to the full work at a later date.

Choreographically Let’s Shine cycles through Hip Hop and funk styles; the stage is peppered with krump jabs and oodles of pops and muscular contractions. Though technically it’s not the cleanest in execution, the musicality, the energy passed between them, the sweat and believability masks any technical deficiency in the wider cast. With some animal noises on the soundtrack mixed with gorilla vocal imitation by some of the cast, we see a relationship between the krump jab and the gorilla chest pound — but which do we see, Gorilla or krump? Violence or expression? Again, Toonga and Da Silva are playing on the edges of our assumptions/stereotypes to intelligent effect. Some of the chorus and crowd scenes were a little wafty, filling air, and were too much of a distraction to the solo/duet focus, but this is a minor quibble. 

In creating Let’s Shine — both the work and the wider programme — JUDT have created an interesting model that is asking socially relevant questions about masculinity using Hip Hop dance theatre. It is a soothing antidote to the growing number of over-produced Hip Hop dance theatre works that feeds us empty calories or fail to adopt a political position. I’m not saying that all work needs to be about something or answering a societal need, but if you’re making a work that is autobiographical, it does not automatically make it about masculinity or femininity. If you’re making something lighter, for entertainment purposes, ensure your intention is clear and let audience know.

It feels somewhat ironic that seven out of the eight works on my list were authored by men; is this an (un)conscious positioning, creation and affirmation of their Hip Hop masculinity in light of #MeToo and #TimesUp? Is it a bias and set of active decision making in programming by venues to present men over women? We know this is a consistent problem across the wider dance industry, including the work Sadler’s Wells and Breakin’ Convention choose to present and tour.

I see few attempts, inquiries or acknowledgements from the England-based Hip Hop Dance Theatre scene to engage with different types of masculinities that intersect with communities of disabled, trans, gay or femme artists. There are conversations happening elsewhere around Hip Hop and masculinity including the two Minnesotan rappers Kyle ‘Guante’ Tran Myhre and Tony The Scribe and their nine-episode debut podcast season of What’s Good, Man? which self describes as ‘a podcast on men, masculinity, and culture. Featuring two hosts who sharpened their analyses in the worlds of Hip Hop, cultural organizing, and movement-building, it’s also a response to a specific call: men need to speak up more about issues like consent, gender violence, and sexism, especially with other men.’  What England-based artists are currently dealing with is a very narrow masculinity; if they’d seen each other’s work they could have had an active dialogue or hosted a wider discussion around their thoughts on masculinity and its relationship to Hip Hop.

Artists 4 Artists double bill of Chris Reyes and Kloe Dean

Artists 4 Artists Double Bill of Chris Reyes and Kloe Dean, July 30, Laban

Choreographically the space between the torso and the head is rarely a focus; it’s often used to draw attention elsewhere, a passing place, an in-between place towards more important sites. The emotionally affecting Hip Hop theatre double bill of Sean by Chris Reyes and Man Up by Kloe Dean uses the neck — as a site of power, as a radar of threat, as an antenna of pleasure — from which to explore two autobiographical experiences. 

Sean is a 35-minute work that Reyes frames as ‘a journey of displacement, family and migration. Sean (British-born Filipino) shares his stories and the memories of early immigrant, Rosemary (Sean’s mum). What does it mean to be British born?’ The opening twenty minutes see Reyes and Jonadette Carpio creating and establishing a danceless narrative of a complex mother/son relationship; Carpio’s character has left the Philippines and heads to Britain to give her son a better life where she takes up a cleaning job to support him, but Reyes’s character does not achieve enough for his mother, turning him subsequently to drink (manifested by a black morph-suited cameo from Mikiel Donovan). 

Emotional contagion and inherited familial trauma is complex territory to explore but Reyes  — with support from Maxwell Golden’s dramaturgy — uses a suite of theatrical techniques to hook the audience: “I’ve been sober five years today” or “I saved all my lunch money to buy my mum a small fish.” It’s an efficient twenty minutes although it felt a little obvious that the bait lines we’ve swallowed will be reused later in the show.

