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記得很早以前 DJ曾分享過 -- 音樂的多元性勢必創造出更多的肢體舞蹈元素，芭蕾不再限於古典，街舞不再限於HIP HOP曲風，JAZZ中可以看到Tango影子 … 我想大部份的音樂人及演奏家絕對樂意與舞者合作 ~ 而舞蹈絕大部份就是取決自舞者編舞者的心意與創意，藝術家若無童心及嘗試的勇氣，那自處的世界可就縮邊一半以上。
2011年度最令DJ驚喜的影片之一，就是馬友友與很有名的街舞者jooker- Lil Buck的一場合作。某位網友在看過影片後很感嘆寫下Any style of dance can be art. It takes time to learn. It takes your whole mind, body and soul to continue dancing. 這我們常常聽到，但對於純粹只是愛看芭蕾現代舞的觀眾、甚至是一些食古不化的老一輩-自稱舞蹈人者也未必就能將即便跳得再好的街舞置於dance arts領域裡。
舞蹈雜誌25 to watch當中一篇介紹馬友友與很有名的街舞者jooker- Lil Buck一段合作中所探討的舞蹈風向 (文於最下方) -----Ballet與 HipHop可以是「更親」一家。或許不只是ballet 還有TANGO與LYRICAL----而這些都只是時間的早晚問題。
「Is hip hop going classical? 」 The answer: 「Yes. 」
那是否這樣(classical)後，跳街舞就不HIGH了呢? ~ 呵呵 ~ 不至於。在HIGH聲中依舊可以創新 … 若當哪一天使用的肢體、舞步、音樂都是一樣時，才是會令人驚ㄚ ! 那時就不是「舞蹈」了，不是嗎?!
Lil Buck的柔軟度、延展度、輕盈度絕不會輸給任何我們看過的芭蕾舞者。既然大家都知道The LXD (http://mypaper.pchome.com.tw/djspirit/post/1321302706 )， 那麼古典音樂與街舞的結合就不會是神話 ~ 要成為神話，音樂會是當今的主因。
**台灣國內街舞人似乎還是跳脫不掉長久以來使用或聽音樂的模式，這真的非常地可惜，音樂性的培養是需要長時間的，既然舞蹈專業人士都看重街舞人的出線，台灣街舞人可真還得好好再加油! 鼓勵大家多多接觸古典及其它非流行歌曲的音樂。
街舞與芭蕾舞在同一舞台上演出也是最近這幾年的事嗎 ? … no、 no、 no早在1970年代(或許更早)街舞舞者與芭蕾舞者就在舞台上演出過。
提到Toni Basil可能大家不很熟， 但Mickey(1982)這首歌的旋律，只要愛跳舞的人不管年紀大小應該都要能夠哼得出來…主唱者就是Toni Basil。
◆Toni Basil
Toni Basil(1943.9.22), 出身美國賓州很有名的詞.曲作創人、演員、導演、編舞者及舞者、so you think you can dance 4及5的評審 ; 1971年與友人組成 the lockers被稱之為街舞的先鋒者，Toni Basil常在他們演出中添加芭蕾舞蹈元素但又不失每位街舞者該有的特色。她非常致力於芭蕾與街舞的融合演出，她真的很棒 ! 會唱、會演、會跳、身體能力超好、舞風也多樣，本身也是一個很棒的locker舞者 ! 該年代還真的是人才濟濟。
當大家看到以下這些影片後，可就別在一直討論芭蕾與街舞無法一家的問題了 ~ 別人可以，當然我們也可以…除了心態、時間問題之外，最重要就是熱誠與努力了。
( Toni Basil's Swan Lake- --1988年被提名艾美獎 )
Toni Basil - Over my head
Toni Basil - Street Beat
Toni Basil - Street Life
Toni Basil - You Got A Problem
Toni Basil - Mickey 1982- (Official music video)
◆
去年巴西的舞蹈比賽節目(相當於so you think you can dane)中，Locker舞者John Lennon挑戰了芭蕾Tango舞風及Contemprary。
Se ela dança,eu danço SBT john Lennon A morte do Cisne
(探戈風 ~ Contemprary )
最後那首音樂很熟吧 ~ 呵 ~ 在這兒 ^0^
http://mypaper.pchome.com.tw/djspirit/post/1321596182
< 以下摘自相關網頁報導 >
Balletic Breakin' ---By Sally Sommer
The wildly popular “Lil Buck and Yo-Yo Ma” video on YouTube features a strange and lovely fusion of romantic music and urban dancing (see “25 to Watch,” page 36). Rather than the clichéd juxtaposition of opposites (fashion model in construction rubble), Ma and Lil Buck are a carefully crafted couple put together by Damian Woetzel. Instead of city streets or cipher we see a garden. Rather than slammin’ beats, hard-core raps, and posses, Ma plays Saint-Saëns’ cello solo Le Cygne while Lil Buck (Charles Riley) performs his jookin’ interpretation of Anna Pavlova’s The Dying Swan, choreographed by Michel Fokine in 1905. The director Spike Jonze just happened to video this benefit performance for public school arts programs and posted it on YouTube, where it has gotten more than one and a half million hits since April.
