Tumgik
#urban dance
undergroundrockpress · 2 months
Text
Tumblr media
Debbie Harry, Fab 5 Freddy, Joseph Saddler aka Grandmaster Flash, Tracy Wormworth, and Chris Stein, 1981.
Photo by Janette Beckman.
1K notes · View notes
theartofmany · 10 months
Text
youtube
"TATSURO YAMASHITA RCA/AIR YEARS Vinyl Collection All 8 analog and cassette items will be released in 2023 with the latest remastering and vinyl cutting! ! http://tatsurorcaairyears.com Click here to make a reservation https://tatsurorcaairyears.bio.to/m7021t" From Youtube channel TATSURO YAMASHITA RCA/AIR Official YouTube Channel: TATSURO YAMASHITA「SPARKLE」Music Video (2023) An official release from the King of City Pop himself This is history Enjoy...
8 notes · View notes
anglaoshi · 11 months
Text
Red Rapture - Algger - Hello Dance
youtube
It’s time to discuss Red Rapture. When I reach for words to describe this piece, I keep coming back to magisterial. It’s not quite an appropriate descriptor in a literal sense, but this choreography feels overwhelmingly authoritative and complete nonetheless. Certainly, the emotional center of this piece is Algger’s leading energy as he lords over the ensemble with a sense of expertise or mastery. So too is there a feeling of historical fiction, anachronism, or place-out-of-time-ness. 
On the subject of Algger as magister, this work opens with a bit of expert insight in the form of a title card, which reads:
In order to be despicable, prey upon other people You can escape the people of the world, but you can’t escape the customs of the world <<--Red Rapture>>
Some notes on the language here: The first character, 以, indicates instruction. And the phrase we have translated as “prey upon” is also used as “rapture” in “red rapture.” From what we can gather, this is Algger’s original aphorism (please chime in if you know a different source!). I appreciate his flair for the fictional here. Highly produced, narrative, or cinematic dance videos usually aren’t my favorite, but I appreciate the plotting effort nonetheless. Many thanks, as always, to our illustrious translator and all-around legionfairy, @briochebread.
The lighting design is an important component of the mood here, with Algger being emphasized by warm white key light in an otherwise dark red scene. Even at the midpoint, where Lancer receives narrative focus, she doesn’t receive the same lighting treatment. This video is more heavily produced than most of Algger’s or Hello Dance’s other works. Even though they are performing in their usual venue, the space still feels unfamiliar and much more self-contained or isolated than this stage usually feels because of the way the light drops off around the edges. The music for this piece is a remix of Mop Head by glitch hop icon edIT, an interesting transformation from its brooding, emotional roots into an impactful and dark sound. I like the costume design too– I believe the 昂 icon skirts are from his Tokyo Gegegay fashion collab. 
Of course, the most notable element of the costume design is the red blindfold Algger wears. The design of the blindfold fabric itself is a bit subdued, and it fades into the red light that washes the set in a way that produces dissolution or ghostliness. Blindfolds are not so uncommon as props in dance, but they’re always a cute little flex. Dancing while blindfolded is quite difficult, since dancers can’t coordinate visually with other dancers or visually monitor their own performance. Moreover, a blindfold changes your balance and proprioperception (the sense of where your body is within space, and how it’s moving). In this case, Algger’s blindfold serves to raise the stakes regarding precision of movements among the ensemble. Thematically, it’s a binding whose removal (at the midpoint of the performance) signals a shift in power. 
The piece opens with a scene in which Lancer, the narrative antagonist, places the blindfold over Algger’s eyes. I think it’s appropriate to read an eroticism into this scene. Algger’s aesthetic sensibilities in this era were heavily influenced by his beloved Tokyo Gegegay, whose work venerates queer eroticism. (Note: The linked music video isn’t explicit but it’s slightly NSFW anyway. ダンスが僕の恋人 is my favorite fetching fever dream of theirs. Mikey is so gender that it makes my eyes feel like they’re melting a little.) Tokyo Gegegay’s eros manages to be hamfisted and bijou at the same time, to a charming effect. Red Rapture’s emulation of the same is underdeveloped by comparison, but one can appreciate the aspiration.
Symbolically, the thick red band of the blindfold ties Algger’s costume design to Lancer’s thin red headband, emphasizing Lancer’s role as the secondary character/antagonist of the piece. When the blindfold comes off, it signals a shift in the balance of power for both the characters of Algger and Lancer, as well as the choreography itself. The first part of this piece is highly detailed, precise, and intricate. The second part carries the ideas of the first into larger, more cinematic designs. As is expected of Algger in this era, the dense and finely detailed hand designs are much better embodied than the fullbody designs. But, being not-that-great is an important stage of growth, and the latter half of the performance still has its share of enjoyable moments. 
