According to Emmet Price, dancing, in the early years of Hip Hop, was the “‘essence of early Hip Hop culture’” (qtd in Gorney 1). However, over the years, dancing in the Hip Hop culture gradually lost its significance as it became “cultural fad” and was replaced with a “take away product of hip hop,” which is the CD (Gorney 2). In recent years, hip hop dance has enjoyed a “huge resurgence” (Gorney 2). This resurgence of cultural expression has manifested itself in multiple “forms” (Gorney 2). However, it is this form of cultural expression is in danger of being “watered down” through “‘commercialization, globalization, codificated, and commoditization process’” (Gorney 2). Therefore, if this cultural expression is to stay true to its original form then the hip hop movement should facilitate dancing styles that are “rich with culture and meaning” (Gorney 2). In order to ensure that hip hop dance do not lose their cultural significance then it is important that hip hop dance styles be used as a form of combat against oppressive forces, protest, civil activism, a visual demonstration of power and to gain dominance over constrained spaces.
DeFrantz explains that the various styles of hip hop are not solely intended for entertainment, but it is to be used as “a tool of battle” (10). The academic explains that while dancing in a nightclub “black dancers” “hold their faces seriously” dancing an “impromptu battle with a focused facial mask” (DeFrantz 10). DeFrantz mentions the fact that persons who are apart of oppressed groups tend to use “‘language, dance, music to mock those in power, express rage, and produce fantasies of subversion’” (qtd. in DeFrantz 11). Therefore, in light of this fact, it can be said that hip hop dancers use their dancing styles to combat “oppressive forces” (DeFrantz 11). Rajakumar confirms that hip hop dance styles were used as a form of combat or battle by mentioning that members of a dance crew would “mentor those who wanted to learn the basics of b-boying until the new member could battle for his or her acceptance” (xxvi). It is during this type of battling allows the dancers to “show off, display, rock, flaunt, work” and “boast” (Gorney 9). It should be noted that hip hop dance styles, such as breakdancing, began as a “form of fighting” (DeFrantz 13). Breakdancing (which originated from the Brazilian Capoeira) is a “mixture of physically demanding movements” that “exploited” the “prowess” of “their performance,” and “stylized punching and kicking movements” that are intended to attack someone (DeFrantz 13). DeFrantz explains that the black body (especially in the African Diaspora) has been long “legislated and controlled by political systems both legal and customary” (10). In addition, hip hop dancing was created as an “outlet for inner-city youth who were otherwise ignored by mainstream institutions including the government and schools” (Rajakumar xvi). It is through dance forms, such as hip hop dance, that the black body becomes liberated from these societal confinements while fighting against oppressive systems.
Additionally, it should be noted that hip hop dance is used by black dancers as a form of protest. Gene Moyle explains a type of hip hop dancing called flexing (which originated from Jamaica’s dancehall move known as ‘Bruk Up’) is used to “rally against social injustice, police brutality, and racism” (par. 2). It should be noted that “flexing gained momentum in the era following the police killings of two black men in the US” (Moyle par. 3). This hip hop dance style deals with issues of “social injustice through the exploration of personal narratives” (Moyle par. 4). It should be noted that flexing in the arms are often tied behind the back and articulated in a manner that suggests repression or bondage while beautifully contorted. Moyne mentions that dancers in the hip hop dance style of flexing often “their stories of inequality, poverty, violence, death and hopelessness” in compelling and “confronting vignettes” (par. 4). This hip hop dance style shows how the black body can not only overcome repression and adversity, but it can also be used to protest against social injustices, such as police brutality.
