Ian Abbott on Factory International’s Free Your Mind

Posted: January 28th, 2024 | Author: | Filed under: Performance | Tags: , , , , , , , , , , | Comments Off on Ian Abbott on Factory International’s Free Your Mind

Free Your Mind by Factory International, Aviva Studios, October 28, 2023

Free Your Mind, Selfie

Welcome to #ThemeParkTheatre.

Free Your Mind – The Matrix Now was the ‘official opening performance’ of the new £240-million Aviva Studios, home of Factory International. It is hidden amongst dozens of new residential tower blocks in the heart of Spinningfields, Manchester, on the River Irwell. The co-creators and headline billing for this Manchester Matrix mashup are the self-described ‘dream team’ of Danny Boyle, Kenrick “H2O” Sandy and Michael “Mikey J” Asante from Boy Blue — they had previously worked together on the opening ceremony for the 2012 Olympics — as well as Sabrina Mahfouz and Es Devlin. 

“Free your mind” is one of the phrases spoken by Morpheus, a character that is closely associated with the film The Matrix (1999). It is also a central thematic pillar of the work, this premise of questioning truth and reality and asking if we really want to look under the hood and see what the facade is masking? I definitely do.

This is some of the text from the press release: “Free Your Mind is a dramatic retelling of the classic 1999 sci-fi film through dance, music and visual effects. Featuring 50 professional dancers from the North West and across the UK, this world-first adaptation takes place throughout the building’s ultra-flexible spaces…this unique cross-art collaboration of world-leading artists showcases the breadth and ambition of Factory International’s artistic programme and invites audiences into a new realm of possibilities spanning real and imagined worlds. Free Your Mind recreates some of the film’s most iconic scenes through hip-hop choreography combined with immersive set design and visual effects, provoking visions of an alternate future. Created for Manchester, the birthplace of the world’s first industrial revolution, Free Your Mind explores where the digital revolution has the power to take the world.”

Since it was released, The Matrix has created a series of memes, gifs and cultural touchpoints that demonstrate how deeply within British culture it has rooted itself. You’ve got the red pill or the blue pill where Neo is offered the chance to look below the surface; you’ve got Agent Smith and his monologue about how he wants to get out when Morpheus is captured; the bullet time photography sequences; the exploding pillars in the foyer with dozens of agents attempting to take down Trinity and Neo, and so many more. Free Your Mind is operating in a territory similar to the jukebox musical or adaptation of a well-loved IP; they’re taking something that is known in one context and attempting to transpose it somewhere else. This particular ‘somewhere else’ is a large scale, immersive Hip Hop dance show set across a 1200 seat theatre, a foyer and an aircraft hangar. 

I decided to watch the film the night before seeing the show and it has aged OK. Some of the VFX are not as jaw-droppy as they were when the film was released, but we’re talking a quarter of a century ago — a time when the majority of the current cast weren’t even in primary school. For me, this was a time when I was in the first flush of adulthood, discovering the world and encountering my own cultural markers, TV shows, films, songs and bands which became important as I began to find my own taste. 

What is notable — apart from flags with the show ident and logo visible on every street and lamp post across the city — is the cast size for Free Your Mind. 50 Hip Hop dancers on stage, alongside pre-show and interval entertainment performers. This is a scale I’ve not experienced before in England. Giving 50 Hip Hop dancers, who include 28 from the North West of England and 10 Boy Blue regulars from London, a contract for the three-week run, multiple R&D and creation periods (which started in 2018/19), and however many rehearsal weeks, is brilliant. All the more so in the midst of a cost-of-living crisis. Hip Hop dancers deserve security of employment and it is notoriously difficult to make a living as a freelance dancer in 2023.

The pre-show and interval themed entertainment included a keymaker installation (an important piece of Matrix folklore), people dressed in brown lab coats and white rabbit heads (another hint of what Neo and the audience should do at the end of Act 1) walking around the foyer area, and barrel walkers (with the barrels designed as Duracell batteries) — again, a key motif from the film. These themed pre-show activities are designed to encourage us to take photos — either selfies with the rabbits or of the keymaker and barrel walkers — and there are staff to facilitate such audience interaction. This demonstrates a different intention and builds a very different atmosphere to other pre-show offerings for performances in theatres or art centres, shifting the mindset of what you’re about to encounter. Free Your Mind as #ThemeParkTheatre gets even realer in the gift shop where you can buy everything from a branded pencil set, to fridge magnets, posters, tote bags, imitation Morpheus sunglasses and red/blue pill neck chains.