Sean suffers slightly from the intensely autographical work it is paired with; we are left unsure of its emotional construction. How removed is Sean from Reyes’ own experience? How much is autobiographical and how much is fiction? Reyes is entirely credible in the role of Sean (and it feels like a deeper dive into a character than he created for a previous work, Caravan) but the artifice of a younger Carpio playing his mother isn’t convincing and distances us emotionally again. However, the intensity of their final fifteen-minute duet, with its focus on the power of the neck, speaks of emotional violence and restrictions. We feel the tension through the choke holds that bleed into lift hugs, and in focusing entirely on to their inability to shed/embrace their identity they own the large stage. It’s electric. The earlier use of language and the emotional spoon-feeding isn’t necessary; their physical communication is strong enough to convey what they want without recourse to words.

There is something about the notion of ‘enough’ that links the work and its author; was Sean good enough for his mother? As someone who is British-born, is Sean’s character British enough? Is he Filipino enough? Is there enough dance in Sean? Is Sean Hip Hop enough? These are the kinds of questions that bubbled up while watching the work. There are many parallels in different media that are currently exploring the notions of ‘enough’ and how individuals sit between worlds; one of the most effective is Brit(ish) by Afua Hirsch; it’s a non-fiction work of memoir/reportage about her time in Senegal and the UK,  finding she is considered too British to be Senegalese and too Senegalese to be British. It’s an eloquent reflection on where we (don’t) belong.

Dean’s Man Up is a 35-minute work that has developed substantially from an earlier and shorter iteration presented first at Ignition Dance Festival in June 2018 and four months later at the Startin’ Point Commission Platform at The Place. Man Up is an autobiographical story, adding a comedic twist to the profound and surreal circumstances surrounding her father’s suicide. It explores the stark realities of male suicide and the parallel emotional journeys of those left behind.

There is an audible intake of breath from the audience as Dean emerges out of the tangle of sky-blue ropes on the stage after crouching invisibly under it as still as an iceberg for nearly ten minutes as the audience filtered in for the second half. It’s a stunning opening.

Dean delivers an emotionally devasting movement monologue that zooms in and out of the tiny details that stick with you when you lose a parent. The rasping kiss of the nylon rope on skin as it brushes her radio mic is eerie; we see her carving it across her neck, wrapping it around her wrists and marking out territory on stage.

One of the significant improvements from the previous iteration is the inclusion of composer Teresa Origone, who performs her synth-laden score down stage left in a sonic call-and-response that increases the intensity and depth of feeling on display. Origone weaves layers of lightness amongst the chord progressions which helps to ballast the work.

In some moments it feels like we are unintended witnesses to a series of deeply private moments that weigh heavily; when she sings “I want to do what my daddy does…” because she’s a daddy’s girl or when she happens to be at home on the day her aunt calls at the front door to tell her the news because she’s tired and had uncharacteristically called in sick. These are heart-wrenching moments that feel very, very close.

Dean is captivating in performance, from her original rhymes (sung and spat) that sound a little like Kate Tempest, to all sorts of bgirl flavour, style and power she throws down. Because of the repetitive placement of a noose around her neck, I’m left thinking about Hip Hop as an architecture of air and Hip Hop as suffocation; as she moves the adapted wave tightly around her torso — a taut set of waacks up to and around her face and oodles of other close Hip Hop vocabularies — her body finds it difficult to take up space, to push the air away and move through the emotional weight of the space around her. 

It is heartening to see two artists exploring the social/political weight of events through Hip Hop (and kudos to Artists 4 Artists for supporting them); for a culture that has such a history of resistance, oppression and community we too often see it mis-used to make slick, glib routines that bear little relationship to the culture they exploit. However, Dean has delivered an emotionally resonant Hip Hop work that not only highlights the fact that suicide is the single biggest killer of men under 45 in the UK, but delivers it with craft, intelligence and no shortage of integrity.

Ian Abbott reviews 3 Rounds of Amp by Artists 4 Artists

3 Rounds of Amp by Artists 4 Artists at The Place, April 13

We’re in the eye of the storm of the third wave of UK Hip Hop theatre makers, artists who have access to two generations of successes and failures alongside their respective knowledge and egos. Over the past 18 months Artists 4 Artists has been instrumental in supporting London-based makers in presenting new 20- to 30-minute works across London venues; they are nudging the community forward, evolving the forms and ensuring people sit up and take notice of London Hip Hop theatre. 3 Rounds of Amp is their third production of krump work in eight months featuring the choreography of Amanda Pefkou, Jordan ‘JFunk’ Franklin aka AIM, and Joshua Nash.

