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Hip Hop at Competition - What is Missing in the Genre · Making The Impact - A Dance Competition Podcast

• 0:07
  SPEAKER_05: Have you ever wondered what goes on behind the table at a dance competition?
• 0:10
  SPEAKER_05: Exactly what are the judges looking for anyway?
• 0:13
  SPEAKER_05: This is Making the Impact, a dance competition podcast.
• 0:15
  SPEAKER_05: Each week we'll cover a different topic related to the world of competitive dance, from the perspective of the judges behind the table.
• 0:25
  SPEAKER_05: From the studio to the stage, hip-hop's many sub-genres can be misunderstood and even miscategorized.
• 0:31
  SPEAKER_05: Today on Making the Impact, through bringing Hip Hop Downstage Center with a group of unique dance educators to share their perspectives on hip-hop in the competitive dance world.
• 0:54
  SPEAKER_01: I am it's a hot one.
• 0:55
  SPEAKER_01: I'm so excited for hip-hop.
• 0:57
  SPEAKER_01: A competition is what we're talking talking about and tackling on this week's episode.
• 1:03
  SPEAKER_01: And we had to do another hip-hop episode, Leslie.
• 1:06
  SPEAKER_05: I mean, one wasn't enough and we didn't learn enough, and there's so much more to learn.
• 1:10
  SPEAKER_05: So yeah, I'm excited to hear from our guests today.
• 1:13
  SPEAKER_05: And um I just get some more inside info that it shouldn't be inside info.
• 1:16
  SPEAKER_05: It should be like everywhere info.
• 1:18
  SPEAKER_01: Yeah, everywhere info for sure.
• 1:21
  SPEAKER_01: And I know as a judge, we we see a lot of hip hop at competition, and um, I'm interested to hear what our guests have to say when it comes to this genre in particular, because I feel like that I see I see a decent amount of hip-hop, but then I also see a decent amount of what people think is hip hop.
• 1:40
  SPEAKER_01: Correct.
• 1:40
  SPEAKER_01: And there's uh, you know, I I sometimes will see like turns in second happening in the hip-hop category.
• 1:47
  SPEAKER_01: And just like gymnastics.
• 1:49
  SPEAKER_01: Yes.
• 1:50
  SPEAKER_01: And that's confusing.
• 1:52
  SPEAKER_01: I'm not quite sure.
• 1:53
  SPEAKER_01: So we're gonna talk about that today.
• 1:55
  SPEAKER_05: We are, but we have a few things to tell you.
• 1:57
  SPEAKER_05: Uh, besides that, we have some Making the Impact Awards.
• 2:00
  SPEAKER_01: Yes, we do.
• 2:01
  SPEAKER_01: As everyone knows, we continue to sponsor a wonderful Judge's Choice Award, sponsored by Making the Impact Podcast and Impact Dance Adjudicators at all IDA affiliated competitions that have at least one IDA judge on the panel.
• 2:16
  SPEAKER_01: And the judges get to choose their Judge's Choice Award, that one dance that they cannot stop thinking about by the end of the weekend, whether it was through amazing execution, technique, performance, choreography, they want to recognize you with the Making the Impact Judge's Choice Award.
• 2:31
  SPEAKER_01: And one of the perks of winning this award is you get a shout out live on our podcast.
• 2:36
  SPEAKER_01: So, Leslie, would you like to announce our first winner?
• 2:39
  SPEAKER_05: Yes, here we go.
• 2:40
  SPEAKER_05: From Axis Dance Competitions event in Carson City, Nevada, congratulations to Heart and Soul Dance Academy from Reno for their large group, My Immortal.
• 2:49
  SPEAKER_01: And from Starbound's event in Stanford, Connecticut, congrats to Hudson Valley's Best Dance from Hopewell Junction, New York, for their solo mix it performed by Logan Blum.
• 3:01
  SPEAKER_05: Very cool.
• 3:01
  SPEAKER_05: Congratulations, everyone.
• 3:03
  SPEAKER_05: Um I hope you're excited that you made the impact on those weekends.
• 3:06
  SPEAKER_01: And before we jump into our episode, let's hear from our sponsors.
• 3:11
  SPEAKER_01: Coming to you from our season five premiere sponsor, Francisco Gella Danceworks, I'm excited to introduce New Century Dance Project, a festival of performance and choreography.
• 3:21
  SPEAKER_01: New Century Dance Project focuses on teaching the craft of choreography and why it's important for both choreographers and the dancer.
• 3:28
  SPEAKER_01: Festival components include a choreography intensive for dancers ages 15 to 24, a choreography competition, concert performances, and community outreach events.
• 3:38
  SPEAKER_01: The seven-day intensive starts every day with a technique class.
• 3:41
  SPEAKER_01: After that, participants will head into classes and seminars that aid in the choreographic process, such as compositional techniques, improv, use of props, music selection, partnering, lighting and design, and so much more.
• 3:54
  SPEAKER_01: What sets this intensive apart is the ability to hear and see various artistic voices throughout the week, allowing new choreographers to develop their unique style.
• 4:02
  SPEAKER_01: The choreographic competition offers three age groups: high school, undergraduate, and emerging professional.
• 4:08
  SPEAKER_01: The competition results in a critic choice winner judged by a distinguished faculty and a people's choice winner, voted by the audience for each age division.
• 4:16
  SPEAKER_01: If you are an aspiring choreographer ages 15 or older, looking to advance your composition knowledge and display your work in an artistic choreography competition, then look no further than News Century Dance Project, taking place this summer in Santa Fe, New Mexico, from July 29th through August 4th, 2024.
• 4:33
  SPEAKER_01: The deadline to submit your choreography for consideration is by March 1st, 2024.
• 4:38
  SPEAKER_01: Use our exclusive podcast promo code Making the Impact in all caps when registering for the festival to receive$75 off.
• 4:47
  SPEAKER_01: Learn more on their website at newscentredanceproject.org.
• 4:51
  SPEAKER_01: All right, listeners, it's time to jump into this week's episode, and it's a hot one.
• 4:56
  SPEAKER_01: I'm so excited.
• 4:57
  SPEAKER_01: We knew we needed to do another hip hop episode on making the impact.
• 5:02
  SPEAKER_01: It's been a while since we've done the last one.
• 5:04
  SPEAKER_01: That was back all the way in season two.
• 5:06
  SPEAKER_01: So if you haven't had a chance to listen to our hip hop episode, go give it a listen while you're either before or after you listen to this one because it's a great episode that we talked all about the history and foundation and fundamentals of hip-hop dance.
• 5:20
  SPEAKER_01: But now we're going to take it one step further and talk about what we see at dance competitions in the hip-hop category.
• 5:28
  SPEAKER_01: I'm going to give some loose quotes there, hip-hop category, because sometimes we're not really seeing actual hip hop dance in the hip-hop category.
• 5:37
  SPEAKER_01: At least I know I'm not when I'm watching it as a judge.
• 5:40
  SPEAKER_01: And we have some brand new guests joining us.
• 5:42
  SPEAKER_01: Actually, three voices are joining us on this chat today, which is different.
• 5:47
  SPEAKER_01: We usually only have two um guests, but now we have three guests.
• 5:50
  SPEAKER_01: I'm so excited.
• 5:50
  SPEAKER_01: It's gonna be a great chat.
• 5:51
  SPEAKER_01: And they're both all of them are brand new guests to our podcast.
• 5:55
  SPEAKER_01: The first guest I'm excited to welcome is someone who I get to work alongside every single week at the Streets Dance Convention.
• 6:03
  SPEAKER_01: He is a fabulous dance educator, fantastic hip hop educator.
• 6:08
  SPEAKER_01: I'm excited to welcome Justin Streeter to the podcast.
• 6:11
  SPEAKER_01: Welcome, Justin.
• 6:12
  SPEAKER_02: Hey guys, hey, good morning.
• 6:15
  SPEAKER_02: Yes, and depending on where you are, correct.
• 6:18
  SPEAKER_05: Or good evening, whenever you listen.
• 6:20
  SPEAKER_02: Yeah, period.
• 6:22
  SPEAKER_05: Good day.
• 6:22
  SPEAKER_01: Justin, it's been a blast working with you this season at Streets, and I know you've been with them like since the beginning.
• 6:28
  SPEAKER_02: Yes, literally.
