Falling Into The Abyss by Mai Lê

In 2012, I entered a House Dance Competition at International Soul Society Festival organized in Washington DC by Urban Artistry called The Abyss. Why was it called the "Abyss"? 

Probably because unlike traditional House battles, here, the selected dancers go hard for an hour straight in the cypher. So depending on where you come from, mentally, I mean, maybe geographically too (HA!), you could think of it as a harder challenge (1 hour vs 2 minutes) or as a rather natural experience (same as cyphering in the club). My past experience made me opt for the latter, but at the end of the day I didn't really know what to expect.

After participating in my first Abyss cypher in DC, I concluded that it wasn't as natural as I thought it'd be- probably due to the competition context (money at stake, judges' eyes, the thought of time management, etc.), but it definitely was the closest to the "real deal" in the sense that the cypher helps build an organic vibe among its dancers, true to its clubbing roots.

I may be wrong but I think we were all a little reserved when we did that first Abyss. We were half creating, half observing and understanding the dynamics of this "official competition cypher". Looking back at it, the reservation wasn't justified, we just had to go hard and that's all we should have thought about!

Lesson learned as the ISSF organizers come to Oakland to host an Abyss Qualifier at the Oakland House Dance Conference 2013. This time- no judges, the top 12 dancers (as opposed to top 8 the first time) still dance for an hour straight, but then they have to vote for who they think the best dancer of the cypher was. The winner then is flown to DC for the International Soul Society Festival for The Abyss 2013 finals, where he/she has the opportunity to win the grand prize.

In the Oakland Qualifier, I didn't enter for the win. I was honored to participate in The Abyss as a "wild card" - basically a dancer that jumps in the cypher for a short time just to spice it up! 

To be honest, this Oakland cypher didn't even need to get spiced up (HA!), those 12 dancers were hungry and going hard from beginning to end! The music was definitely helping (props to DJ Tomahawk Bang on the wheels with the bomb track selection). I felt the dancers covered more range too (floor work, animalistic style, aggressive flow, very smooth gracious flow, etc). The cypher was very intense, in a positive way, and was clearly entertaining the whole room.

When the time came for the dancers to vote, two dancers stood out, they each had three votes so they had to "battle" for an additional half hour to determine who was the cypher warrior of the day. Maaaan o maaaan, I have the biggest respect for these two! Angelo and Odie gave their heart to the floor. The crowd was super encouraging, so much so that we all got some of their sweat on our faces as a thank you ;)) Odie went home with the W.  Congrats again to him!

In conclusion (because I'm trying to make this short, but I see it becoming a book-HA!), my first Abyss experience was a dope one, but my Oakland Abyss experience was an even a doper one.  I just hope that future, "Abysses" follow that exponential growth trajectory! This cypher is not only inspiring for its dance but actually rather for its vibe and energy. It is a real, raw and memorable experience to all of us and on our paths in this House culture journey, I wish us all many more!

"Investing in a Safe Space" by Emily Oleson

When I first started to collaborate with Urban Artistry, I was touched by their openness and the warm welcome I and my fellow Irish step dancers received.  I decided I wanted to study with this group of artists who had created one of the healthiest and happiest dance communities I had ever encountered.  I had to ask myself: what does it take to invest in a community, a cause, and a culture? Should you be from it, of it, or in it?  I knew from being involved in several different dance traditions that there are various ways to enter a new dance scene - I also knew from studying the idea of "community dance" in general that different approaches often determine how and how long people remain engaged.  I appreciate many of the ways that Urban Artistry creates and maintains a real community. 

 

Investment in a common “topic” (whether political, aesthetic or social) seems to lead people to a space and time where their interests can be shared.  This is obvious.  What might not be so obvious to scholars and dancers from very formalized areas is that structures and rules already exists within dance communities that are self-sustaining.  The shape of a culture's organization might not look familiar at first, but when I look carefully I have found parallels between urban dance cypher culture and traditional Irish music etiquette, for example.  Understanding that rules exist, perhaps below the surface or by other names, has helped me identify and follow them with sincere efforts toward respecting leaders and peers.  Dancers who come from one dance culture to a new dance culture, say from contemporary or modern dance to urban dance, might have assumptions based on their own training that will be challenged in a new environment.  This is healthy, fun, and produces artists with broader minds and skill sets - it's a good thing for everyone.   I am learning from Urban Artistry members that there are three "T's that promote investment - "Time," "Transparency," and Tension."

