I was a performer(with Tim) and an observer during this Choreographer’s Evening. I enjoyed the diversity that was put into the show. As an observer I found that you mixed different styles appropriately which kept the show moving. I think the starting of the show with Judith’s orange piece was definitely an attention getter and set a positive vibe for the rest of the night. I found that after the show the most memorable pieces that the other observers talked about were the Super Group performance and the beginning piece by Judith. I feel that the reason those pieces were “more memorable” was because they stimulated more senses than some of the other pieces. They livened up the show with the colors and interactions they utilized.

I feel that the show was successful but hasn’t received enough recognition for the hard work that was put into it. I personally enjoyed the line up because of the differences between each choreographer. I think that you did a good job picking choreographers/performers and I feel it was a successful show.

Thanks!

Music created hip-hop culture and music leads us to the choreography. The way we create is very organic in that it happens as we practice. I have ideas and write them down but I dont know until I implement them if they will actually work. Traditions are the culture’s rules and practices that have been passed to us by our elders like Rocksteady Crew, Sosa Crew, and Minneapolis Body Breakers to name a few. The tradition we put in our piece was represented by the quickly switching routines that are known as commandos in b-boy culture. Also the actual footwork known as stutters, 6-step, cc’c and many others. The shoes we wore are traditional and the fat laces in them reflect this too. The colors represent Battlecats crew, as most crews have a color scheme they wear.

So there are some points about tradition.

I like movement that is awkward and unconventional. I take a movement like a frog leap, try to do it as realistically as possible, then transition to a six-step. The transition becomes the move and it is still based in the fundamental movement of b-boying. I keep tradition but think outside of the cypher (this is the name for a circle of breakers dancing). If we are choreographing and a move doesnt work, we throw it out. I feel that flexibility in choreography is key to making dances that make sense and maintaining an accepting creative environment. We definitely start with a basic idea and layer meanings and movement on top.

There are four element in hip-hop culture: emceeing (rapping or lyricism), DJing (turntablism), Graffiti art (tagging or bombing), and b-boying (breakin or breakdancers). There are other forms of hip-hop dance like popping, locking, rocking, krumping, popular to name a few but the first dance done to hip-hop is b-boying. Our role in hip-hop is vital to an understanding of the culture.

Now, putting on stage is not normally done and this is what sets Battlecats apart. I have studied choreography in college and I am a student at the U presently in a program (PIL) that will allow me to do this again. I plan on putting on a major (60 minutes) work next year. Some groups put b-boying on stage but dont take it past a basic level. I want to tell sci-fi conspiracy theory stories( like philip k. dick and robert anton wilson), among others, with my art as the medium. This is also different than the norm also.

I will be featuring new work every other month at Patrick’s Cabaret, a great little venue that you can bring alcohol to. The next one is mid-january, the 15th and 16th i think. I will be doing a solo.

Thanks for your questions, I hope I answered all of them!

J-Sun

How do you make choices about making moves, about putting them together?

What sort of ideas determine what choices you make?

How are the Battlecats situated in Hip Hop dance culture? Do you consider what you do a part of a particular branch or style — or are you moving out in a new direction?

Finally — what’s a good way to see more? I couldn’t find any video online…

I feel that I should say a little something about Hip Hop dance in a forum such as this. A rich history and tradition surround b-boying and this is not common knowledge. If we wear the same clothes in a performance that we do in everyday life, that is because the clothing and how we wear it is the traditional way. Basically, there is meaning behind the dress. The same goes for the music and the movement, it is all traditional. So, if you don’t know anything about HH, it does make it difficult to decipher what we do. The big moves like headspins are really secondary to the upright dance (rocking) and the floorwork (footwork). In fact, this foundation is where the big moves originate.

I want to be able to answer any questions anyone has pertaining to b-boying or the Battlecats in a different community than I normally interact with.

I am very grateful to have had this opportunity to perform my work at this years’ CE.

Great job Sally!
J-Sun

The criteria I used to choose the 13 works had a lot to do with how each work stood on it own, so the criteria being: quality of composition, some novelty was appreciated, some not; sincerity and focus; work ethic or some semblance of professionalism and respect for all involved–for the technicians at the audition, for their performers, for the process itself–I’m sure I’m not expressing this well. What I mean is, I evaluated how people interact with the me, the process, the opportunity, the stage, the paperwork, the schedule. Can they show up, show their work independently but also work with all of us to create a good show? Many could not. The phrase “does not play well with others” came to mind on several occasions. There were a few concepts that were auditioned– extremely intriguing and I came very close to programing them. But it seemed unfair and nearly impossible to program, especially the mystery choreographer who I never met face-to-face with.

Reputation, resume, etc. was not part of the process not my criteria. I really like that. The fact that you just show up, whether you are Mary Easter or Tim Cameron.

I really tried to see what the intent was and whether the choreographers seemed to be achieving their intentions, whatever they were. I did not judge the intention itself.

Can you feel the blogger fatigue?! Anyway, thanks for the feedback. I’ll tell Garrison. -Sally

I enjoyed the evening. It made me wonder if I enjoyed it more (than some other things I’ve seen) because it was local or for some other reason (and there are plenty). It also made me wonder about how you curated it — what sort of criteria did you use to pick the work? And what kind of work was submitted? Now that I have been to a grand total of two choreographers’ evenings I am beginning to think about things like whether it represents something about the community, the curator, the institution, the choreographers, or what. (I imagine its a little of all of these.)

- The first thing I remember is Garrison Keillor’s voice. I think I can visually remember parts of all the pieces.

- It all surprised me, as I didn’t look at the program or even pay much attention to who had work there. (I have an amazing capacity for cluelessness, which only rarely serves me as well as it does it this case.)

- I laughed (many times), and didn’t cry.

- I can’t remember if my mind wandered at this point, (again with the cluelessness) but I imagine it did.

I was particularly struck by the b-boys’ piece. It seemed such a good and effective mix of spectacle and substance — I wish I could achieve that sometimes.