• 6:29
  SPEAKER_02: So I literally started off as an assistant, and I was just really close friends with Ty, and he wanted to bring dance conventions to smaller markets.
• 6:39
  SPEAKER_02: And so basically worked hand in hand with him on that, and then finally got my legs in for teaching and and started teaching for streets.
• 6:48
  SPEAKER_02: And it's been about, I don't know, 16 years.
• 6:52
  SPEAKER_01: Oh my gosh.
• 6:53
  SPEAKER_01: Yeah, because it's that's how long it's been around.
• 6:55
  SPEAKER_01: Like it's been around for longer than people might think.
• 7:00
  SPEAKER_01: That's awesome.
• 7:01
  SPEAKER_02: We started off a little, we started off a little slow, which I think helped in the um building of the foundation of like his voice of the convention and the people he wanted to attend and the teachers he wanted to attract in the studios as well.
• 7:15
  SPEAKER_02: And so we started off a little slow, but I think we're we're gaining a lot of traction in the past like five or six years.
• 7:21
  SPEAKER_01: Yeah, for sure.
• 7:23
  SPEAKER_01: So for sure, yeah.
• 7:24
  SPEAKER_01: I'm so happy to be alongside you uh as a new faculty in my Britt Streets.
• 7:29
  SPEAKER_01: It's been a blast getting to know you and working with you and watching you inspire the kids.
• 7:32
  SPEAKER_01: It's so great.
• 7:33
  SPEAKER_03: Yeah, same.
• 7:34
  SPEAKER_03: Thank you.
• 7:35
  SPEAKER_01: And yeah, so Justin, if you wouldn't mind sharing a little bit more about you, where you grew up, about your early dance training was like, any career credits, and what else you're working on.
• 7:45
  SPEAKER_02: Yeah.
• 7:45
  SPEAKER_02: So I was a little late to the game.
• 7:47
  SPEAKER_02: I played sports my whole life.
• 7:49
  SPEAKER_02: I loved to dance, but didn't know the like concept of a studio and like classes and training.
• 7:57
  SPEAKER_02: And so I actually started my freshman year in college and kind of like instantly fell in love with it.
• 8:04
  SPEAKER_02: And I think I had the option because I was older, I had the option to drive to those classes and take all the classes that I wanted to take.
• 8:12
  SPEAKER_02: And I my studio was very welcoming into the fact of like, hey, I think you have a lot of talent, but you have a lot of catching up to do.
• 8:20
  SPEAKER_02: And she was very um not per se and like knowing exactly what I needed as in a hip hop stance, but knowing the people to put me in contact with.
• 8:30
  SPEAKER_02: And so I think that definitely like astracked my training and like helped me like get to the point of like being able to like dance with my peers.
• 8:38
  SPEAKER_02: So yeah, I was born in California, grew up in Texas, started dancing when I was 18, and and kind of just like fell in love with that, and then fell in love with the teaching aspect of it a lot, and and then kind of got to work with a lot of studios in Louisiana and the South because I was raised in Texas, and and I think that just helped my love for like dance and teaching.
• 9:01
  SPEAKER_02: And so then that kind of like segue to my friend Ty owning the convention and him asking me to teach.
• 9:08
  SPEAKER_02: And yeah, more of my more of my credits are in teaching, and so um I'm with the streets faculty and I'm also with uh Lux in-house dance convention.
• 9:18
  SPEAKER_02: And so same thing with convention, it's a cooler aspect.
• 9:22
  SPEAKER_02: We just go to the studio, and it's kind of like a three to four team faculty, and it's really like in-depth, and the the classes are like really specialized to what the kids need.
• 9:34
  SPEAKER_02: So it's cool to do it on two different aspects where we're like in a big ballroom and then we're like really getting to it, but then to go back to like the foundation and like to help the kids like really get into it.
• 9:45
  SPEAKER_02: So, yeah, so yeah, that's a little bit about me.
• 9:49
  SPEAKER_01: Love it.
• 9:50
  SPEAKER_01: Yes, you are killing it, Justin.
• 9:52
  SPEAKER_01: Well, thank you so much for joining us on Making Impact.
• 9:55
  SPEAKER_01: Oh, thank you.
• 9:56
  SPEAKER_01: All right, our next special guests are two fabulous dance educators that I have had the pleasure of watching their work on the competitive stage, and they actually work at Steps Dance Center, which all of our listeners out there, you might have just heard Steps Dance Center on our recent studio Spotlight.
• 10:16
  SPEAKER_01: But I knew that I had to have these two on this episode because what I watched at competition from them in the hip hop category was all the things they were doing everything right.
• 10:27
  SPEAKER_01: And I knew they they probably have a lot of great things to share and great advice to share to other studios on this chat, and I wanted to bring them on.
• 10:35
  SPEAKER_01: So coming to us from Chicago, I'm excited to welcome Carlo and Angelina Fomolera to the podcast.
• 10:43
  SPEAKER_01: Welcome, y'all.
• 10:44
  SPEAKER_00: Hi, everybody.
• 10:45
  SPEAKER_00: Thank you.
• 10:46
  SPEAKER_00: So glad to be here.
• 10:47
  SPEAKER_01: Yeah, we're pumped to have you both, and thanks for squeezing us into your sketch, and thanks for all that you do for your dancers and your hip-hop community in Chicago.
• 10:57
  SPEAKER_00: Of course, of course.
• 10:58
  SPEAKER_00: Yeah, so we started team teaching like since 08, right?
• 11:02
  SPEAKER_06: Yeah, so actually, Justin was like 16 years, he's been with streets, and that that's pretty much how long the two of us have been with steps co-teaching as well.
• 11:12
  SPEAKER_06: So, yeah, awesome.
• 11:14
  SPEAKER_01: Yeah, I love that.
• 11:15
  SPEAKER_01: So, tell us more about both of y'all, how y'all got connected, what your early training was like, any credits you want to share, and then where you're at now.
• 11:25
  SPEAKER_01: Sure.
• 11:26
  SPEAKER_00: Yeah, I guess we could start with me.
• 11:27
  SPEAKER_00: I just like Justin, I was a late starter out of high school, 17, didn't feel like I had a focus, and then I fell in love with dance and joined Culture Shock Chicago, which led me to a lot of other dancers, particularly one named Suave.
• 11:43
  SPEAKER_00: Uh, he had a company called Hip Hop Connection that once I joined, I helped him run for a good amount of a decade.
• 11:52
  SPEAKER_00: And yeah, and then we started opening branches.
• 11:55
  SPEAKER_00: So we opened a branch in western Michigan in Kalamazoo, and then that's how Angie and I met.
• 12:01
  SPEAKER_06: And then so then my track actually starts much earlier.
• 12:07
  SPEAKER_06: I started dancing when I was two, and I was a competitive dancer.
• 12:13
  SPEAKER_06: I grew up in this world, so yeah, I I'm from the east side of Michigan originally, and then uh, you know, long story short, went through my whole track with my dance studio, and then I ended up going to college for dance because it was just the way that my parents thought it would be best for me to go to college, so I had to kind of listen to that track, and but then I ended up meeting Carlo, and after that we moved to Chicago to start our own company, adult company, which we ran for a few years, and then decided that we just wanted more.
• 12:48
  SPEAKER_06: And we went to LA for four years and had a nice commercial dance run for a little bit, and then ultimately decided, you know, that it was time for us to go back and lay some roots back at home in Chicago, and then landed ourselves at steps and the rest is history.
• 13:07
  SPEAKER_01: Yes, I love it.
• 13:09
  SPEAKER_01: And I'm sure we'll get into some of uh what you're offering to the students at steps and what your curriculum looks like and things like that, where to see wherever this conversation leads us.
• 13:20
  SPEAKER_01: But like I said, I love what y'all are doing and I knew I wanted to have you both on this chat.
• 13:24
  SPEAKER_01: So thanks for being here.
• 13:26
  SPEAKER_03: Thank you.
• 13:27
  SPEAKER_01: All right, we have a lot to cover and we're talking all about hip-hop today.
• 13:31
  SPEAKER_01: So let's dive in.
• 13:32
  SPEAKER_05: Ah, it's so exciting.
• 13:34
  SPEAKER_05: I can't wait.
• 13:35
  SPEAKER_05: I just I love to I'm already excited to hear the different perspectives from, you know, Angelina.