It might behoove community dance practitioners who come into a group from the outside to spend an extended amount of time observing the existing aesthetic values.  What do the people you are there to serve consider beautiful or excellent?  Rather than pre-programming an agenda based on an imagined need, we can ask questions, both subtly and explicitly.  We can do this as students of a new style, discovering fresh goals, or as teachers in a new setting, realizing we have a range of tools and skills to offer.  Many leaders in the field of "Community Dance Practice" establish this as one of the most important of their "best practices."

The community should expect a high level of transparency and accountability on the part of incoming dancers.  Visitors should respect prior community members and protect them from oppressive or irrelevant judgment.  I find entering a new world of dance is a great opportunity to learn about my own preferences and assumptions.  There is no need to project shortcomings on other dance forms because they are not my favorite. I don't need to change, rescue or enlighten anyone so that everything can be my favorite thing - and I don't need to pick just one thing.  I like crossing over between different dance communities and building bridges for collaboration and play.  I also see most other members of Urban Artistry spearheading these kind of projects, without public funding or support.  This is inspiring.  My hope for the field of Dance Education is that with real attention and respect towards established dance artists in a variety of backgrounds, project-based community dance that's enriching to existing communities can be funded to have lasting and sustainable impact. 

Where many different people are all invested in a similar aesthetic/political/social topic, a certain amount of tension is inherent.  We don't have to look at tension or disagreement as a knife dividing communities into sub-groups.  We could look at the sub-groups or individuals in a community as charged particles orbiting around a single nucleus.  The tensions are like the electro-chemical charges that keep things alive and in motion around the common theme.  Just as some structures can’t be built or achieved without a certain amount of tension (hanging a hammock for instance), there might not be true community without internal dissent on some level – maybe.  There are stories from disparate individuals coming together to make group, creating counter-narratives across generations and backgrounds.  Creating safe space for dissent (instead of only trying to foster consensus) would definitely constitute another "best practice" for community dance.
 

The safe creative spaces that are bound by the three "T's,"- time, transparency, and tension, are not necessarily value-free spaces.  I have to admit I have personally spent a lot of time complaining about aesthetic hierarchies that discriminate against urban and folk arts (like those that might show up in higher education).  Still, I do see that within most communities certain organic hierarchies are present. 

Continuing the metaphor of particles in orbit, there are certain pathways and spheres of orbit that are closer to the nucleus than others – this is how I see hierarchies of artists manifesting within some communities.  There is a music jam at Augusta Heritage Center's Old-Time week called the “Onion Jam” where the instructors are in the center, and it radiates by skill level from there - respecting existing hierarchies might be a best practice, too.  

 

These are not linear, vertical, list-like hierarchies, but mobile, changeable proximity to the source of the art form.  In Good Foot Dance Company, my partner Matthew Olwell and I sort of orbit around each other- interacting, playing off of one another- creating our own pathways and yet following traditions.  This is also a necessary kind of motion in a dance company - you don't always maintain the same role, and you're not always the one on top.

Beat Retreat Teaser

 

Perhaps the saying “you get out what you put in” explains the fact that artists who invest the most in the form seem to be more central in the scene.  They are fed by the art form emotionally, mentally, spiritually, and hopefully materially -  but perhaps one can only be nourished by the form and the community by being responsible for oneself.  Being transparent about your intentions and background helps to set a tone that inspires generosity in others and helps create the safe space for the community and the individual.  The space, perhaps filled with a healthy tension, between the individual and the group, holds our communities together.  

Meet the Author: Emily Oleson:

Emily Oleson started as an intern with Urban Artistry, and has become an Artistic Director because of her background in the connections between Irish and European step dance, Appalachian flatfooting, and tap.  She recently graduated with an M.F.A. from University of Maryland and is the co-founder of Good Foot Dance Company, which specializes in remixing American vernacular dance into innovative “Trad Dance Theatre.” Emily's article, "Two Shoes, Same Foot: Vernacular Dance and Concert Dance" was recently published in Dance USA. She also has an upcoming performance at Flurry Fest with Urban Artistry's Executive Director, Junious Brickhouse in February. 