The hip hop dance styles are frequently used as a form of civil activism. DeFrantz indicates that the “[p]hysical virtuosity” in the hip hop dance is an “alignment of physical tension [hardness] with politicized blackness” (DeFrantz 12). This is unique to the “post-civil rights era” since this period requires that an individual be precise in his attack of certain issues related to social injustices. While watching hip hop dancing, a viewer can become easily enthralled by the “angularity and asymmetry” of the dancers (DeFrantz 12). These precise movements appear to illustrate how the dancers use their body movements to attack the space and not allow themselves to be confined to a particular area. Likewise, civil activism requires that an individual attack the space by bringing to persons’ attention the injustices or inequities found within the society. This is clearly demonstrated by the hip hop dancing style of flexing where the dancers use beautiful intricate hand movements to show injustices present within the law enforcement agencies. Hip hop dancing, just by its very nature, uses the order of bodily movements to expose the disorders found within a society.
The various styles of hip hop dancing represent a visual demonstration of power. DeFrantz explains that the power that is visible in hip hop dancing in the “assertive angularity of posture” and “insistent virtuostic rhythmicity” of its performers (9). However, the power of hip hop dancing is embodied in a different manner in a black body when compared to another person who is exposed to a different cultural background, in most instances. In the mainstream culture, for instance, dance is perceived as a means of arousing pleasure. For instance, at a sporting event the cheerleaders “smile aggressively” as they inspire the crowd to become excited (DeFrantz 10). On the other hand, the black dancer remains serious while “dancing an impromptu battle with a focused facial mask” (DeFrank 10). This serious attitude to dancing comes from the African tradition of masking. DeFrank explains that the facial mask is a “symbol of focused energy” (10). This symbol or serious attitude of a hip hop dancer (particularly a black one) is an “embodied creative gesture” which shifts the attention from the “mouthpiece” to the “whole body which talks in the dance” (DeFrank 10). This “focused energy” is another expression of the power found in hip hop dancing (DeFrank 10). It should be noted that hip hop dance styles are an expression of “control and dislocation” (Bragin 2). Therefore, hip hop dancing has the ability to empower the oppressed person to gain control over his environment through his bodily movements, and do so in spite of the dislocation caused by the oppression.
The hip hop dance styles allow dancers to have dominance over tight and constrained spaces. Bragin explains that in the beginnings of hip hop dancing, “street dancers” “‘confined’ on the streets” (3). This means that street dancers had to learn how to negotiate their bodies in tight, constrained places. Bragin explains that “street dance” is designed for “tight spaces” while “adapting to a range of social contexts” (3). It is in learning how to negotiate tight spaces that hip hop dancers or street dancers know how to overcome a “‘racialized history’” through bodily expression or movement (qtd. in Bragin 3). It should be noted that when the hip hop dancer, who has had to contend with oppressive forces, takes control over tight spaces then he is able to gain control over of not only his space, but also his own body, which has been constrained by the forces of oppression. Hip hop dancing allows the dancer to freely express itself through bodily movements place the dancer in a mentally free space that will ensure even momentary liberation of the forces of oppression
In conclusion, it should be noted hip hop dancing is more than simply a form of cultural expression, but it has significance or meaning, especially for those persons who have been oppressed. Hip hop dance styles allows the dancer to have the ability to combat opposing forces. In addition, this dance style is also a form of protest against systemic abuses and social injustices. Hip hop dance styles have been known to be used as a form of social activism. Hip hop dance styles, in its truest form, is a visual demonstration of power. Finally, hip hop allows a dancer to be able to take control over tight and constrained spaces.
Works Cited
Bragin, Naomi. Black Power of Hip Hop Dance On Kinesthetic Politics. Thesis. 2015. UCBerkeley: Escholarship, 2015. 1-121. Print.
DeFrantz, Thomas F. "The black beat made visible: hip hop dance and body power." Of the presence of the body: Essays on dance and performance theory (2004): 64-81.
Moyle, Gene. "A New Protest Movement: Flexn Your Message through Dance." The Conversation. The Conservation US, 29 Sept. 2015. Web. 21 June 2016.
Rajakumar, Mohanalakshmi. Hip Hop Dance. Santa Barbara, CA: Greenwood, 2012. Print.