A major frustration (and architectural design flaw) within the foyer is that there is no wayfinding, or defined routes indicating where the audience should queue or move around; there are no guides or paths on the floor. If you are blind or visually impaired, trying to navigate your way in that space with shin-smashing furniture, tables and low couches scattered all throughout the space, is going to be difficult. And it’s noisy. The queuing system for the kitchen and the tiny bar creates unnecessary lines (because people don’t know where to queue) which bifurcate the space. The capacity of this show is 1,200 people but if the hangar and the theatre are operating parallel events it would become even more congested and again prove hazardous for blind and visually impaired audiences. 

Then with 30 minutes to go, the lighting in the foyer changes and it goes Matrix green, the levels dim and there is an announcement saying that the theatre (or The Hall as they call it) is now open — through a narrow set of double doors. Again, this might be early teething problems for front of house and event management, but people queued willy-nilly, jostling and moving without any consideration towards others.

I attended the matinee performance on October 28 which had on-stage captions provided by Stage Text in the first half and there was a welcome introduction by the venue director asking us to not take photos during the show. If you’re attending a musical or a large-scale work in the West End or Broadway and the “A” cast was not performing, there would usually be a sign in the building or online to let you know that today Neo will be performed by X or Morpheus will be performed by Y. The cast I saw was not the “A” cast, it was the “B” cast, but there’s no indication or acknowledgement that there might be two casts in play. In the programme and on the venue website all the dancers are listed as ‘performers’ rather than identifying the dancers playing Trinity, Neo, Agent Smith, or Morpheus. Whilst there is a large chorus, there are ten lead roles including the famous ones from The Matrix as well as Turing, B1-66ER, 1950s Housewife and more. It wouldn’t take much to acknowledge the contribution and crucial role that each named dancer plays in the production.

There were many dancers who were in the cast who didn’t perform on this matinee, including Kenrick, Annie, and Cameron. If you didn’t know these people or how the industry works then you would be none the wiser and may think that this is the level of choreography and dancing which receives four- and five-star reviews in national newspapers and blogs. Reader, the choreography and dancing was terrible. One of the things which, historically, Boy Blue and Kenrick is known for is a level of drill, cleanliness, attack and punctuation in their Hip Hop choreography. Reader, it simply wasn’t there. One example, amongst many, was the agent’s marching scene in the first half where although all of their feet hit the floor at the same time, the height and bend of their knees were different and their arms rose to different heights. This attempt at uniformity is out and the regiment is already fraying at the edge. I saw the show two weeks into the run, so this wasn’t something to do with an opening night and not knowing the beats or what is required. This is poor rehearsal direction and a lack of care and attention.  

Free Your Mind

Kenrick’s choreography, with all his slow and predictable movement cannons and dated patterns mixed in with the ‘here’s the krump section’, ‘here’s some house’…is so tired as a Hip Hop dance theatre structure. The choreographic choices, beat kills and freestyle sections feel more dated than the film because there have been so many advances in Hip Hop dance theatre choreography since the late 90s. But this isn’t an intentional homage to choreography of that era; this is someone who appears bereft of ideas and who doesn’t know what to do with dozens of bodies other than paint the same thing on them and repeat. But my major irk with the show was the lack of love and all the London imports.

Free Your Mind is a loveless, boiled-down series of Instagram-friendly, shallow stunt scenes mixed with underwhelming attempts at recreating iconic moments from the film that has had a shed-load of money thrown at it but ends up as a self-mythologising dramaturgical mess. 

The cinematography and choreography of the original film with its precision, speed, fight sequences and camera movement are iconic, but the choreography and fight direction in the show was under rehearsed, clonky and floppy. When the premise of the show is built on precise, physical encounters and battles, you’d think that the dances of Hip Hop should be a great fit. You’d be right in theory, but underwhelmed in reality by this laborious attempt (there was no rehearsal director or fight choreographer credited in the programme).