Pefkou’s opening of her Stranger at Home is exquisite; a single bare bulb upstage left, a tight focus of light inviting us to study her face, neck and torso in a simmering krump reduction. We’re here for six or seven minutes and it’s theatrically brave, taking our eyes, keeping them there and drawing us into her emotional states. Pefkou has delivered a number of leading krump performances in the past 18 months with roles in Becky Namgaud’s Like Honey and Theo ‘Godson’ Oloyade’s K.R.U.M.P Macbeth – here she is only able to take us so far with her own choreography as a loose and flabby middle section undoes all the opening work. There’s some diagonal crawl towards a downstage right light that is located firmly in the forest of obvious. Towards the end she expels an I Belong Here – a cry-scream harnessing the power that has been building, erupting and passing through her (here as a woman? here as a woman in Hip Hop? here as a woman in Hip Hop at The Place?). This pared down, stripped, minimalist krump, whilst retaining the emotional heft, intensifies the feelings and is a marker of interesting things to come.

A number of Hip Hop dance forms when performed in battle or on stage have a narrow physical radius; in drawing attention to a single spot and bringing verticality, intricacy and detail to the fore popping, krump and breaking sacrifice any ability to travel, to move across a stage, to shift our attention and keep within the choreographic or conceptual worlds that have been created. All three works this evening suffer from this; as we see them move, exit or enter the stage between sections, tracks and scenes the dancers erase any concentration or magic. This also creates the trap of raw emotional fireworks into which krump theatre sometimes falls. Franklin’s AIMagination was the prime culprit in creating isolated visual bursts of energy that exist purely in silos. Displays of bravura technique only satisfy a certain portion of the head and heart; Franklin has used the theatrical context as mere ornamental decoration to amp up solo activity without the responsibility and dramaturgical consideration that is needed to craft, glue and take an audience with him. Although his 30-minute work garnered the most vocal reaction it was theatrically the weakest. AIMagination is a choreographic treatment for an EP dressed in Antony Hateley’s succulent lighting design. 

Blacklist by Joshua Nash is the most theatrically complete (and there’s an acknowledgement in the programme notes for Kwesi Johnson ‘for the mentoring and artistry in the studio’) and the middle 15 minutes brought krump into a conceptually and choreographically interesting sci-fi plane. Complimented by Torben Lars Sylvest’s emotionally rich score (which feels fresh out of the video game series Mass Effect) and Giacomo Bevanati’s wearable wire head piece, the collaborators succeed in changing the physicality, the emotional spectrum and the choreographic possibilities. If this section was built, exploded and dived into further there is real theatrical promise here. Nash offers a mission statement in his programme notes that he ‘aims to change perceptions of krump being nothing more than an aggressive dance style.’ With Blacklist he achieves this and much, much more.

Artists 4 Artists should be congratulated for presenting work to different communities and venues like Richmix, Redbridge Drama Centre, Laban and The Place; that the houses are sold out is a testament to their success. However, from August 2018 to July 2019 the ratio of male to female performers they are presenting (Duwane Taylor, Theo Godson Oloyade, Joshua Nash, Jordan Franklin and Amanda Pefkou) is 4 to 1 and their upcoming double bill of Chris Reyes and Kloé Dean will bring the ratio to 5 to 2. People who programme and produce work always have a choice of who they work with.

Krump audiences have an almost audio descriptive quality to them, with the live reactions of ‘naughty’, ‘mad’ and ‘let’s go’ peppering the air when they see things they appreciate or recognise. A night at the krump theatre is a rich, rewarding experience unlike any other and in 3 Rounds of Amp all the constituent parts of the krump vocabulary are present in abundance – we could play krump bingo with the chest pops, illusions and fake outs – but Stranger at Home and Blacklist have moved the form forward. Pefkou and Nash have pared it down, reached into sci-fi planes and almost Beckettian territory which, although not immediately obvious krump bedfellows, offer a future theatrical promise.