• 13:40
  SPEAKER_05: You grew up in a studio environment that probably encompassed more than just hip-hop.
• 13:44
  SPEAKER_05: But then Justin and Carlo, y'all came much later to the game, but around the same time, it sounds like.
• 13:50
  SPEAKER_05: So that's kind of interesting to me to like hear about, and especially in the different parts of the country, like what evolved in that same 15, 16 year period, you know, because things have drastically changed, you know, not only in dance, but true hip-hop dance in competition, you know, and especially with the different regions.
• 14:07
  SPEAKER_05: Yeah.
• 14:07
  SPEAKER_05: So I guess my first question, I'm gonna start with what is the second question on your sheet if you're following along, which is what do y'all think is missing from the dances we see in the hip-hop category?
• 14:20
  SPEAKER_05: I I wanna I wanna hear about what we're missing before we talk about what actually is there.
• 14:25
  SPEAKER_00: First and foremost, technique.
• 14:27
  SPEAKER_00: Yeah.
• 14:27
  SPEAKER_00: While while we don't have a unified language when it comes to hip-hop dance, and dare I say street dance, because it all kind of melts into each other.
• 14:36
  SPEAKER_00: Yeah.
• 14:37
  SPEAKER_00: Because for Angie and I, we are, you know, while we have, you know, a little bit of education in breakdancing and new jack swing, you know, and then stuff new school after that, we also love our funk styles that kind of predates, you know, when when hip hop was born.
• 14:54
  SPEAKER_00: But then, you know, if you think about it, uh locking and and and breaking kind of coincided because it was during the funk era in the early 70s.
• 15:04
  SPEAKER_00: You know, so but a technique, technique is definitely missing, like understanding, if they don't have terminology, maybe understanding dynamics of like what's sharp and like what's the difference between a still isolation and popping technique.
• 15:19
  SPEAKER_00: That's something that gets very misunderstood.
• 15:22
  SPEAKER_00: You know, like when our kids are popping and using their hitting technique, and then the you know, the judges just say, Oh, you know, you just gotta you gotta sharpen those isolations.
• 15:30
  SPEAKER_06: It's like, no, you know, yeah, but like what's missing from from like the majority of dances, I think is that foundation, the technique.
• 15:40
  SPEAKER_06: And you know, you have to have somebody who is well educated, at least to offer some kind of appetizer at the very least, into all the different genres within the genre that exists in street dance.
• 15:55
  SPEAKER_06: Because you know, hip hop is is only one small facet actually of the whole umbrella of genres that kind of fall in, tend to fall in, right?
• 16:08
  SPEAKER_06: According to that like same category.
• 16:10
  SPEAKER_06: So it's yeah, it's it's always so interesting to see what is influenced uh more so by the current versus the you know, those dancers who are you can very clearly see they're being educated in the history, the technique, the foundation.
• 16:27
  SPEAKER_02: I'll just I'll literally just double down on all that because it literally is it's so true.
• 16:32
  SPEAKER_02: It's literally just the techniques of like and you can see it as a person who obviously we live this, so you can see it as as soon as I see a number, like okay, so I saw I saw one of Carlo and Angelina's pieces, and as soon as I mean from the first 30 seconds, you see housing, you see a form of like locking, you see a form of popping, you see a form of breakdancing, and that's within 30 seconds.
• 16:55
  SPEAKER_02: And so, like you see that the technique and the foundation is there, and it gets me almost excited to see what's next.
• 17:02
  SPEAKER_02: So I think it literally is the the technique that is like missing out, and that we're not getting from like well, what um Angelina said is so correct.
• 17:12
  SPEAKER_02: Like those kids need teachers who are who are have at least some like filter of like, okay, I know this is what they need, or they need different like assets and like there's so many levels to hip hop, there's so many different lanes.
• 17:27
  SPEAKER_02: And so um I think sometimes we just some people get stuck in just like what is happening right now, and there's so much foundation, there's so much foundation in history that goes into it that you can tell instantly in the first 15 seconds if that foundation there is even being talked about at that studio.
• 17:44
  SPEAKER_05: Right.
• 17:45
  SPEAKER_05: What I what I absolutely love right now is that this doesn't just apply to hip hop.
• 17:50
  SPEAKER_05: We we're missing technique in the jazz dance.
• 17:52
  SPEAKER_05: Yeah, facts dance in the modern dance, if you even see it.
• 17:56
  SPEAKER_05: Like, and and to hear all of y'all say hip-hop dances are missing technique, I think is a mind-blowing thing because, like y'all said, when when you look at what is considered a hip-hop dance umbrella term on stage a dance competition, I feel like having not had much hip-hop education aside from sort of doing my own thing and just under like researching on my own, not being taught necessarily, I see TikTok dances.
• 18:21
  SPEAKER_05: Yeah.
• 18:21
  SPEAKER_05: And I see movement that I I can't even identify as a dancer with terminology in my brain.
• 18:27
  SPEAKER_05: Like I don't even know what to call that.
• 18:29
  SPEAKER_05: So I don't know how to judge that.
• 18:30
  SPEAKER_05: Right.
• 18:31
  SPEAKER_05: If you're not showing me something that has a technique to it, what am I supposed to say about it?
• 18:35
  SPEAKER_06: Well, right.
• 18:36
  SPEAKER_06: And I think, I think too, I think something that often irritates Carlomanai at competitions is just uh, you know, the fact that, you know, what you said about jazz and ballet and and modern and all those things, they tend to, and you know, I'm sorry if this is an assumption, but it it tends to be true, they tend to be viewed as technical styles, whereas a lot of hip hop is just viewed as most entertaining over for fun, right?
• 19:06
  SPEAKER_06: But you know, there is legitimate technique that we are teaching week week to these kids that we we would like that to be recognized as well, not just the most entertaining routine, right?
• 19:18
  SPEAKER_06: Yeah, but I totally agree.
• 19:21
  SPEAKER_02: I had a I had a friend and we were talking about, I think it was we watched um a kid, he was popping, and it was so crispy and it was so clean, and then there was someone, um, a next person we watched, and they were doing seconds, and it was really pretty.
• 19:38
  SPEAKER_02: And and she just made the assumption of like, I feel like that's easier to do.
• 19:42
  SPEAKER_02: I'm like, you probably think it is easier to do, right?
• 19:46
  SPEAKER_02: But you can't attempt to do it, and yeah, and there's so much training behind that young man being able to like secure those popping lines and technique, and and I think that is also another thing that drives me insane, though, is when literally it's like there's technique behind it.
• 20:04
  SPEAKER_02: You can't do it like this if you don't have the training, you don't have the foundation.
• 20:08
  SPEAKER_02: But they get it's so I think it's um I think it gets lost because hip hop can be so conversational, and it's because it's um because usually this is the music that they listen to when you go to parties, and this is the music, so so that kind of like seems into being like, Oh, we do this for fun, but it's we're actually out here really getting it.
• 20:29
  SPEAKER_01: So yeah, this like this is serious, like and also we're going to classes to train to learn.
• 20:35
  SPEAKER_01: This isn't just like yes, dance is fun, and yes, we're gonna have a good time, we can have a good time in all the classes, but there can still be discipline in hip-hop class, and there can still be, you know, a approach to the proper fundamentals and hip hop, and it's not just about putting on a song and having a good time 24-7.
• 20:52
  SPEAKER_01: Like, we got to get down into the nitty-gritty because then that's why you're not doing great at competition if you're wondering why.
• 20:58
  SPEAKER_01: Like, I I mean, like, like we kind of just said, like, I can I can already tell based on how they walk on stage, based on the I mean, um, this sounds crazy, but like sometimes even the music choices are like the stereotypical, like, how many times do I need to hear Missy Elliott come on stage at competition?
• 21:17
  SPEAKER_01: Like, I mean, Missy Elliott.
• 21:20
  SPEAKER_01: I mean, I like it, but it's the same songs every time.
• 21:23
  SPEAKER_01: Like, she has a full collection of music, she's been around for a very long time, but we hear like the same two songs 24-7.
• 21:30
  SPEAKER_01: And I think that people think that like that's hip hop dance.
• 21:33
  SPEAKER_01: And I've seen someone use that, so I should use it.