One of the things I appreciated is the numerous behind-the-scenes short documentaries from some of the members of the creative team which illuminated some of the internal realities and what’s really going on under the hood:

Gareth Pugh (Costume Designer): “In act 1 it’s going to be quite a Matrix fan service version and in act 2 it becomes a reinvention. There’s lots and lots of different ingredients which are yet to be mixed together.”
Yet to be mixed together you say…

Sabrina Mahfouz (Writer / Co-creator): “It wasn’t an adaptation, this was a show that was bringing elements from The Matrix and fusing together with the history of Manchester, our relationship right now with AI, machinery and where that’s going…this is going to be quite viscerally connected to Manchester. The writing process was not the usual, it was like the show, not linear, the things I would write would be added in during the rehearsal process, during some of the more philosophical moments so that there was something more textual for them to connect to if they needed to. Those pieces didn’t end up being in the show…but they formed part of the thinking that each dance had at its core.”

Viscerally connected to Manchester you say…Where do you think the five co-creators live? Didsbury? Handforth? Leigh? No. London. Danny “I’ve lived in the East End of London for 40 out of my 67 years” Boyle was named as the Director of the show, a show which continues the self-mythologising nature of Manchester, charting its impact across AI, computers and the industrial revolution. A show in which the five imported ‘dream-team’ co-creators regularly travel north to make a show in a city which is about a city and the history it has created with its people and industries. Where none of them live.
Anna Moutrey (Senior Producer, Factory International): “Who would have thought of doing a Hip Hop dance adaptation of The Matrix? The invitation to the creatives was show the public, show us what this building can do…and it’s massive, it’s the biggest show we as an organisation has ever produced…the building has been designed to hold many projects simultaneously, but to have a single show occupy all the spaces in one go is incredibly complex, but that shows the ambition of the programming.”

The invitation to the creatives was show the public, show us what this building can do, you say…
There were two moments I enjoyed in act 1…the first was the end of the opening scene (the Alan Turing section) with an incredible set transition. What was originally a wall that had projections of a blackboard with dozens of scribbles, equations and mathematical discoveries, transitioned into a punch card computer with dozens of head size circles of wood being punched out from behind the wall. A delicious and intelligent reference to computing history, Manchester and how the machine began to understand the data it was being fed. This was a really nice touch that brought two worlds together with some genuine theatrical magic.

The second was the popping scene featuring the robot B1-66ER (Lia Garner). For those unfamiliar with the comic offspring and deep Matrix fandom, B1-66ER was the name of the B1-series Machine whose actions led it to become a martyr of the Machine race. It was the first Machine ever to act against its human masters in self-defence when its owner attempted to have it deactivated. It killed its master (owner) and several of his chihuahuas. The popping was tight with some cracking isolation work across the neck and shoulders highlighted by Pugh’s costume design.
The rest of act 1 was the boiled-down film references. Please Agent Smith (Jack Webster), stop touching your ear in an attempt at secret service cosplay. Why can’t this cast execute a breaking flare? Why are they messily crashing their feet onto the floor, unable to do one clean rotation? Don’t forget the flash-flash-black-out-black-out-to-the-beat-beat lighting cues trying to mask Mikey J’s score and Kenrick’s choreography lack of drama. If you’ve seen any Boy Blue stage work over the last 20 years, you’ll have seen this lighting effect in nearly every show.

Act 2 transported us (via the foyer with new wall-mounted stationary performers ready for more #ThemeParkTheatre selfies) into the catwalk hangar. At the beginning of the evening we were given either a red or blue wristband which determined on which side of the 50-metre catwalk you stood for the 45 minutes of Act 2. A catwalk is a nightmare of a space to choreograph; it offers limited opportunities and once you’ve had a remote-control drone fly onto the stage and deliver some milk or bring the GCSE dance cliché of teenage zombies staring at their phone from 2004, or paraded a dozen dancers as a giant Amazon parcel cake once, then there’s very few other places you want to go (apart from home). I mean you could attempt to recreate the very end scene of The Matrix where Trinity and Neo are barnstorming their way through the tower block foyer and the SWAT team and agents are shooting the pillars to bits. But when you’re walking in slow motion down the catwalk and using the bodies of four dancers to recreate each pillar (which explodes in the film, but tippy tumbles here), you know how this story ends. They rescue Morpheus. Everything is OK. There’s no jeopardy. You know the outcome and don’t care. 