Riley matches the cello’s notes with unhurried grace, flowing from one point to another, echoing Pavlova with his birdlike toe perches, rippling arms, and, finally, the way he gently melts into the floor. However, because Riley is a well-known Memphis jooker who learned largely on the streets, a question is circulating in the dance world: “Is hip hop going classical?” The answer is: “Sure. Hip hoppers and ballet dancers have been getting it on for a long time.”
Ballet and hip hop (used here as an umbrella term covering myriad forms from breaking to uprock, toprock, popping, locking to newer forms like jookin’ and turf dancing) have co-existed onstage since the late 1970s. In a recent phone conversation, Jorge “PopMaster Fabel” Pabon of the legendary Rock Steady Crew pointed out that the most famous early alliance occurred in 1978 on Saturday Night Live. That’s when Toni Basil paired four of The Lockers (including Don Campbell, father of locking) with four ballet dancers (including New York City Ballet’s Stephanie Saland) in the Four Little Swans variation from Swan Lake. Dressed in white from pimp hats to shoes, four guys locked and popped alongside four women on pointe, transforming the cygnets’ quartet into a witty octet. Basil repeated the concept, mixing the street-dance style to include locking and boogaloo with classical dancers in another Swan Lake on The New Smothers Brothers Comedy Hour, which was nominated for an Emmy in 1988. http://www.youtube.com/watch?v=pbBzyTJPt30
San Francisco Ballet’s 1984 opening night gala featured 46 California breakers, poppers, and lockers dancing in the finale. Of the original group, 14 were selected to inaugurate the short-lived but well-intentioned San Francisco Ballet Breakers, who studied ballet and taught hip hop. A long-ago video contains a nanosecond clip of the hip hop boys dancing to Mendelssohn’s “Italian” Symphony No. 4.
Doug Elkins, who came to modern dance after breaking and aikido, was commissioned in 1991 by Christopher d’Amboise of the Pennsylvania Ballet to choreograph a ballet piece in which Elkins mixed James Brown with Frederick Handel, and ballet with hip hop. Audiences and dancers loved it. Critics did not.
A more seamless merging occurred between postmodern dance and hip hop—in large part because their choreographic methods are younger, experimental, and tuned to each other. Since the mid-1980s, hip hop music and moves have been omnipresent. Kids and adolescents absorb their rhythms and moves, consciously or not; so, when they learn formal dance techniques such as modern dance, ballet, release, tap, or martial arts, their muscles also can recall the other hip hop information, enabling them to slip from one technique to another.
Victor Quijada personifies the new millennium dancer-turned-choreographer. He learned first from the streets, then transitioned into formal training in modern, postmodern, and ballet; after dancing with Rudy Perez, Twyla Tharp, and others, he formed his own Rubberbandance Group in 2002 in Montreal, enjoying critical acclaim and public support for Secret Service, a futuristic noir work that merged urban hip hop and Prokofiev’s score for Romeo and Juliet. Inevitably, the technical blend carried in the bodies of dancers and mixing of styles will define future directions in dance. In fact, Pacific Northwest Ballet is presenting a world premiere by Quijada in March.