Bienvenue Kamikaz Crew (Algerie)

This week, Urban Artistry has the honor of helping the State Department welcome Kamikaz Crew, a hip hop-inspired performance group that frequently uses their talent to uplift Algerian youth, including orphans, children who are ill, and children living with disabilities. The Kamikaz Crew was recently voted the most talented group after participating in a competition sponsored by the U.S. Embassy in Algeria. They also recently won the Algerian National Dance Championship and the 2011 Algerian Talent Competition.

Kamikaz Crew is participating in a 3-week study program coordinated by Global Connections, titled "Youth Empowerment through Hip-Hop" for the State Department's International Visitor Leadership Program.  They will be touring D.C., Mississippi, L.A., and New York, and we hope to expose them to the many sides of cultural dance that D.C. has to offer during their short time with us. 

On Sunday, they were invited to our company rehearsal.  Their passion and charisma amazed both our Artistic Directors and the youth in our company. Diyanna, an Artistic Director with Urban Artistry and first year student at Trinity University, said, "They were dope!" We'll have many more opportunities this week to bond and break bread with Kamikaz. 

Tuesday, December 4th @ 6pm

Explore one of the U Street Corridor's newest artsy and casual additions- Satellite Room.  Kamikaz and Urban Artistry will dine in the diner-inspired setting tucked back behind the 9:30 Club. It's a perfect spot for a pre- or post-show burger thanks to its late-night hours.  Then we'll head over to Bus Boys and Poets for Open Mic Night. 

Wednesday, December 5th @ 9pm

Along with @OKAYAFRICA, Tropicalia DC and DJ Underdog, we welcome you to be apart of the essence of progressive African rythmes and house music at "Okayafrica DC". House Dance, Azonto, Zouk and stretch out with dj's Underdog, Native Sun, DrewCool, Kimozaki and Nykoskiie.

Thursday, December 6th @ 6pm

Kamikaz will join Urban Artistry students and family for our weekly classes in Bethesda, MD. Arts education is a key component of our mission, so to learn from and with Kamikaz is an honor.

Friday, December 7th @ 11am 

Kamikaz will be guests on our weekly live radio show, The Urban Artistry Show, which airs live on WLVS: http://listenvision.com/listen_live.  This will be an opportunity to share Algerian hip-hop culture and dance traditions to American and international audiences.   While dance itself is a language, and a way of communicating, one can gain different understandings of the movements through discussion about where and when they came from. Urban Artistry has begun having more conversations about dance on our new live radio show. It is a chance to interact with DJs, musicians, visual artists, historians, dancers, and educators who continue to shape the culture that is dance. 

@11pm: Finally, to celebrate the end of Kamikaz's week in Washington, DC, and to wish them well on the continuation of their journey across the United States, we have invited Kamikaz to join us for a night of dancing at U Street Music Hall.


As excited as we are to show Kamikaz how we experience urban dance styles in Washington, D.C., members of Urban Artistry are even more interested in seeing, hearing, feeling, and being inspired by the similarities and differences of the experiences of Kamikaz.

Bienvenue aux Etats-Unis, Kamikaz!

DJ Baronhawk Poitier - Baaad Assssss!

Every time I post a mix publicly I want my audience to be surprised as to what they will hear. I never upload mixes back to back that are the same genre. The titles never hint at the genre of the mix. The name might be something I think has a little ring to it or its just an inside joke I've come up with during the process for my own amusement. I usually don't share any information about my mixes at all! However.. you're in luck. You get some background behind this mix (yay).

This mix serves three purposes. First of all its a promo mix for my monthly funkebration (yes, funk and celebration had a baby) called Bad Ass! Secondly, I wanted to mix music that I don't hear being spun very often in a way that I don't ever hear it spun. Most of the tracks are sped up to increase their intensity and power. Lastly, I wanted to tribute something to Rashaad and Ryan with a Strutting mix.

Check out the mix here: DJ Baronhawk Poitier - Baaad Assssss!

Check out the fan page: http://www.facebook.com/DJBaronhawk

Check out the event page: http://www.facebook.com/events/131671616943022/

A Musical Journey with Russell Campbell

The torrential rain storm could not keep Russell Campbell’s fans from attending his set at 18th Street Lounge (ESL) this past Sunday evening. Also known as DJ Mate Masie, his entire two hour mix compelled us to feel as if we were all dancing on the edge of our own record. A record that Russell had brilliantly created with music he chose to play - or music that chose him.