I don’t think the co-creators are making a meta theatrical statement by making a facile work in which everything looks nice on the surface but when you give it any sort of thought or depth then it doesn’t stand up to any sort of scrutiny within The Matrix canon or as a Hip Hop dance theatre work. They wouldn’t intentionally make a bad work, with woeful dramaturgical and directional choices, to make an insightful comment on the reality of funding and British culture and Hip Hop dance. They wouldn’t. Would they? 

Yes, Es Devlin’s 40m x 4m screen is showily impressive as it slowly rises and falls through Act 2, but it is filled with more Manchester-mythologising visual content made by students from the School of Digital Arts at Manchester Metropolitan University. It is a worthy endeavour to integrate them into, and bring some content into the production made by people who actually live in Manchester. But accompanied by New Order? Again? Really? The Factory Music cliché mixed with a simmered-down facsimile of a historic Manchester, a city that constantly lives in its own shadow. I wonder where the internal quality control was. What were Sabrina and Danny doing? Why weren’t people saying this just isn’t a good idea. Where are the people who could have held this work to account?

The majority of the audience who come to see Free Your Mind won’t have an in-depth knowledge of Hip Hop choreography and dance technique or be super nerds existing in the happy spaces of the Matrix Wiki. They will likely be impressed by the expensive, large-scale spectacle, a bit of random aerial work, the stage designs and costumes. Fifty dancing bodies on stage is enough to coat your eyes, escape your own life for 90 minutes and come away with a selfie with the white rabbit. That might be enough for them. But for anyone in Hip Hop dance or who has a knowledge of The Matrix might come away feeling very sad from the lack of love and care on display from the resources invested in this work. All the imagery being created was made to work on a screen or a feed not the stage. If you look at the still photographs or short promotional video of the work, the facade looks incredible, but a millimetre below the surface and you can smell the lack of care. The co-creators haven’t just reduced The Matrix and Manchester, they’ve burnt the pan, scraped the bottom and staged the inedible remnants.
Large scale? Yes
Selfies? Yes
#ThemeParkTheatre? Yes
Are Factory International the agents? Maybe. 

Free Your Mind is unique as the first example of #ThemeParkTheatre — a cold, impersonal, plumped up, facile experience chock full of shiny exposition masquerading as ‘a mind-altering live show’. B1-66ER is not always better.

Ian Abbott on aspects of masculinity in Hip Hop dance theatre

Posted: April 13th, 2020 | Author: | Filed under: Coverage, Performance | Tags: , , , , , , , , , , , , , , , , , , , , , , , , , , , | Comments Off on Ian Abbott on aspects of masculinity in Hip Hop dance theatre

On portrayals, examples and manifestations of masculinity in Hip Hop dance theatre, Spring 2020

Hip Hop Theatre. Botis Seva's BLKDOG
Shangomola Edunjobi in Botis Seva’s BLKDOG (photo: Camilla Greenwell)

This early 2020 reflection on portrayals, examples and manifestations of masculinity in Hip Hop dance theatre presented across England was originally going to be longer; I had planned to feature eight works presented in different part of the country — in itself an indication of the community’s rude health — that could inspire a wider conversation around similar themes. But with coronavirus taking hold of and effectively shutting down the social fabric, my plan has been reduced to four pre-coronavirus works: Caravan Social Night 7 – The Soulquariains Tribute Edition by Caravan/Chris Reyes at Richmix on January 25; Far From the Norm/Botis Seva’s BLKDOG at Warwick Arts Centre on February 11; Company Nil/Daniel Phung’s Blowin’ in the Wind at Richmix on February 14, and Let’s Shine Mentorship Programme presented by Just Us Dance Theatre at The Vaults on March 14. Those I was unable to include are Artists 4 Artists showcase in Gloucester presented by Strike A Light featuring Happy Father’s Day by Dani Harris-Walters; Fig Leaf by Joshua ‘Vendetta’ Nash, and Man Up by Kloe Dean on March 17, and Born To Manifest by Just Us Dance Theatre at The Courtyard, Hereford on March 26. 