The thing about Algger dancing extremely Algger’s Shit in an ensemble is, he really is peerless when it comes to his characteristic techniques. The ensemble has made a really admirable attempt, and when you let the performance wash over you, it’s not too noticeable. Given the plot and the overall vibe of this piece, which relies on creepily mechanical, synchronized, rapid movements, this work is better for the presence of the ensemble. Still, Algger’s hand designs have an inimitable depth of ornamentation, and the incredibly clean margins on their execution are part of his signature style. Frame after frame, beat after beat, image after image, Algger dance is dark time wizardry, and no one else comes close. 
Tumblr media
This open-palmed descending zigzag is the first moment with big impact, an unusual and arresting design. This choreography is built on two major geometric foundations, right angles and half-circles, fractally combined and recombined. We’ll see a descending zigzag like this again in the midpoint of the piece, in a full-body echo by Lancer.
Tumblr media
We see the two-shape motif in this little moment, where the right angle and the arc occur together. This move is almost cutesy. There’s something demonically charming about it. 
Tumblr media
I love these twisting hand circles, a signature feature of Algger’s hand performance through the eras. In this choreography, circles evoke themes of containment and reversal. In this design, digits crawl in a way that foreshadows my favorite design in this piece: 
Tumblr media
This little monster is so creepy! It’s a very strong isolation as well. You can really feel the scramble of the hand-creatures against the immobile landscape of bodies.
Tumblr media
While the first half of this piece is mainly characterized by intricate hand motions, it isn’t completely devoid of big designs: Here’s a baphomet! I appreciate the restraint employed in the execution of this design, which flits scarily through the choreography without stifling the momentum.
Tumblr media
After a long period of heavy synchronization, we get this striking little break. The backup dancers sweep their arms in a hemicircle, and there’s a eerie deceleration to the arc. Meanwhile, Algger has a mini-solo with highly graphical imagery. The designs seem to evoke some kind of magic, perhaps a summoning. The slow motion of the ensemble is juxtaposed with Algger’s quick, precise designs, creating a dreamy effect like swirling haze.
Tumblr media
I quite enjoy this over-the-head hand wave. It’s cute, smoky, and a bit whimsical. Unfortunately, it’s rather lacking in fluidity, especially in the left hand, resulting in an odd effect where the move is half-fluttery, half-fluid. Ambidexterity is hard, and anyway, I do always appreciate a nod to classic voguing sensibilities, with whirling hands set close to the face like this. 
This first part is so great, thickly layered with cute little monster designs in between each of the concept-moments I’ve highlighted here. It’s a 45-second torrent of visual delectables.
The second half of this piece increases in scale, with both the movements themselves becoming larger and the choreographic phrases becoming longer. Here we see the results of the summoning, the unbound forces flowing from precise incantations performed in the first half. 
Tumblr media
In the middle of the piece, Lancer gets the spotlight for a moment, with a series of isolations expressing the motifs of hemicircles and zigzags. In the background, Algger perches grandiosely on a seat-as-throne, removing his blindfold as Lancer dips low with a wavering body.
Tumblr media
When the camera turns its attention back to Algger, minus the blindfold, performing a threatening and triumphant return, exerting physical-magical control over the ensemble (minus Lancer). This second part utilizes a much larger sphere of motion, but it’s still the hand designs that are the most arresting.
Tumblr media
For example, we see the delightful return of hand-creature, another moment of reversal. This movement feels avian, contrasting its previously monstrous connotation. Instead of descending toward the elbow, here it seems to be released from a hip pouch, leaping into the air over the shoulder before fluttering back toward the dancers’ faces, melting into the next moment. This design makes my heart race, so graphic and sharp.
Tumblr media
This big design is the major motif of the second half. Full of rampaging power and malevolence, the monstrous energy assaults cinematic reality itself. This is a bigger and wilder permutation of the circles and right angles we've been seeing throughout the piece.
Tumblr media
There’s a bit of plot in the middle of the second part that I struggle to fully narrativize here. Among the intercut images, there is a shot of the blindfolding scene, then a powerful pose by Algger. At the end of this temporally unmoored sequence (another consequence of the performance’s reality warping power) we see the blindfolding image once more, then Lancer opposes the rest of the group for a mini-solo. At first it looks like they’re going to have a dance/magical battle, the ensemble riffing on Lancer’s moves. But that idea is pretty immediately dropped, and instead, Lancer performs a series of moves that culminate in a force wave that staggers the ensemble, who regroup and move on. I’m not entirely sure what to make of this section from a story standpoint. It’s useful for pacing, however, drawing out some tension with relatively sparse motion, to contrast the energetic and direct finale. 
Tumblr media
This penultimate moment is my favorite in the second half. The little twirl is so bewitching! There’s an exuberance to the execution that makes the character a bit cute. I like the arm wave too, it seems to evoke tentacles, or perhaps tendrils. In many ways, the dance itself, the ensemble, represents an eldritch being. Revealing these unexpected facets at the end here, showing the audience its personality and physicality, is a surprising turn. Where before we saw wickedness and drive, now there’s a hint of sweetness, the charm that is the true source of this being’s power.
Tumblr media
Red Rapture has one of Algger’s strongest endings ever. In the finale, we see a reversal of the introduction. Instead of passively submitting to the restraint of a blindfold, Algger dominates the ensemble, bending them to his will, before degrading us, the viewers, spitting in our faces. I’m a professional, so I won’t say, “yes, daddy,” but also… I wouldn’t not say that. This type of ending is emblematic of Algger’s choreography in this era: kinky, transgressive, and alienating. Choices like this are weird and they make you feel off-balance, the sensation of transitioning suddenly between realms.
Unlike most of Algger’s choreographic work, which is typically set up to document a dance performance without elaborating much utilizing the film medium, this video is heavily produced, with artistic editing, cinematography, and explicitly narrative elements. I certainly don’t prefer this approach to dance performance videos in general. There’s such a gulf between the artistic foundations of dance and film that it’s difficult to synthesize the genres, even for individuals who are expert in both fields. This attempt is serviceable, even pretty good, though– the cinematic elements serve their purpose, creating a depth of story and atmosphere that envelops you. 
Overall, this piece is an excellent specimen of mid-era Algger. Dark, dense, imaginative, and esoteric, it draws you in even as it strands threateningly apart. I cannot understate the appeal of this type of visually lush, thematically occult, narratively opaque work. No matter how many times I watch it, or how carefully I look, there is always more mystery, fear, and surprise that keeps me in its thrall. 
Thanks to @kamicelll for the request! And thanks for your patience- I find that sitting with a work for a while really deepens its criticism. 
Next installment: Worth It, Algger’s charming and lyrical take on the electro-soul masterpiece by Moses Sumney.
Post-script
I struggled with whether to include these, but I have Opinions regarding Algger’s body in this video. So, if that’s not your jam, thanks for reading, and I’ll catch you next time. Otherwise, put on your “let him cook” goggles and let’s dive in. 
In general, I think fatter dancers are usually more interesting to watch. Thin dancers are terribly common, and there’s something grating about the dance industry’s tendency to cast the exact same body type in every role. Fat bodies are, artistically and aesthetically, highly valuable. They create variety in momentum, friction, and volume far beyond what can be expressed by thin bodies alone. Given the world we live in and the culture of professional dance especially, fat dancers carry a disarming pathos and emotional valence. Dance is infested with a trite devotion to its endless deluge of too-similar bodies, and I resent the constraint. There’s no true artistic reason to choke the human bounds of an art form so viciously. This obsession with thin dancers is art subordinated to mere (fascist) aesthetic. I hate it.
Regarding Algger specifically, he’s gotten so thin lately! Obviously, it’s his body and he can do whatever he likes with it. But a devotee worries. I’ve been spending a bunch of time on Algger’s new videos recently, and it’s quite a different appearance than in the era in which this video came out. He’s got such a normal look right now! His edges are flatter now, clothes drape differently across him, and it’s just so dreadfully ordinary. Ah, maybe I’m pouting too much.
In Red Rapture, the signature features of Algger’s choreography produce a sublime, elegant impact from upon this softer body. There’s a lovely contrast between the sharpness of the motions and the sweeps of Algger’s physicality. At the same time, his body, contrasting the waifish ensemble, emphasizes his role of otherworldly power and dominance. 
I don’t mean to be prescriptive or nosey about Algger’s body size. As I said, I wasn’t sure whether to even mention it here. It’s not really my business. Furthermore, I’m aware that I’m out of step with mainstream opinion on these issues, and I’m not interested in tedious internet bickering. But it’s such an essential part of my experience of Red Rapture. As a piece of embodied performance art, the soul of this work can’t be compartmentalized or dissected apart from Algger’s body (and the bodies of the other dancers, but those are both less interesting and less emphasized by the production itself). Ultimately, my criticism would be incomplete if I didn’t address it. 
7 notes · View notes
riotgrrrlhole · 1 year
Text
Macorina - Chavela Vargas , the dancer is Lily Frías (lilyfdc on insta)
7 notes · View notes
Text
Tumblr media
Martin French - Harlem Urban Dance Festival 2022 
Harlem Urban Dance Festival 2022 by Martin French, Selected Winner American Illustration 42  (https://lnkd.in/etVfHGgB) Client: Harlem Swing Dance Society Artwork was selected to appear in the American Illustration 42 annual award book and exhibition. 