One thing you should know about Russell is when you first see him on the dance floor, he exerts a radiant energy that puts you in a trance. Allowing for the music to move him, his motion is fluid. Once he stops to take a break and you have the chance to talk to him, you realize that not only is there deep sincerity, but patience and understanding as well. This appropriately explains Russells’ choice for the name Mate Masie, which originates from the West African Adinkra symbol and is interpreted as, “You understand what you hear.”

Much like a composer creates a story with her score Russell has created his own, bridging two of his many passions: music and dance. Humbly, he realizes that he was not alone in this creation; who he is today stems from his true roots.

Born in 1983 and raised in Silver Spring, MD, Russell was exposed to music from all genres at an early age. Coming from an extensive, talented musical family, Russell’s grandfather, Bill Campbell, played tenor with the legends (– The Intruders, James Brown and Etta James, to name a few), his grandmother, Pauline Campbell, sang at the Good Hope Methodist Church and also played the Hammond B-3 organ, and his father, Vincent Campbell Sr., is a vocalist who plays bass guitar.

Though Bill Campbell would not all allow for Russell to take part in his band (Russell recalls a conversation where Bill told him, “You aren’t old enough”), when it came to music, he was Russell’s greatest inspiration. A WWII veteran, he spoke very little and the two were able to communicate through music. Both playing the saxophone, his grandfather would play notes or patterns which Russell would then mimic. This was one of many lessons that Russell learned from his grandfather, and mimicking sounds would help him much sooner than he thought.

After learning from his grandfather that he was not allowed to play with his band, Russell was determined to make music a personal goal. He spent many hours in the family room, which was set up like a small studio, where he would play the piano, drum set and saxophone. In middle school he auditioned for the school band and for two years mimicked the sounds from those around him. He finally confided in his conductor that during all of this time he could not read sheet music. Instead of being upset, his conductor only challenged him more, asking him to play the bassoon. During his high school years, Russell was not only an incredible athlete on the field but simultaneously played percussion in the drum core.

Once Russell turned 16, he hit the ground dancing. “Music and dance, that’s what I did.” With his collection of records expanding along with an interest in becoming a DJ, Russell was soon introduced to house music. House music is a style of electronic dance strongly influenced by disco with elements of soul and funk. It originates from a Chicago nightclub, otherwise known as The Warehouse which was popular from 1977 to the mid-80's.

Russell received his first house record from DJ Black Caesar and being a B-Boy from Silver Spring who usually danced to funk, he assumed he would not care for it. However, when the needle hit the vinyl and the sounds of ‘We Lift Our Hands in the Sanctuary’ played by Una and DJ Oji and ‘Love and Happiness’ by India MAW rattled his eardrums, he was hooked.

In his early twenties, Russell started spending more time at Club Red, where the party ‘Underground Soul Solution’ was held. Each night, Club Red was a new experience for Russell. He was overwhelmed that there was a room full of people who were moving together and no one was stealing the spotlight, as b-boys have a reputation of doing. He suddenly felt the need to experience this feeling more and more – to see how other people lived their lives and why they danced the way they did. He soon came to accept that breaking was not the only dancing style. Those moments triggered a new energy in him, and soon he too was dancing with the wave of others. He was able to release his emotions through dance and accept his feelings, as well as accept what others were feeling. After all, the mentality of dancing with an open mind and spirit are vital to growth in the musical and dance world.

It was here at the Underground Soul Solution where Russell first met the infamous DJ Sam “The Man” Burns. Through the years, Russell had been influenced by Sam by watching and listening to him mix. Russell quickly learned that Burns had the musical ability to emotionally release those who were open, thereby allowing the music to take them for a ride.

The more time he spent listening to DJs and dancing, the more he learned how a crowd reacts to music. He now knows how to take control of the room and how to tell a story differently each time, even if the same track is played. Russell explains that house music is a way to express yourself and allows you to keep yourself in a place of understanding, hence DJ Mate Masie. As he explained, “the people are counting on you to keep the energy up and to keep them engaged.”

Advice Russell gives for those in the musical industry is that it is essential for musicians to do their research. “It’s your goal to actually be the researcher so you can play the songs or the tunes that people can feel parallel to.” This research will provide the knowledge that eventually helps musicians relate to the crowd as well as the ability to keep themselves in a place of understanding - that way, they are not solely playing but also teaching.