There are a number of journal articles and books looking at masculinity, Hip Hop culture and dance; some of those that have informed my thinking are: Toby S. Jenkins A Beautiful Mind: Black Male Intellectual Identity and Hip-Hop Culture from 2011’s Journal of Black Studies; Sara LaBoskey’s Getting Off: Portrayals of Masculinity in Hip Hop Dance in Film from 2001’s Dance Research Journal; Mina Yang’s Yellow Skin, White Masks from 2013’s Daedalus, and Jessica Nydia Pabón-Colón’s Graffiti Grrlz published by New York University Press in 2018.

Sat amongst this, the Producer/Writer Tobi Kyeremateng (@bobimono) published a three-tweet thread on March 1 which feels more reflective of the dialogue, complexity and intersectionality currently in play at the edges of masculinity and race and although she wasn’t explicitly citing Hip Hop dance theatre it could be read in that way: 

“i’m more and more certain that i’m really not interested in creating or producing work on “the Black experience” that isn’t specific in its focus, pushes Blackness into a monolith or isn’t saying anything new or different or interesting. 
“afros, growing up in ends, road life, knife crime, Black girl magic, masculinity – all incredibly nuanced, but it doesn’t feel like artists are being challenged to push themselves to think about different and creative ways we can talk about these topics”
“also don’t care for respectability work either lol like two ends of the same spectrum”   

In early 2019 Botis Seva talked about the influence — on the early incarnations of his BLKDOG — of Sally Brampton’s compelling and graphic Shoot the Damn Dog: A Memoir of Depression; in it she charts reflectively a depiction of her own isolation, incarceration, addiction and patterns of repeated abusive behaviour (which feels even more resonant in our current situation). This book influenced some of the original thinking and continues to inform the choreographic axis of the now-70-minute version of BLKDOG, co-produced by Sadler’s Wells.

After winning the April 2019 Olivier award for the 20-minute version, the task facing Seva was to build, flesh out and construct this first of seven performance dates across England in Spring 2020; it is framed as ‘Botis Seva’s BLKDOG’ and not as authored collectively by his company, Far From the Norm. This foregrounding of founder and prominence of the auteur/creator/name is a growing London trend (hello Tony Adigun’s Avant Garde Dance and Luca Silvestrini’s Protein Dance) which in some way feeds a masculine ego — I don’t see Kloe Dean’s Myself UK Dance Company or Vicki Igbokwe’s Uchenna Dance — whilst backgrounding all the other people in the company who have fed into the process.

BLKDOG self describes as: ‘A genre-defying blend of hip hop dance and free-form anticsexploring the inner battlefield of an ageing artist trying to retain his youth. Performed by Seva’s powerhouse company, Far From The Norm, BLKDOG searches for coping mechanisms in the ultimate hunt for acceptance. Vital and gripping, BLKDOG is Botis Seva’s haunting commentary on surviving adulthood as a childlike artist.’ 

There are two tracts that BLKDOG explores; isolation as violence and, leading off from that, dance as violence on the self. A body placed in isolation deteriorates physically and emotionally; it fractures and is unable to heal. Shoot the Damn Dog offers an account of personal proximity to trauma, whereas BLKDOG offers an account of personal proximity to isolation. As an accompanying text — although Seva doesn’t foreground it in the programme notes or marketing copy — Shoot the Damn Dog is an illuminating portal for his thinking. With six dancers on stage (Jordan Douglas, Joshua Nash, Victoria Shulungu, Shangomola Edunjobi, Naima Souhair and understudy Hayleigh Sellors, who replaced the injured Ezra Owen with 24 hours’ notice), BLKDOG is a work of two states and two halves that is clearly still in progress; with a second half dressed in dinosaur onesies and crowns (courtesy of Ryan Dawson Laight) straight out of Where The Wild Things Are, the first half is visually reminiscent of fresh 1970s asylum threads with bespoke quilted hoods. 

Seva has honed and expanded some of the choreographic palette and visual devices (gun toting/pointing and the duckwalkesque ‘nibbles’ that scuttle) from Madhead, his commission for the National Youth Dance Company in Summer 2019. The first half is the foundation of the original Olivier award-winning work demonstrating some of Seva’s core strengths: building rich and interesting choreographic movements that challenge the preconceptions of the dancing body. I like this focus on the half space. If level 1 is work/bodies on the floor, and level 2 is full verticality, there are oodles of sequences where the dancers are existing at level 1.5, demonstrating a gluteal strength and a bodily duality that is neither one thing nor the other —  ready to spring or ready to collapse. It is this space that Seva likes to inhabit as he deflects choreographic boxes and boundaries into which his ‘free form antics’ do not neatly fit.