• 21:37
  SPEAKER_01: And it just shows lack of education and knowledge on the on the style, and that it's usually just the same few moves over and over again that are not really done properly with the proper technique, like even those that limited vocabulary that that that choreographer is giving to their students, even still, I can tell the execution of that style.
• 22:00
  SPEAKER_01: Isn't really there.
• 22:02
  SPEAKER_01: Versus, I would rather I get excited when I see actual like variation of movement through all of those different subgenres under the umbrella of hip hop delivered in the choreography, even if the execution is they're still working on it.
• 22:16
  SPEAKER_01: They're students, they're still learning that technique, but I at least see that the teacher is giving them the variety.
• 22:22
  SPEAKER_01: That makes me excited.
• 22:24
  SPEAKER_01: I'm like, oh, I like good job, hip-hop teacher.
• 22:26
  SPEAKER_01: I see what you're going for here.
• 22:27
  SPEAKER_01: Like, continue to work on XYZ, but thank you for giving them this variety of movement.
• 22:33
  SPEAKER_02: Yeah, no, facts.
• 22:34
  SPEAKER_02: I think I think it's their job as uh it's our job as the teachers to just open the door.
• 22:39
  SPEAKER_02: You gotta you gotta lead them to the door, and there's and there's several doors.
• 22:42
  SPEAKER_02: There it's not just one.
• 22:44
  SPEAKER_05: Yeah.
• 22:44
  SPEAKER_02: So yeah.
• 22:45
  SPEAKER_05: And this happens again in all genres of dance, but I'm curious with hip-hop because hip-hop is so the way the way it feels right now is that hip-hop is current.
• 22:55
  SPEAKER_05: And like, sure, there's current hip-hop, and then there's also historical hip-hop, and like all of it's valid.
• 23:00
  SPEAKER_05: But I think the way it's advertised in studios is it's cool, it's the thing we do now.
• 23:05
  SPEAKER_05: So, how as teachers in classes are you giving them, Angelina, like you said, the appetizer?
• 23:12
  SPEAKER_05: Like, I need you to know these five basic skills.
• 23:15
  SPEAKER_05: Are they a little boring on their own?
• 23:17
  SPEAKER_05: Let's be real.
• 23:18
  SPEAKER_05: So is a plie.
• 23:19
  SPEAKER_05: So is a ton do.
• 23:20
  SPEAKER_05: Absolutely.
• 23:20
  SPEAKER_05: Like it's just not really amazing and fun until you learn how to do it and then apply it to other things.
• 23:25
  SPEAKER_05: How do you do that in a hip-hop class right now with the way the world is, with the TikTok, with the social media, with everybody just like screaming at you, do more, do more, do more?
• 23:35
  SPEAKER_06: Sure.
• 23:36
  SPEAKER_06: Well, I think the advantage that the two of us have is the two perspectives.
• 23:41
  SPEAKER_06: He came into the game later and his focus, he ran, he's basically like self-taught.
• 23:46
  SPEAKER_06: You know, he he had to learn all the things on his own.
• 23:49
  SPEAKER_06: And I came from a very structured, you know, everything is codified, everything is, you know, bam, bam, bam.
• 23:55
  SPEAKER_06: All you know, so those things brought together works for us because we were able to find a language that we're able to speak to the dancers in a way that they're used to, right?
• 24:07
  SPEAKER_06: But then also give them information that, you know, comes from the street.
• 24:12
  SPEAKER_06: So so I think that that really works for us.
• 24:16
  SPEAKER_06: But but you know, to speak on that, I feel like it's important for us in within our season.
• 24:22
  SPEAKER_06: We actually I could show you my calendar if you like, but we break down the weeks of the year into units of of different um categories that we we're studying.
• 24:35
  SPEAKER_06: So currently we're in our locking unit, and then we will close that up and we'll move into another unit in another week.
• 24:43
  SPEAKER_06: But yeah, we break it down into different units, and then you know, it'll be just like what they have in school because we're a school of dance.
• 24:50
  SPEAKER_00: Yeah, um, they don't, yeah, for us, it's not just one class.
• 24:54
  SPEAKER_00: So like on the competitive side, we'll have you know our quote unquote choreography rehearsal, right?
• 25:00
  SPEAKER_00: We need that supplemented by a technique class beforehand.
• 25:04
  SPEAKER_00: Yeah, because you can't just do that all in one rehearsal.
• 25:07
  SPEAKER_00: And you know, like in ballet class where you're you're drilling plie, plie, tandu all day long, the same thing for us, just drilling glide technique, you know, not necessarily combinations, but just like repetitive movement so that it's ingrained into their body memory.
• 25:22
  SPEAKER_00: So that's how we're able to um, you know, make them look good while having fun.
• 25:28
  SPEAKER_06: Support, support all of the things that you know make everything so so entertaining and so fun, right?
• 25:41
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• 25:43
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• 25:49
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• 25:53
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• 25:58
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• 26:05
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• 26:11
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• 26:25
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• 26:40
  SPEAKER_01: That's something that I say often and we've talked about it on the podcast.
• 26:44
  SPEAKER_01: And this is again like I'm I'm speaking, I'm not obviously not a hip-hop educator, and I just take hip hop occasionally.
• 26:51
  SPEAKER_01: But this that same thing applies, like we said, to all genres of dance.
• 26:56
  SPEAKER_01: Like there are so many times where teachers tell me, Oh, I don't have a regular contemporary class on the schedule in the week, but they learn contemporary in their choreography.
• 27:06
  SPEAKER_01: I'm like, no, how do they know how to do the listeners?
• 27:11
  SPEAKER_01: Everyone is taking their head no right now.
• 27:13
  SPEAKER_05: It's not every single head just went nope.
• 27:16
  SPEAKER_01: Like, it's not about just like giving them steps in choreography and saying, figure it out.
• 27:22
  SPEAKER_01: Like every single step within choreography should have been learn and taught the the fundamentals and the technical execution of that elsewhere.
• 27:31
  SPEAKER_01: That needs to be happening outside of the choreography rehearsal.
• 27:35
  SPEAKER_01: So, what you're saying with having that supplemental class before choreography, so we can drill the glides and we can drill the popping and whatever it is that's within the agree makes all the sense.
• 27:46
  SPEAKER_01: That's the only way that dancers are going to be able to execute the technique properly.
• 27:51
  SPEAKER_01: Like to me, I know there's not a lot of time in everyone's schedules, and might that could be a factor, but at the same time, like you gotta make sure we're doing it right.
• 28:00
  SPEAKER_01: Right, right.
• 28:01
  SPEAKER_06: But a lot of people too, I think they they believe that there is no way to drill hip hop technique, and there absolutely is, you know, while there isn't a lot of of names for certain movements, there actually are a lot of names for movements in specific like genre specific.
• 28:20
  SPEAKER_06: So, you know, understand like having educators that are educated in that like each genre is really important, but also that we're not just doing combinations every week, you know, because that's not going to like they're they're getting combinations in when they go to see Justin, right?
• 28:39
  SPEAKER_06: Like they're getting combinations when they're, you know, in their jazz class, in their they're doing combinations every week, and or they should be at least in their ballet class, like in you know, from the beginning of bar to the end of bar and then all the way through the rest of the class.
• 28:54
  SPEAKER_06: So their quick study, they're they're always working on that.
• 28:56
  SPEAKER_02: And I think a lot of times hip hop is used as just a quick study, you know, supplemental thing as opposed to its own right, you know, serious and studying and just to yeah, and just to double off of that, it is so true because sometimes I find myself when I'm going to do choreography at a different studio, I can't even teach them the choreography because I have to teach them how to dance.
• 29:24
  SPEAKER_02: And so the kind of the way that I start when I was doing hip hop in Austin at the studio, we would start the first two weeks.
• 29:31
  SPEAKER_02: We're starting off with combos.
• 29:33
  SPEAKER_02: And then after those first two weeks, we have a game plan of like these are the different foundations that you need that I put in those combos.
• 29:40
  SPEAKER_02: And I love to like we we we record them in a trio and you keep that video, um, and then we learn these techniques and we learn all the techniques that were in that combo.
• 29:51
  SPEAKER_02: Um, popping, locking, grooving, um, a little bit of b-boy.
• 29:54
  SPEAKER_02: So just some like some type of footwork and housing.
• 29:57
  SPEAKER_02: And then we go back and we see the training, and then I like to record them again in that same combo.