Russell embraces change. He sees this not only in the beat of music, but also in plants, animals, people and life. How fitting his response, when I asked him what his favorite season is and he replied with, "fall".

Russell has evolved since the beginning of his musical and dancing career and continues onward. And I for one am excited to watch this evolution – a man who not only lives a legacy but shares it.

A sample of DJ Mate Masie's music from last Sunday at ESL....

Russell Campbell is an acting artistic director, teacher, performer and producer of films with Urban Artistry.

-mea

Urban Artistry new show premier presented at The Performing Arts Center at Montgomery College on 11/17/09 at 7:00pm

Last night at the open house for the brand new, beautiful Performing Arts Center at Mongtomery College in Silver Spring, arts in schools agent Class Acts Arts presented the latest new work by the Urban Dance Company, Urban Artistry entitled "DIGITAL FUNK 5002."

The concept and stage direction for this piece was created by internationally recognized Artistic Director, Rashaad Pearson (Urban Artistry, Assassins Crew International). The piece was performed by LaTasha Barnes, Ryan Webb, Emily Wessel, Giovanni Galleno, Gabe Galbraith, Phillip Chang and Rashaad Pearson.

You can see Urban Artistry again at The Performing Arts Center at Montgomery College on Saturday, March 6th, 2010 at 11:00am for the centers 2009-2010 Saturday Morning Childrens Performing Arts Series. See the link below for more information!

http://www.montgomerycollege.edu/pac/tp_childrens_events/urban_artistry.htm

If you would like to see Urban Artistry at your school please contact:

http://www.classactsarts.org/

Class Acts Arts

8100 Georgia Avenue

Silver Spring, MD 20910

Phone: 301-588-7525

Toll-Free: 866-458-8966

Fax: 301-588-7270

Email: Info@classactsarts.org

COZZA CONNECTION DC a collaboration with DJ Bassnectar, Urban Artistry and Hip Hop Education- Thursday Nov 12th 2009 at the 9:30 Club

A Cozza Connection community service spotlight on Hip Hop Education and Urban Artistry.

Hip Hop Education is a DC-area organization dedicated to "keeping it street" by providing real, empowering, and positive lyrics for area children to perform and listen to.

http://Hiphopeducation.us/

Urban Artistry is an internationally known, multigenerational performance organization that spans the spectrum of performance styles. Urban Artistry has incredible knowledge of the capacity of our bodies, and respects the value of movement for everyone. Because of this respect, much of the funds they raise and the work they do is contributed to provide prosthetic limbs to child amputees in partnership with Kicking for Kids Who Can't, because nothing should slow these kids down.

http://urbanartistry.org/

Produced by Megan Keefe and Petri Dish TV. Huge thanks is due!

Written by Lia Holland of Bassnectarlabs and Community Activism

This film created by the amazing filmmaker Megan Keefe and her crew, documents a collaboration project between Urban Artistry: an International Culture and Education Project based in Washington, DC and Hip Hop Education, a 501(c)(3) located in Maryland which was created to help provide children with rap & hip hop lyrics that speak to their experience and are age appropriate.

The collaboration project is sponsored by the Fall 2009 DJ Bassnectar Tour. Please visit the 9:30 Club on Thursday, November 12th 2009 at 8:00pm to see the youth from both organizations perform their work live before the show!

Thank you to everyone who made this project possible,
Everyone from Hip Hop Education,
filmmaker Megan Keefe and her crew,
Show Director Rizqi Rachmat,
Director of Operations at Urban Artistry Emily Wessel,
Executive Director of Urban Artistry Junious "House" Brickhouse,
Urban Artistry Director of IT Management Harley "Halfstep" Jackson who made the connection with KFKWC possible,
all the Urban Artistry members who helped out,
The Assassins Crew and Cab Cru for their support in this project,
the youth and parents from Urban Artistry,
Youth Show Directors Gabe Galbraith and Desmond Howard,
Tim and Ginna Goodenow from Kicking for Kids who Can't,

Lia from the Dj Bassnectar Tour and most importantly DJ Bassnectar for allowing us to provide this performance space for our kids!

Great work everyone!

See the documentary & performance Live at the DJ Bassnectar Cozza Frenzy Tour Show at the 9:30 Club on Thursday, November 12th, 2009 at 8:00pm- get your tickets early before they sell-out! This event is going to be amazing!

See a preview of the documentary on youtube at this link: