Tag: South Central

“Raised By Krump” Documentary by Director Maceo Frost Makes Worldwide Debut on Vimeo (VIDEO)

(courtesy vimeo.com)

by Lori Lakin Hutcherson (@lakinhutcherson)

Raised By Krumpa 22-minute documentary film that explores the Compton/South Central, Los Angeles-born dance movement “Krumping,” and the lives of some of the area’s most influential and prolific dancers, is making its exclusive, worldwide debut as a #staffpickpremiere on Vimeo today, May 24th.

Raised by Krump blends the art of movement, music, and personal interviews together to tell the story of finding solace within an underground movement and the community that it creates. The film, directed by award winning filmmaker Maceo Frost, focuses on how Krumping has helped young people deal with the emotional issues that come with growing up in one of L.A.’s toughest neighborhoods — a place where showing emotion is often considered a sign of weakness.

Perhaps most notably depicted in David LaChappelle’s documentary Rize, Krumping came to be via Tommy the Clown, who invented the dance movement “Clowning” in response to the happy façade he depicted when performing as a clown at childrens’ parties. Clowning, and eventually Krumping, allowed the dancers to express the everyday struggles of living in their neighborhoods.

Raised by Krump shows the next evolution after Rize. In the film, the dancers explain that they are who they are today because of the dance movement. Instead of joining a gang or turning to violence, they turned to movement, dance, and self-expression, and passed this ability on to their children and others’ children, creating a more creatively-stimulated younger generation. Krumping founders Tight-Eyez and Marquisa “Miss Prissy” Gardner – who were also featured in Rize – are in this film as well. They are older, wiser, and have experienced the full impact that Krumping has had on their lives.

As Miss Prissy says in the documentary, “I think Krump symbolizes every piece of what we went through growing up in our neighborhoods, from being chased by gangbangers to being harassed by the police for just being who we are and what we are. It was about us going through the shit that we just couldn’t control anymore, and I feel that’s what birthed Krump.”

Or as Tight Eyez plainly puts it, “We make the ugly part of our lives beautiful. We make it good.”

Frost’s film is also visually arresting, featuring a mesmerizing ebb and flow of movement, almost forming a visual poem about Krumping.

Go to Vimeo.com/staffpicks picks to watch the film, or watch above.

‘Boyz n the Hood’ Reimagined by Interpretive Dancer Kyle Abraham

Kyle Abraham.jpg

The thirty-five-year-old choreographer Kyle Abraham has come a long way in just a few years. In 2006, he established his company, Abraham.In.Motion, and since then has produced dances that have earned him awards and critical acclaim. In December, the Alvin Ailey American Dance Theatre will première a work that it commissioned from him. For someone whose career has taken off in such a big way, though, he retains a strong connection to his Pittsburgh roots, and shows great integrity in his dance-making, both of which were evident in his newest work, “Pavement,” which Abraham presented recently at Harlem Stage.

Abraham, who is African-American, went to high school in the Hill District of Pittsburgh, a historically black neighborhood, and in several of his previous works he drew on his experiences there. For “Pavement,” he went back to 1991, to reimagine the film “Boyz n the Hood,” about gangs in South Central Los Angeles, which was released that summer. He used the film as a springboard for examining life in Pittsburgh’s African-American communities in the Hill District and East Liberty Homewood and reflecting on the state of the black American experience in the two decades since its release.

But Abraham’s conception was even more sweeping. He also wanted to look at the history that had preceded the strife represented in “Boyz n the Hood,” and found a pertinent source in “The Souls of Black Folk,” the 1903 book by W. E. B. Du Bois, whose essays became instrumental in African-Americans’ struggle for equality in the twentieth century. Du Bois’s text made no appearance in “Pavement,” but Abraham included a quote from it in the program, which hovered over the dance: “Men call the shadow prejudice, and learnedly explain it as a natural defense of culture against barbarism, learning against ignorance, purity against crime, the ‘higher’ against the ‘lower’ races.” In the light of Du Bois’s words from more than a century ago, the realities as depicted in the film are sobering. From the perspective of 1991, when the ravages of H.I.V., crack addiction, and gang genocide were entrenched, not much seems to have gone right.

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