• 30:02
  SPEAKER_02: Wow.
• 30:03
  SPEAKER_02: With with now all those steps that they have.
• 30:05
  SPEAKER_02: And and I think, and it's hard, it's hard to do it with this generation because of like we want the quickness, we want the like, and it's hard to be like this, hey, we're doing grooves again today.
• 30:15
  SPEAKER_02: I'm not teaching you a combo.
• 30:17
  SPEAKER_02: I know you're so upset about it, but this is what we have to do for you to like get this picture, and it helps a little bit when you can like record them and then they can.
• 30:24
  SPEAKER_02: I'm like, do you see your difference?
• 30:26
  SPEAKER_02: Do you do you see how deeper you are in this groove?
• 30:28
  SPEAKER_02: Do you see how like the the levels that you're hitting, the dynamics, the sharp to hard, the reverb, like all these things.
• 30:35
  SPEAKER_02: And and it and it kind of helps, but I think that is literally it.
• 30:38
  SPEAKER_02: Like, you have to have the game plan of like, I'm gonna have to set it up where I have to teach you these groups because these kids don't, they can't even do the dance because they don't know how to like implement those those regular dance moves.
• 30:51
  SPEAKER_05: Yeah, I love that idea of the recording from sort of the beginning to the end and looking at the difference because that's so that's the way a lot of kids learn.
• 30:58
  SPEAKER_05: A lot of people learn is by like physically seeing, oh wow, that that wasn't good.
• 31:03
  SPEAKER_05: You don't sometimes you don't feel that way, you know.
• 31:06
  SPEAKER_05: But if you look at yourself doing it, you're like, dang, I that could have been a lot better.
• 31:09
  SPEAKER_05: And six weeks later, it is a lot better if we just do it.
• 31:12
  SPEAKER_02: And we and we just use that for the month, and it helps it helps inspire those kids so much and it helps them keep them because it it is hard for it is hard because when kids just want to do combos, they just want to combo you to the death.
• 31:24
  SPEAKER_02: Yes, just like we we can't do a combo because you literally like in dance form, I'm like saying you can't make a sentence like with your dance.
• 31:33
  SPEAKER_02: Yeah, like we can't we're trying to make a conversation, we're trying to like have a conversation, make an essay, and and your sentences are barely being able to be put together.
• 31:43
  SPEAKER_02: So, yeah.
• 31:44
  SPEAKER_01: I liked what y'all said about the the fact that like when you go to convention, that's when you get the combo.
• 31:51
  SPEAKER_01: Like, I think I know this is a little sidetracked, but uh that just kind of inspired me a lot because I feel like a lot of people complain that conventions are nothing but combinations, and then everyone's like, Oh, why aren't why aren't the teachers doing anything but combos?
• 32:03
  SPEAKER_01: All they do is just give them combinations at convention.
• 32:06
  SPEAKER_01: And it's like, yeah, we're still educating through the combos, but also you like you as the studios should make sure your dancers are coming prepared with the fundamentals so they can learn those combos and have a good time with it.
• 32:21
  SPEAKER_01: Like the convention is a special event, it's a bonus, it's uh we're gonna learn something new.
• 32:26
  SPEAKER_01: You're but I still have the those the technical foundation to execute all these different genres, and that's coming from the home studio.
• 32:35
  SPEAKER_01: And and you know, and or maybe they've never been exposed, and that's why we're at convention, so we can get a taste of this new style, or maybe this hip-hop teacher does a different style of hip-hop than I get at my studio, but there's still there's still things that you can pull from your training that you'll be able to execute in that hip-hop class.
• 32:54
  SPEAKER_01: It's but like you said, Justin, I mean, and again, I speaking as a jazz dancer and choreographer, same thing applies when I go teach at studios and they can't do a pot of bureau.
• 33:05
  SPEAKER_01: So I'm like, yeah, I don't really know what's going on at the studio sometimes.
• 33:11
  SPEAKER_05: Well, and then you wonder if if they're not teaching a pot of bureau, but they're giving you a combination in class.
• 33:16
  SPEAKER_05: What's in the combination?
• 33:17
  SPEAKER_01: Yeah, if you can't do that, so what are you doing?
• 33:20
  SPEAKER_01: Are you just like moving?
• 33:22
  SPEAKER_01: I don't know.
• 33:23
  SPEAKER_01: Yeah, it's just it makes our jobs really hard, like as convention teachers, but then also as guest choreographers, like it it makes it a very hard job if if that groundwork isn't laid out from the dance studios, because that's why you're going to class every week, is to have you know structured training.
• 33:40
  SPEAKER_02: And I bet they're probably and I bet they're probably just you just they're just throwing out terminology and they're just doing the steps.
• 33:46
  SPEAKER_02: But like uh I've I found a real a real good teacher is dedicated to the process.
• 33:52
  SPEAKER_02: You have to be dedicated to the process.
• 33:53
  SPEAKER_02: You have to be like, okay.
• 33:55
  SPEAKER_02: And that's and that's where drilling comes in.
• 33:57
  SPEAKER_02: You got it has to be over and over and it has to like lock into them so then they can take that and and move on.
• 34:04
  SPEAKER_02: I always say this when we're at competition, when we're at convention, I'm like, this is we're gonna do combos and I'm gonna have some technique in there and some foundation in there.
• 34:12
  SPEAKER_02: But this is the time for you to show off, show off what you've been working at from your home studio.
• 34:16
  SPEAKER_02: This this is a free space to like let's just go off.
• 34:20
  SPEAKER_02: Yeah.
• 34:20
  SPEAKER_02: So yeah.
• 34:21
  SPEAKER_01: I feel you.
• 34:22
  SPEAKER_01: Leslie, do you want to go back to that very first question that we skipped over?
• 34:28
  SPEAKER_05: Yes, I think I we should because I I think I know the answer based on what we've already been talking about.
• 34:33
  SPEAKER_05: But my friends, do you feel like you see legitimate hip-hop on stage at competition?
• 34:39
  SPEAKER_00: More not not as often as we'd like.
• 34:42
  SPEAKER_00: Yeah.
• 34:43
  SPEAKER_00: So, you know, again, we we spoke on technique.
• 34:46
  SPEAKER_00: So we'll see uh competitions like, oh man, this movement, this choreography is pretty tight.
• 34:52
  SPEAKER_00: But if it had that technique behind it, it would it would be super legit.
• 34:57
  SPEAKER_00: Um so we find ourselves like either the choreography is there and it's not supported by technique, or even more importantly, let's say that maybe a studio is not hip-hop focused, but they have a really great jazz contemporary ballet program where dancers are really smart, but now they don't quite understand the technique because of their posture.
• 35:20
  SPEAKER_00: Yeah, posture is so important, like you know, in ballet, like you're all up in the air and like light and strong, right?
• 35:26
  SPEAKER_00: And then in hip-hop, we're contracted and we find ourselves connecting with the ground.
• 35:31
  SPEAKER_00: You know, um, you could you could again, like you said, you could tell by the way someone's stepping onto the floor, like how grounded they are in their legs and in their posture.
• 35:40
  SPEAKER_00: So a lot of times we'll see really nice movement, but with like straight backs, and it's just like such a it's such a conundrum because it's like ah, they just have to relax and like loosen their spine and kind of give into the movement.
• 35:54
  SPEAKER_00: Yeah, you know, yeah, depending on like who they have as a teacher.
• 35:57
  SPEAKER_06: We never want to take away that idea of self-expression because you know that that is what this art form was founded on, is like freestyle, right?
• 36:06
  SPEAKER_06: It's like being able to express who you are and and what you have to say.
• 36:11
  SPEAKER_06: But you know, I think the responsibility that we have as educators is to give them foundation.
• 36:22
  SPEAKER_06: And I and because we don't see it enough, if you're just giving this generation the new cool TikTok thing, then how do we A, how can we have any legitimacy?
• 36:36
  SPEAKER_06: Right and and longev, how can we see longevity in this you know arena?
• 36:42
  SPEAKER_06: And B, like what where do where what about all that history?
• 36:46
  SPEAKER_06: Where does it go?
• 36:47
  SPEAKER_06: Like, you know, so ballet, hundreds of years old, right?
• 36:51
  SPEAKER_06: Uh jazz, it's same-ish thing.