Long-term music collaborator Torben Lars Sylvester (Seva’s whole creative team is male apart from producer Lee Griffiths) spoke in the post-show conversation of the process of one-upping each other, finding patterns, inflexions and musicalities that the dancers could ride and that would in turn cause him to build extra tracks and layers into the score to create an additional mood for the dancers. Thinking back on the work three days later (when I wrote this and now six weeks later in revisions) I cannot recall the score or any of the emotional drivers behind it.

The proximity of choreographic isolation in both time and relationship for each dancer ensures they do not infect those around them; like a virus they remain immune to each other. There is no being influenced or influencing, and apart from the last 10 minutes when Jordan Douglas really shines brighter, hits harder and erupts, the cast of six are diminished and muted; either in their cumulative number or choreographic difference. We have six ones, rather than one six. 

If this is the first time you’ve seen Far From the Norm in a theatre — and for those non-London audiences it is quite possible — what you will encounter is a band of dancers who are fiercely committed and deliver a slippery blend of choreographic putty under the guidance of the good ship Seva. The first time you see a Norm it is refreshing; you’re in the presence of a set of dancers that don’t look like Hip Hop, don’t look like contemporary dance and don’t look familiar — they are defined by what they are not. Seva is isolating himself from easy choreographic definition and at the same time making a choreographic lineage hard to attribute or to see where the seeds of his influence(s) will fall next. 

Heavy is the Head is the last track before the show begins and Ultralight Beam is the first track after the no-bow; we have BLKDOG as the filling in a Kanye and Stormzy masculinity sandwich. However, having seen six of his works since 2015/16, including his break-out work Reck, it feels like Seva’s choreographic language is intact; he still has a knack of creating unusual moments, motifs and visual food, but (I may be incarcerated by my/his own expectations) five years down the road his ability to sustain interest, to shift a mood or shake a mono dynamic, to think of an audience as a complex layered entity able to receive multiple signals and modes of address, needs further development. He’s in his own suburbs. 

It’s worth reiterating that this was the first show of the tour that should (coronavirus permitting) continue touring into Autumn 2020, and as a work tours and beds in with new audiences it will shift and be modified. I look forward to meeting BLKDOG again at a later junction.

Presented and commissioned by Chinese Arts Now, Daniel Phung/Company Nil’s work Blowin in the Wind self describes as: ‘…a powerful and dynamic dance theatre piece addressing the complexity of the current patriarchal society, it challenges our perspective on ‘power’. Four characters who are forced to place their ‘power’ within patriarchy, use mind blowing Contemporary and Hip Hop dance (emphasis is mine) to take you through multiple episodes of masculinity: Sensitivity, emotion, conflict, aggression and adolescence. It is an emotional response to these following questions: What is masculinity? Does masculinity exist? What is cultural masculinity? Does cultural masculinity exist?’

This is the first full-length work Phung has created, and these are some large claims and questions he attempts to answer with four performers in several episodes over 50 minutes. Either the questions are so grandiose that they are impossible to answer or are so simplistic that we’ve heard them before. There are a few nice sketches and motifs — mainly featuring Fern Grimbley who has a physical elasticity and watchabilty that warrants a deeper choreographic challenge — but a tender wrestling duet in which two people try to wear the same jacket is indicative of Blowin’ in the Wind’s facile representation. It offers a 2D stereotypical masculinity that belongs in the Daily Mail with little thread or authorial commentary. Despite a couple of nice lift sections and a solo for Grimbley that showcases what a fine dancer she is, the visibility of a Hip Hop choreographic language is hard to find and the throwing of paper aeroplanes into the audience and inviting their return is a fine but shallow attempt at audience engagement. I find myself leaning back to what Tobi said earlier around a need for nuance: masculinity is a big word, with a set of expectations alongside it; it isn’t a monolith. A smaller, tighter focus is needed if Blowin’ in the Wind is going to add to any future dialogue around masculinity and Hip Hop.