Lil Buck’s jookin’ looks like a sophisticated blend of hip hop’s popping, locking, waves, and electric boogaloo, flavored with balletic grace and smoothness. In California, a style related to jookin’ called “turfing” or “turf dance” (an acronym for “taking up room on the floor”) has emerged. A 2009 video posted to YouTube shows a stunning and graceful turf dance performed in the rain by east Oakland dancers “No Noize,” “Man,” “BJ” and “Dreal.” Shot by YAK Films, it has clocked almost 4 million hits.
What is truly admirable—and related to ballet—is that whether these languid, powerful dances are done in Memphis, Los Angeles, or Oakland, the dancers must have iron technique to look effortless. They are fluid. They appear to glide rather than “do steps,” their arms floating around bodies, framing the torso or head. Sometimes hands reach out, leading, and the body follows. These dances stress creamy transitions and a polished smoothness. They epitomize cool control. Silken steel.
Poised between disaster and beauty, both the ballet and hip hop dancer perform at the highest peak of their skills. Risk makes them vulnerable and elegant. To do the dance well, they wear special shoes. According to Rodney Hill (a great dancer and company manager of Rennie Harris Puremovement), the proud, well-dressed hip hop competitor—like the ballet dancer—rarely wears the same shoes twice.
The question “Is hip hop going classical?” is more accurately rephrased: “Is hip hop graceful, suspended and lyrical?” The answer: “Yes.” When more subtle and flavorful forms of hip hop like jookin’ and turf dancing emerged from the streets of Memphis, Oakland, Los Angeles, and New York City, they immediately went viral and worldwide. These guys can move as lightly as feathers floating on little bubbles of air, expanding the dynamic range of hip hop choreography.
It’s about time. We needed an alternative to the played-out repetitions of flashy, fast, power moves promoted by the media and commercialized battle-competitions. Whether they are the humongous competitions like those put on by TV’s America’s Best Dance Crew, So You Think You Can Dance, or movies like You Got Served, then You Got Served: Beat the World, we can only hope Hollywood won’t serve it up again.
The current trend in hip hop performances highlights dynamics of fluidity and suspension—which steps into balletic territory. Slow-mo hip hop is not new, and Lil Buck is not the only dying swan in hip hop. What is new are how many dancers are experimenting with the lyrical, relaxed qualities in jookin’, turfing, breaking, locking, and popping, and how many millions of YouTube viewers like it. A wonderful Brazilian locker, John Lennon da Silva, performed his Dying Swan on “Se Ela Dança Eu Danço” (similar to So You Think You Can Dance) that went up on YouTube last February. Sweet-faced and sincere, Da Silva transformed Pavlova’s trembling arms into shimmering arm waves rippling throughout his entire body, causing a male judge to weep. Eight or more swans are dying in hip hop style on YouTube today, but many more hip hop videos are using classical music, electronically tweaked but still recognizable. Hip hop in many of its various styles has evolved. Once hard-core and harsh, the dance and dancers now have the maturity and technical finesse to slow down and reveal a little tenderness.
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Riley matches the cello’s notes with unhurried grace, flowing from one point to another, echoing Pavlova with his birdlike toe perches, rippling arms, and, finally, the way he gently melts into the floor. However, because Riley is a well-known Memphis jooker who learned largely on the streets, a question is circulating in the dance world: “Is hip hop going classical?” The answer is: “Sure. Hip hoppers and ballet dancers have been getting it on for a long time.”
Ballet and hip hop (used here as an umbrella term covering myriad forms from breaking to uprock, toprock, popping, locking to newer forms like jookin’ and turf dancing) have co-existed onstage since the late 1970s. In a recent phone conversation, Jorge “PopMaster Fabel” Pabon of the legendary Rock Steady Crew pointed out that the most famous early alliance occurred in 1978 on Saturday Night Live. That’s when Toni Basil paired four of The Lockers (including Don Campbell, father of locking) with four ballet dancers (including New York City Ballet’s Stephanie Saland) in the Four Little Swans variation from Swan Lake. Dressed in white from pimp hats to shoes, four guys locked and popped alongside four women on pointe, transforming the cygnets’ quartet into a witty octet. Basil repeated the concept, mixing the street-dance style to include locking and boogaloo with classical dancers in another Swan Lake on The New Smothers Brothers Comedy Hour, which was nominated for an Emmy in 1988. http://www.youtube.com/watch?v=pbBzyTJPt30
Doug Elkins, who came to modern dance after breaking and aikido, was commissioned in 1991 by Christopher d’Amboise of the Pennsylvania Ballet to choreograph a ballet piece in which Elkins mixed James Brown with Frederick Handel, and ballet with hip hop. Audiences and dancers loved it. Critics did not.