• 36:54
  SPEAKER_06: Like there's a just a lot of a lot of things that have been around and established while hip-hop has been around for what 50 years.
• 37:01
  SPEAKER_06: 50 years, literally, this year, right?
• 37:03
  SPEAKER_06: Yes.
• 37:04
  SPEAKER_06: So it's so it's so much still in its infancy that there are gonna be so many conflicting thoughts and ideas, and you know, it's definitely a balance that you have to strike of allowing dancers to self-express, but also to make sure that there is history foundation supporting everything that they're doing moving forward.
• 37:30
  SPEAKER_01: Do you feel like that one of the reasons that you see good choreography but poor execution in the technique is because studios are just sourcing out guest choreographers to come in and fix the problem.
• 37:45
  SPEAKER_01: And at least, like, we'll give a fire choreography, and maybe this will slip through the cracks to be, you know, like quality hip hop.
• 37:53
  SPEAKER_01: And at the same time, at least they're exposing them to some maybe they don't have the resources at their studio in hip-hop to be able to have that weekly teacher, and that's the best they can do by bringing in a guest, or their focus is more on the other styles because that's what that's just how their studio is structured, but they wanna give them hip-hop, so then they bring that guest in.
• 38:18
  SPEAKER_01: I feel like that that happens a lot, and I think that hip hop is one of those those styles for studios that they struggle finding that quality weekly teacher.
• 38:27
  SPEAKER_01: Yes.
• 38:28
  SPEAKER_01: Yeah, yeah.
• 38:29
  SPEAKER_02: So yeah, no, I think it's I think it's I mean, I think that's so true, and it's so hard for I think that you have to have somebody in there that's dedicated.
• 38:37
  SPEAKER_02: Yeah.
• 38:38
  SPEAKER_02: And and I uh I will beat it down to the ground.
• 38:40
  SPEAKER_02: The process is so true to me.
• 38:43
  SPEAKER_02: Like, and like um, and yeah, and that's just basically all I feel like those really good hip-hop pieces that basically it's just a little bit of a band-aid over um, I don't know, like a water pipe that's burst.
• 38:57
  SPEAKER_02: Like it's only gonna hold it for so long, but like you need it needs to be kept up.
• 39:02
  SPEAKER_02: It has to be kept up.
• 39:03
  SPEAKER_02: They have to know the foundation and the training to like really execute those moves.
• 39:08
  SPEAKER_02: Because uh, like like Carlos said, I've seen so many.
• 39:10
  SPEAKER_02: I'm like, oh, it's there.
• 39:13
  SPEAKER_02: You can see it.
• 39:14
  SPEAKER_02: Like you can see like remnants of it, but you can see that you can see that that you can see that that plie can be taken way more down to the ground.
• 39:21
  SPEAKER_02: You can see you can just see how that that that like top rock groove can be rocked a little bit more.
• 39:27
  SPEAKER_02: You you can see there's things that like I just wanted them to open up, I want them to open up their portabar a little bit more, and I want them to like loosen up a little bit more.
• 39:36
  SPEAKER_02: And like the difference between going back and forth with that, but I think it's I think it's really in the studio owners.
• 39:42
  SPEAKER_02: Like, and I was when I was leaving my studio from Austin as a teacher and coming back to LA, helping her pick a hip-hop teacher, I was very adamant on these, like you have to live by these, and like you gotta like really look for this.
• 39:56
  SPEAKER_02: Um, and like being a studio owner, I don't want you to just to give in because you're like, oh, it's cool.
• 40:03
  SPEAKER_03: Right.
• 40:03
  SPEAKER_02: That that that can't just be the be it.
• 40:06
  SPEAKER_02: Oh, the kids enjoy it.
• 40:08
  SPEAKER_02: The kids didn't enjoy my class at first, right?
• 40:10
  SPEAKER_02: Yeah, because we were because we were doing things that they weren't used to doing, it feels uncomfortable to grow.
• 40:15
  SPEAKER_02: And they all felt uncomfortable those first two months.
• 40:17
  SPEAKER_02: Yeah.
• 40:18
  SPEAKER_02: Yeah.
• 40:18
  SPEAKER_02: So I think it really relies on the studio owner to like be very adamant.
• 40:23
  SPEAKER_02: The same energy that you pick for your your ballet teacher, it needs to be with the hip-hop teacher.
• 40:28
  SPEAKER_02: If you really want to have a growing program, just I need that same energy from those to that.
• 40:33
  SPEAKER_05: So and it has to be like the same energy of I care about this art form and not just my studio's version of it.
• 40:44
  SPEAKER_05: Yes.
• 40:45
  SPEAKER_05: You know, because I think when when people pick a ballet teacher, if they care about ballet, that's that shows through from day one pre-ballet all the way up to your pre-professional kids.
• 40:55
  SPEAKER_05: But hip-hop, like y'all have been saying, and I and I see this at studios all all over, it is that sort of, well, these kids take that for fun, which means you don't care about hip hop as a culture and as a genre.
• 41:08
  SPEAKER_05: If you if you're just pushing it aside, it is because it when you look at it that way, and I I think people don't want to look at it that way.
• 41:14
  SPEAKER_05: They want to say it's really fun, it's just for the kids who want to have fun.
• 41:17
  SPEAKER_05: Well, they could go to recess, they could just go play on the playground.
• 41:21
  SPEAKER_05: Like if they just want to have fun, go have fun.
• 41:23
  SPEAKER_05: But like this is a thing that people care about that has a history that has, you know, this state, like you said, uh Angelina, the same thing that ballet has.
• 41:30
  SPEAKER_05: It has a shorter history, yes.
• 41:32
  SPEAKER_05: But if if we all start caring about it, like people cared about ballet 200 years ago, it will have that history and that meaning.
• 41:39
  SPEAKER_06: And what that's where I'm like, oof, y'all gotta start caring more.
• 41:43
  SPEAKER_06: Yeah.
• 41:43
  SPEAKER_06: And what's cool is that a lot of the founders are still actually alive.
• 41:48
  SPEAKER_06: Right.
• 41:48
  SPEAKER_06: And so we're living it.
• 41:50
  SPEAKER_06: We're living the history right now, which is crazy to me that like those people are not teaching at conventions in America.
• 41:58
  SPEAKER_06: Right.
• 41:59
  SPEAKER_06: If anything, I feel like the the revered, like outside of America, you know, in Europe and Asia in Europe and Asia, like like learning foundation is like fundamental at the core to what they to what hip hop dance is for them.
• 42:14
  SPEAKER_06: Like, I mean, there's no reason why, like, even at you know, big hip-hop competitions like hip hop international, that the US shouldn't be dominating.
• 42:24
  SPEAKER_06: But unfortunately, everyone is so hyper focused on new, new, new, new, new here that we've lost so much of what makes you know what was born here and and what we should be owning, which is like all of that funk, you know, it's wild, crazy.
• 42:41
  SPEAKER_06: Yeah, that's real.
• 42:44
  SPEAKER_02: That is crazy as an understatement.
• 42:46
  SPEAKER_05: Crazy because like you think about like Fosse.
• 42:49
  SPEAKER_05: So the Fosse style has been around for a little over 50 years, right?
• 42:54
  SPEAKER_05: And there's proteges of Bob Fosse who are number one still alive, but a lot of them are dying off.
• 42:59
  SPEAKER_05: But like those people are in the industry.
• 43:01
  SPEAKER_05: We can name them.
• 43:03
  SPEAKER_05: And and Fosse is just a it's a it's a small style, right?
• 43:06
  SPEAKER_01: Like it's just style in a style.
• 43:09
  SPEAKER_05: It's not hip-hop, which has popping, locking, breaking, gliding, but you know, all the things.
• 43:13
  SPEAKER_05: Like it has so many more things.
• 43:15
  SPEAKER_05: And not to mention, again, with the coasts and the regions and like southern hip-hop, you know, like for Justin, being in Louisiana and Texas, very different world than hip-hop in the Bronx and hip-hop in Chicago.
• 43:27
  SPEAKER_05: Like, yeah, and and the that that's what kills me is that like we have this teeny weeny little fossil niche that like there's people we can name them, they're everywhere.
• 43:35
  SPEAKER_05: There's workshops.
• 43:36
  SPEAKER_05: And then, you know, I I don't know that I can even name anybody in the hip hop community from day one.
• 43:41
  SPEAKER_05: Yeah.