2 notes · View notes
nicogaral · 1 year
Text
Urban Dance
Bienvenidos a todos!!!
En este blog se va a realizar un pequeño acercamiento a los estilos de la danza urbana.
Tumblr media
4 notes · View notes
failconfidently · 1 year
Text
the easiest way to move across a crowded dance floor is to dance. more fun that way, too
2 notes · View notes
contradanzagranada · 1 year
Text
2 notes · View notes
dancebook · 1 year
Video
youtube
2 notes · View notes
eternitynews · 6 months
Text
Tumblr media
RESTAURANTE Y SALÓN
urbana
SONIDOS DJ MAGASY x DJ DAVINCI PRESENTADOR DJ ZILLA 5
INFO Y RESERVACIÓN 407 684-2029
BOLETAS A LA VENTA EN tickeri
8 100 CLARO LN. ORLANDO, FL. 32809
0 notes
starlite-walker · 7 months
Text
mom: we have SHINOBU* at home
youtube
0 notes
beepbonk · 10 months
Text
youtube
detours | 2004
1 note · View note
anglaoshi · 1 year
Text
Algger choreography glow up: Legend of the Demon Cat v2
The new year brings new Algger gifts. I was just lamenting in the last installment how Legend of the Demon Cat, the Algger + Kyoka collab on SDC, was disappointing. Fortunately, there is now an updated version with the same music and theme, and it’s much more successful. You can watch it on Weibo:
or on IG:
I won’t waste a ton of time belaboring the numerous faults of the SDC version: If you’ve seen it, you know what I’m talking about, and if you haven’t seen it, don’t go looking, it’s very uncomfortable. In brief, it was awkwardly designed and sluggishly executed. But now, redemption! 
The new version is a class dance, so it’s minimally produced. But it’s very successful with regards to some of the challenging concepts attempted in version one. In particular, the strange, angular shapes in this version read with much clearer intention, to the point where they kind of retroactively reverberate onto the previous piece. Where before I saw awkwardness, I can now see prototyping of otherworldly, demonic designs. In this new version, those designs are perfected. 
Let’s start with the narrative heart of the piece: 
Tumblr media
This is the moment that really clarified everything for me. Even though it’s a solo performance, you can see here the expression of conflict, encroachment, and transformation. Waves of motion reverberate against each other, bursting where they intersect. The imbrication of limpness and tone creates tension. This dynamic is most heightened by the circular arm swings, which include the both elements within the same movement. In this grounded or intentional gracelessness, you can feel the edge of defeat, the power struggle. This moment has such an understated intensity as it combines wide arcs with tiny, shattering details. Conceptually dense and visually fascinating, this is the strongest moment of the work. 
Tumblr media
The second best image, for me, is this languid set of vectors. There’s such an entrancing and fluid movement here. Algger’s isolation, strength, and body control has really improved a lot lately. He’s also developing a larger range of motion and better texture as he pushes through big moves, which have previously been relative weak spots for him. It’s so different from his previous style and comfort zone. I’m excited to see how these new and improved technical skills lead to further creativity and innovation. 
Tumblr media
The floor work in this piece is also exceptional, powerful, and light. There seem to be some elements of stiletto/heels dance included in the floor moves, especially with regards to leg position and attitude. And that slide! It was very Yanis Marshall. Certainly, heels dance is another excellent outlet for feline inspiration. I’d love to see Algger choreograph for heels dance. I bet it would be weird. 
Tumblr media
The ending combines two Algger ending technique favorites, the drop and the fake out. There are two low cat poses in a row. Meant to evoke two cats, maybe? Or the theme of secondness? Or something related to the film, Legend of the Demon Cat, which I don’t know much about? Regardless, unlike the last version of the work, this dance looks and feels quintessentially like Algger. 
Watching the new piece, I feel such a compression of energy, of powers roiling beneath the surface. This choreography has much more clarity of vision and purpose. I really enjoyed seeing these ideas rise to their potential in the updated version.
9 notes · View notes
karmaalwayswins · 2 years
Video
youtube
S.O.P. Crew perform at World of Dance Championships 2018. 
Video Credit: World of Dance Championship Series
1 note · View note
yemme · 2 years
Video
youtube
Urban Theory.
0 notes
talentsofworldstuff · 2 years
Photo
Tumblr media
Christopher Woschitz a. k. a. ChrisCross is a dancer, dance teacher, choreographer in Urban Dance. Follow - ChrisCross #Talentsofworld - https://talentsofworld.com/ChrisCross Visit profile and give stars. Register now on talentsofworld.com!
0 notes