A more seamless merging occurred between postmodern dance and hip hop—in large part because their choreographic methods are younger, experimental, and tuned to each other. Since the mid-1980s, hip hop music and moves have been omnipresent. Kids and adolescents absorb their rhythms and moves, consciously or not; so, when they learn formal dance techniques such as modern dance, ballet, release, tap, or martial arts, their muscles also can recall the other hip hop information, enabling them to slip from one technique to another.
Victor Quijada personifies the new millennium dancer-turned-choreographer. He learned first from the streets, then transitioned into formal training in modern, postmodern, and ballet; after dancing with Rudy Perez, Twyla Tharp, and others, he formed his own Rubberbandance Group in 2002 in Montreal, enjoying critical acclaim and public support for Secret Service, a futuristic noir work that merged urban hip hop and Prokofiev’s score for Romeo and Juliet. Inevitably, the technical blend carried in the bodies of dancers and mixing of styles will define future directions in dance. In fact, Pacific Northwest Ballet is presenting a world premiere by Quijada in March.
Lil Buck’s jookin’ looks like a sophisticated blend of hip hop’s popping, locking, waves, and electric boogaloo, flavored with balletic grace and smoothness. In California, a style related to jookin’ called “turfing” or “turf dance” (an acronym for “taking up room on the floor”) has emerged. A 2009 video posted to YouTube shows a stunning and graceful turf dance performed in the rain by east Oakland dancers “No Noize,” “Man,” “BJ” and “Dreal.” Shot by YAK Films, it has clocked almost 4 million hits.
What is truly admirable—and related to ballet—is that whether these languid, powerful dances are done in Memphis, Los Angeles, or Oakland, the dancers must have iron technique to look effortless. They are fluid. They appear to glide rather than “do steps,” their arms floating around bodies, framing the torso or head. Sometimes hands reach out, leading, and the body follows. These dances stress creamy transitions and a polished smoothness. They epitomize cool control. Silken steel.
Poised between disaster and beauty, both the ballet and hip hop dancer perform at the highest peak of their skills. Risk makes them vulnerable and elegant. To do the dance well, they wear special shoes. According to Rodney Hill (a great dancer and company manager of Rennie Harris Puremovement), the proud, well-dressed hip hop competitor—like the ballet dancer—rarely wears the same shoes twice.
The question “Is hip hop going classical?” is more accurately rephrased: “Is hip hop graceful, suspended and lyrical?” The answer: “Yes.” When more subtle and flavorful forms of hip hop like jookin’ and turf dancing emerged from the streets of Memphis, Oakland, Los Angeles, and New York City, they immediately went viral and worldwide. These guys can move as lightly as feathers floating on little bubbles of air, expanding the dynamic range of hip hop choreography.
It’s about time. We needed an alternative to the played-out repetitions of flashy, fast, power moves promoted by the media and commercialized battle-competitions. Whether they are the humongous competitions like those put on by TV’s America’s Best Dance Crew, So You Think You Can Dance, or movies like You Got Served, then You Got Served: Beat the World, we can only hope Hollywood won’t serve it up again.
The current trend in hip hop performances highlights dynamics of fluidity and suspension—which steps into balletic territory. Slow-mo hip hop is not new, and Lil Buck is not the only dying swan in hip hop. What is new are how many dancers are experimenting with the lyrical, relaxed qualities in jookin’, turfing, breaking, locking, and popping, and how many millions of YouTube viewers like it. A wonderful Brazilian locker, John Lennon da Silva, performed his Dying Swan on “Se Ela Dança Eu Danço” (similar to So You Think You Can Dance) that went up on YouTube last February. Sweet-faced and sincere, Da Silva transformed Pavlova’s trembling arms into shimmering arm waves rippling throughout his entire body, causing a male judge to weep. Eight or more swans are dying in hip hop style on YouTube today, but many more hip hop videos are using classical music, electronically tweaked but still recognizable. Hip hop in many of its various styles has evolved. Once hard-core and harsh, the dance and dancers now have the maturity and technical finesse to slow down and reveal a little tenderness.
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