• 43:42
  SPEAKER_05: And I should be able to do that just as a general dance educated person.
• 43:45
  SPEAKER_04: Yeah.
• 43:46
  SPEAKER_05: And that's that's that's sad.
• 43:48
  SPEAKER_00: Well, I mean, Pop and Pete, he's still doing stuff and he's Biggle Sam and Pop and Pete when it comes to popping.
• 43:54
  SPEAKER_00: Like you see them traveling all over the world, but then when they're here, it's like, you know, kind of.
• 44:02
  SPEAKER_02: No, and that's so true.
• 44:03
  SPEAKER_02: Like Papin Pete is teaching, he teaches uh not as much, but there's he's teaching a lot in LA still.
• 44:10
  SPEAKER_02: Those classes should be packed out.
• 44:11
  SPEAKER_06: Packed, packed out.
• 44:13
  SPEAKER_02: I'm talking about to the brim.
• 44:14
  SPEAKER_02: I'm talking about you should have sold-out classes.
• 44:16
  SPEAKER_02: I mean, that literally is a it's it's like I don't I it's mind-blowing to me as well.
• 44:21
  SPEAKER_02: That I mean, like if you can tap into that, knowing what you want to do and where you want to go and who's been there, who's created it, that's an easy tap in right there that people aren't because it's just it's just it's literally new new.
• 44:36
  SPEAKER_02: What's new and then what's hot, but that hasn't, but you find that out later, that has no substance.
• 44:42
  SPEAKER_02: It has no there has no depth to it.
• 44:44
  SPEAKER_02: Yeah.
• 44:45
  SPEAKER_05: I was just saying it's like it's here one day and it's gone the next.
• 44:48
  SPEAKER_05: Whereas some of these styles we're talking about started in 1972 or whatever it was and are still here, you know.
• 44:56
  SPEAKER_05: But like when's the last TikTok dance?
• 44:58
  SPEAKER_05: Can you name one anymore?
• 44:59
  SPEAKER_05: No, the day after it came out.
• 45:00
  SPEAKER_05: Yeah, you were everybody was doing it, the floss or whatever, but like it's not that's not gonna last for more than 50 years.
• 45:07
  SPEAKER_05: Oh, yeah.
• 45:07
  SPEAKER_01: I'm sorry, Carl.
• 45:09
  SPEAKER_00: No, no, no, no worries.
• 45:10
  SPEAKER_00: No, but in the same vein, you know, like you know, Buddha Stret, like heavy in New York, and they they they love him when they come to LA, but like where else in between that from the coast is like he being celebrated, you know.
• 45:24
  SPEAKER_00: Like there's a a dancer, an artist that we admire, uh Dana Wilson, that was been trained under Tony Basil.
• 45:31
  SPEAKER_00: Tony Basil, one of the original lockers, you know, just like my goodness, like we we still have access to it physically.
• 45:39
  SPEAKER_06: Yeah, and that's what's wild to us is that you know actually, you know what?
• 45:44
  SPEAKER_00: I I need to share my my claim to almost like being near the source.
• 45:49
  SPEAKER_00: Um, like so, like no, pre-Youtube.
• 45:52
  SPEAKER_06: I was gonna do it.
• 45:53
  SPEAKER_00: Oh, you're gonna do it?
• 45:54
  SPEAKER_06: Yeah, go ahead.
• 45:54
  SPEAKER_00: So, like I was brought in by Hip Hop International to be like more of the new school teacher.
• 45:59
  SPEAKER_00: So, you know, we flew off to China and was uh just kind of touring, and then um I was partnered up with Dennis Danahi.
• 46:07
  SPEAKER_00: So he is the son of Don Campbell Lock Campbell, the founder of blocking.
• 46:11
  SPEAKER_00: So I got to learn from him.
• 46:12
  SPEAKER_00: Like, so like for me, um, that was like my closest, like, oh, I almost got there to the original source that I got to work with his son.
• 46:21
  SPEAKER_00: Yeah, it's like Michael Jordan.
• 46:23
  SPEAKER_06: Yeah, yes, my lord.
• 46:25
  SPEAKER_06: Yeah, but we're also so lucky.
• 46:27
  SPEAKER_06: I mean, Paw Zeddy and King Charles, like they're those are actually Chicago footwork, and that's Chicago footwork, you know, and like we bring them in often to educate the kids, and you know, it's just people just need to see it and and grab it as fast as they can so that you know they're getting that education, but yeah, it's wild, diversity and diversity, absolutely, especially for these kids that all want to move to LA and be professional dancers, um it doesn't even really matter where you move, like there's hip hop in every coast and and anywhere.
• 47:06
  SPEAKER_01: Um, if you want to do hip hop, but there's so many like contemporary dancers that want to move to LA and be a famous professional dancer after they graduate, but then they realize that it's very commercial and very hip-hop, and then they have to start playing catch up to be able to even book a job because the job's probably gonna be more commercial jazz and hip hop than it is gonna be contemporary.
• 47:32
  SPEAKER_01: And if they didn't have any of that groundwork at all leading in like from their home studio for 18 years while they were training at home, then it's gonna be that much harder for them to break into the industry.
• 47:44
  SPEAKER_01: So, like you said, to be not even just, you know, getting that guest choreographer in, but like going to those other classes and taking advantage of the resources and taking going to those conventions and just being exposed to more.
• 47:56
  SPEAKER_01: Like even the studios have to make sure that they're offering those opportunities to their dancers.
• 48:01
  SPEAKER_01: And if that me, and like like we've kind of talked about, it seems like there's a lot of emphasis and priority on a lot of the other genres at dance studios out over hip hop.
• 48:11
  SPEAKER_01: And but then we just throw in a little hip-hop ditty because we're still grit giving them hip-hop training at competition, and this is great for them to learn, you know, hip-hop moves and and things like that without actually properly learning those basics.
• 48:26
  SPEAKER_01: And with that being said, I'd love to hear a little bit of talk on there's a lot of debate uh in the competition world as far as what's really classified as a hip-hop dance versus oh, that was actually not there were no hip-hop fundamentals in that choreography.
• 48:43
  SPEAKER_01: That was actually more of like a jazz funk or a street jazz dance, or there's all these terms that are being thrown around.
• 48:52
  SPEAKER_01: Even some competitions are even adding sub-genres to hip-hop to hope to try to like reclassif, allow people to properly place the dances when they're in a competition setting.
• 49:04
  SPEAKER_01: So, do y'all have any thoughts on you know what in your eyes would be quote unquote like a street jazz or a jazz funk compared to a hip-hop?
• 49:14
  SPEAKER_01: What are you seeing in those that but it's still labeled under the hip-hop category?
• 49:18
  SPEAKER_01: You know what I mean?
• 49:19
  SPEAKER_01: Like, what is it still hip-hop?
• 49:21
  SPEAKER_01: Question mark.
• 49:22
  SPEAKER_01: Like, I have a lot of questions.
• 49:24
  SPEAKER_00: I know I feel like we have to maybe start correcting that category to like a street dance category if we're allowing the fusion of things, right?
• 49:33
  SPEAKER_06: Because labels are, I mean, they're problematic as it is, right?
• 49:37
  SPEAKER_06: I mean, the problem with labeling everything hip-hop is that there's so many.
• 49:42
  SPEAKER_06: Actually, funny that we were talking about popping Pete because he just put out a video talking about how gliding is gliding technique and tutting is tutting technique.
• 49:52
  SPEAKER_00: Popping is not the umbrella, as it's not the umbrella term.
• 49:54
  SPEAKER_06: I know we were kind of like, uh-oh.
• 49:56
  SPEAKER_06: Yeah.
• 49:57
  SPEAKER_06: Gonna rewrite something.
• 49:59
  SPEAKER_06: Yeah, yeah, yeah, for sure.
• 50:00
  SPEAKER_06: So, so there are just so many genres within a genre that it's not okay to call it all hip-hop because it didn't all start with hip-hop, it started with funk, you know.
• 50:14
  SPEAKER_06: So, so that is the the biggest problem.
• 50:17
  SPEAKER_06: So, I think the safest term is just to label it all street dance and and call it all, you know, cover all the bases because you know, I I think maybe this is going off topic a little bit, but I think something that else that irritates us is seeing hip-hop technique done in contemporary movement and it being okay to be a part of a contemporary dance, but then us using uh maybe non-traditional or like an RB song in uh for a hip-hop piece, for example, and that not being okay, but having solid hip-hop foundation technique like to you know, choreograph to that song.