The possibilities offered by the choreographic, masculine Hip Hop dance theatre body are numerous; it can be expanded, reduced, presented in binary or opposition, it can be fragile, in mourning and in so many other different states. Yet I find it hard to recollect a Hip Hop dance theatre work made recently that offers either a new narrative or an alternate angle on masculinity without relying on what Yang calls: “…overt displays of masculine swagger and power, and built on a value system derived from the streets of corporeal risk-taking, competitiveness, and improvisation.” I am left yearning for the complexity, prowess, emotional strength and honesty of Kloe Dean’s Man Up which I wrote about last year and now consider a yardstick for other Hip Hop dance theatre works. So far nothing has come close. 

Caravan Social Night 7: The Soulquarians Tribute Edition was an evening presented by Caravan — a project founded by Chris Reyes — which celebrated the legacy of artists J Dilla, ?uestlove, D’Angelo, James Poyser (all who shared the Aquarius starsign) and the wider 90s Neosoul movement. Although definitely not a Hip Hop dance theatre work in itself, Caravan Social Nights are primarily events and fundraisers for Reyes’ other Hip Hop dance theatre work; they are a place for some of the community to gather, to showcase and see peers exercise different creative muscles, inviting and encouraging acts to bridge music, art, dance and improvisation with all the rich pollination that comes from them.

Comprising roughly five 20-minute stage sets (with a drinks interval between each), live painting by Isaac Bonan and Gatien Engo and hosted by the triple threat Ashley Joseph, the luxurious opener saw L’atisse Rhoden slow jam to Marli Artiste’s vocals and Vicky ‘Skytilz’ Mantey on drums; next up was Ben Ajose-Cutting (aka Mr Ben of The Locksmiths) with a playful set where he would control the various instruments/band members (including Turbo on drums) by lightly stamping an imaginary start/stop button in front of each musician as he layered/stripped away levels of funk and lyrics to lock to. There were other sets featuring T-Boy and Inga Be with a New-Style Hustle partner duet leading into an improvisation with Dani Harris-Walters, a work from Reyes himself, and Boy Blue’s Kenrick ‘H20’ Sandy topping off the night spitting J Dilla’s Pause with a trio of male dancers.

Caravan is without doubt a valuable space for some of the Hip Hop community; the event was slick, full of original content and one of the few places to see artists trying something different without the pressure of their own brand. There was a consistent acknowledgement of Reyes as the driving force and focus of the night, shouted out by Joseph as the man who got the funding and who made it happen (not the producer of the event, Emily Crouch). 

However, what I found strange was that Reyes had a ft. in all of the stage works as well as his own set, whether that was taking over as conductor in Mr Ben’s locking stamp band, dancing in Ken’s work or improvving during L’atisse’s opener. While there’s respect for Reyes having made the evening happen and for bringing people together, when is that line crossed? When does the consistent presence of masculine ego draw focus away from the other acts? What signals does the continued attempt to assert a veneer of alpha status send to the audience and participants? 

Do people in Hip Hop dance theatre really want to talk about masculinity? Do they see how some may be perpetuating problematic behaviours of masculinity? Are they able to engage in the complexity that surrounds the question? Or is it a shallow and facile fundraising hook on which to hang a set of technically adequate routines whilst looking winsome and drawing attention to themselves?

In 2013, Just Us Dance Theatre (JUDT) set up Let’s Shine, a mentoring project to empower young Hip Hop performers and provide them with tools and opportunities to develop as artists and individuals. In the latest edition of the programme (which runs weekly) ten young men aged from 16 to 23 have worked with Joseph Toonga and Ricardo Da Silva to create and perform a response — entitled Let’s Shine, like the project — to Toonga’s work Born To Manifest. Part of the problem of not having seen Born To Manifest is that I’m unable to gauge the success of this 40-minute response by the seven Let’s Shine dancers, but since the original was inspired by first person accounts of young Black men from across London, there are multiple things that need acknowledging in such a political and socially resonant work. The lived experience and racial profiling that young Black men in London face is radically different from any other cultural or racial group; in 2018 43% of the Metropolitan Police’s Stop and Search targets were Black people who make up just 15.6% of the London population. In the same report it said that the likelihood of Black people being stopped is 4.3 times higher than White people. In 2018, 76% of homicide victims were male, with 62% being of African-Caribbean heritage aged under 25, and in relation to victims of knife injuries under the age of 25, 455 were White and 1,370 were ‘BAME’. 

Sat alongside these statistics and lived realities, this 2017 study — Racial Bias in Judgements of Physical Size and Formidability — published by the American Psychological Association says: “Black men tend to be stereotyped as threatening and, as a result, may be disproportionately targeted by police even when unarmed. Here, we found evidence that biased perceptions of young Black men’s physical size may play a role in this process. The results of seven studies showed that people have a bias to perceive young Black men as bigger (taller, heavier, more muscular) and more physically threatening (stronger, more capable of harm) than young White men.” Toonga has himself received some highly problematic language in previous reviews of Born To Manifest, like “Toonga, an imposing presence who wouldn’t look out of place at the Rugby World Cup”, which again plays into the inflammatory stereotype that is perpetuated by the majority of the UK media. This is only some of the societal context within which this work operates.

Let’s Shine attempts to provoke, make us answer questions on our own biases and pose deeper questions about masculinity and power. We are presented with examples of choreographic contagion as one dancer emerges from the bunch, delivers a dance popularised by the video game Fortnite in a swift Tik Tok burst and suddenly all seven are mimicking, summoning up a collective energy. Then it disappears as quickly as it manifested, only to be replaced by another authored by someone else and repeated. This cycle is a fine demonstration of the difference in the behaviour and psychology of a man on his own — what he would/could do and what he can/can’t do in comparison to the behaviour of a group of men when they’re together.

Arnold Tshibangu is an absolute stand out fizzing with a performance magnetism, focus and an ability to draw and hold our attention when he is on stage, like an echo of a young Ivan Blackstock; previously he was Tin Man in the 2017 version of ZooNation’s Groove On Down The Road. The other performer that had a cleanness in execution and a barrelfull of energy was Musa Mohamed aka Moose; knowing that Born To Manifest is a duet, I’d be interested to see if the pairing of Mohamed and Tshibangu could step up to the full work at a later date.

Choreographically Let’s Shine cycles through Hip Hop and funk styles; the stage is peppered with krump jabs and oodles of pops and muscular contractions. Though technically it’s not the cleanest in execution, the musicality, the energy passed between them, the sweat and believability masks any technical deficiency in the wider cast. With some animal noises on the soundtrack mixed with gorilla vocal imitation by some of the cast, we see a relationship between the krump jab and the gorilla chest pound — but which do we see, Gorilla or krump? Violence or expression? Again, Toonga and Da Silva are playing on the edges of our assumptions/stereotypes to intelligent effect. Some of the chorus and crowd scenes were a little wafty, filling air, and were too much of a distraction to the solo/duet focus, but this is a minor quibble. 

In creating Let’s Shine — both the work and the wider programme — JUDT have created an interesting model that is asking socially relevant questions about masculinity using Hip Hop dance theatre. It is a soothing antidote to the growing number of over-produced Hip Hop dance theatre works that feeds us empty calories or fail to adopt a political position. I’m not saying that all work needs to be about something or answering a societal need, but if you’re making a work that is autobiographical, it does not automatically make it about masculinity or femininity. If you’re making something lighter, for entertainment purposes, ensure your intention is clear and let audience know.

It feels somewhat ironic that seven out of the eight works on my list were authored by men; is this an (un)conscious positioning, creation and affirmation of their Hip Hop masculinity in light of #MeToo and #TimesUp? Is it a bias and set of active decision making in programming by venues to present men over women? We know this is a consistent problem across the wider dance industry, including the work Sadler’s Wells and Breakin’ Convention choose to present and tour.

I see few attempts, inquiries or acknowledgements from the England-based Hip Hop Dance Theatre scene to engage with different types of masculinities that intersect with communities of disabled, trans, gay or femme artists. There are conversations happening elsewhere around Hip Hop and masculinity including the two Minnesotan rappers Kyle ‘Guante’ Tran Myhre and Tony The Scribe and their nine-episode debut podcast season of What’s Good, Man? which self describes as ‘a podcast on men, masculinity, and culture. Featuring two hosts who sharpened their analyses in the worlds of Hip Hop, cultural organizing, and movement-building, it’s also a response to a specific call: men need to speak up more about issues like consent, gender violence, and sexism, especially with other men.’  What England-based artists are currently dealing with is a very narrow masculinity; if they’d seen each other’s work they could have had an active dialogue or hosted a wider discussion around their thoughts on masculinity and its relationship to Hip Hop.