• 51:01
  SPEAKER_00: So, perfect example of what we did last year was we had a duo that we did Clear Daloon, but it was all it was all house technique, it was lofting, so ground sweeps, dolphins, where like it could have been mistaken as contemporary, but we did that on purpose because we wanted to show, you know, like you know, the the purpose of hip-hop, hip-hop culture said or hip-hop says come as you are and bring everything with you so that we could all like have this beautiful melting pot of of what feels right to us, you know.
• 51:34
  SPEAKER_00: So for us, we we love blending our styles because you know, I'm more street and and Ange has come from like you know the studio side, but also learn like concert dance in college that we we were trying to like combine that and make uh hip hop in like concert form in a sense.
• 51:53
  SPEAKER_00: Yeah.
• 51:53
  SPEAKER_00: So you know, we did it on purpose, and I mean, thankfully it was received well.
• 51:58
  SPEAKER_06: Yeah, but we had to put it in the open category.
• 52:00
  SPEAKER_06: Oh, really?
• 52:01
  SPEAKER_06: For it to be received well.
• 52:02
  SPEAKER_06: You were nervous because of the song choice primarily, yeah.
• 52:06
  SPEAKER_06: Absolutely.
• 52:06
  SPEAKER_06: And that's that's oftentimes what we run into is that we have to stop ourselves and be like, oh, this isn't hip-hop enough for this category.
• 52:15
  SPEAKER_06: So yeah, even if we're inspired by it, we can't use it because it's not hip-hop enough.
• 52:21
  SPEAKER_01: It's like safe that you put it.
• 52:23
  SPEAKER_01: I like I kind of I get what you're saying.
• 52:26
  SPEAKER_01: Like, I I think it's smart and safe that you put it in open, but I think that a judge would understand and notice that based on the execution and the technique behind it and how it was choreographed, that this was a hip-hop dance that was feels a little fusion-y, but they're not doing like turns in Alisakan in the dance, you know.
• 52:45
  SPEAKER_01: Like that that's when it gets to a little bizarre for me when you know we're because I don't even me personally, like when we're talking about labels, I don't even really want to see turns in second in a contemporary dance.
• 52:57
  SPEAKER_01: Like, that's not contemporary dance to me.
• 52:59
  SPEAKER_01: So like you know, so like I do I I understand why you had feel obligated to put it there, and that is okay, like it's a safe, it's a safe place, but it if there were legitimate hip-hop judges, if it was like a hip-hop competition, I'm sure you could have done whatever you wanted with the placement of that.
• 53:18
  SPEAKER_06: Yeah, for sure.
• 53:19
  SPEAKER_06: And I think too that like going back to talking about like judging, it's it's always in like we always prefer, even if the judges panel is not super well educated in all of the genres of hip-hop, that there's at least dynamics understanding and you're able to give better feedback than more, more energy, bigger, bigger, get into your plie more.
• 53:48
  SPEAKER_06: Like, you know, it's just so general and so, you know, it's it doesn't feel personal or invested feedback.
• 53:57
  SPEAKER_02: So yeah.
• 53:58
  SPEAKER_02: And it kind of when I'm like at competition and and it kind of like hurts to the point of like when you see the the technique of like what we put into our hip-hop dance, and then when it comes to overalls and and you see other dances, maybe just get a nod above us because it's a different genre, and it's maybe taking, I guess the judges are more well-versed in that.
• 54:22
  SPEAKER_02: But thankfully, because of my training and because I also I mean, we did ballet Monday through Thursday, my studio owner, she used to dance in San Francisco Ballet.
• 54:30
  SPEAKER_02: So, I mean, we're doing all this work, and and it just hurts, it hurts a little bit, it stings a little bit when you're um, you know, like I know technique and foundation, yes, they're on different styles, but it hurts when you you can tell there's a different level to it.
• 54:43
  SPEAKER_02: But because it's hip hop, it doesn't get the like official nod that it should get because of the like how how well-versed the judges are in in that, or just or not even well-versed, because you don't have to be well-versed, but just accepting like those dynamics and seeing the performance and being able to put all those things together and go out, right?
• 55:03
  SPEAKER_02: You know what?
• 55:04
  SPEAKER_02: I think that hip hop dance, like they deserve first place overall.
• 55:07
  SPEAKER_02: I think I think they gave us everything that they it stings a smidge when I'm like, okay, and then you just take it and then you have to tell those kids, hey, y'all snap.
• 55:16
  SPEAKER_02: Hey, this is great.
• 55:17
  SPEAKER_02: This is y'all did what y'all were supposed to do.
• 55:19
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• 56:37
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• 57:00
  SPEAKER_05: I think that's something to be said for like good judging because everybody knows you go to some competitions and the judges just aren't overall well-versed at like all of those things, the dynamics, the performance quality.
• 57:14
  SPEAKER_05: Like me as not a hip hop judge, I am well-versed enough in everything to understand.
• 57:20
  SPEAKER_05: I can look at your dance and say, that has technique.
• 57:23
  SPEAKER_05: I might not be able to name it because I don't have that education, but I can say that that dance had technique and it was superior to this other dance.
• 57:31
  SPEAKER_05: And it's hard to, it's hard to articulate that sometimes.
• 57:33
  SPEAKER_05: And that's why I think it's good for this kind of conversation to happen.
• 57:37
  SPEAKER_05: Because then at least as judges, it's like, oh, I want to be better at this.
• 57:40
  SPEAKER_05: I don't have the time to go take six years of classes to really dive deep.
• 57:44
  SPEAKER_05: But like I want to at least be able to give people their flowers and you know, have a little bit of the language because if you're a good judge, you can't you should be able to recognize, even if you can't talk about it with very much terminology.
• 57:58
  SPEAKER_05: Like it should be able to be recognized.
• 58:00
  SPEAKER_01: And I think that's something that gets in the way of a lot of the dance.
• 58:04
  SPEAKER_01: Like, if we're doing a the comparison game of like the overalls, and we have lots of different genres that are up against each other and those overalls, and contemporaries pretty much ruling the competition world these days, that then it's like it comes down to the storytelling and the artistry.
• 58:20
  SPEAKER_01: And I and that's why this one over the hip hop that was just real hype, and we had lots of energy and all of the things.
• 58:28
  SPEAKER_01: And and I'm gonna just give y'all some more praise, Carlo and Angelina, because like I felt like that there there were there were stories being told in your hip-hop dances when I watched your dances.
• 58:40
  SPEAKER_01: Like it's not just always about like how hype can we get, like, those are fun and awesome too.
• 58:45
  SPEAKER_01: Like the crowd loves it, everyone's amped up, like the energy is hard hitting, the songs are fun.
• 58:50
  SPEAKER_01: But then there's those artistic hip-hop dances that come out and like change the way you think about life and you will always remember them.
• 58:58
  SPEAKER_01: Those are the ones that are probably gonna be head to head with those contemporary dances.
• 59:03
  SPEAKER_01: Obviously, if they're well executed with the technique and all the things we're talking about.
• 59:06
  SPEAKER_01: Like everything still has to be there.
• 59:08
  SPEAKER_01: When you look at first place overall dances, no matter what genre, most likely they had good choreography that was well executed with proper technique, bing and and good performance.
• 59:18
  SPEAKER_01: Like the all of the boxes are checked on our criteria to name a dance that's first overall.
• 59:25
  SPEAKER_01: And it's hard to separate it sometimes when we're competing against multiple genres.
• 59:30
  SPEAKER_01: It's like, how do we just how do we, you know, change it up a bit?
• 59:34
  SPEAKER_02: I say I say this all the time to the kids who step into my class, especially the kids who are more um movement, contemporary jazz dancers.
• 59:42
  SPEAKER_02: Um I still say this too.
• 59:44
  SPEAKER_02: We're still telling a story.
• 59:46
  SPEAKER_02: It just might be a little bit more grimy, a little bit, it might be more, it might be more hood, it might be more up, it's like it's just a different type of story.
• 59:54
  SPEAKER_02: It's like we all love different types of movies, and I think they sometimes forget that word, that the story doesn't always have to be sad, right?
• 1:00:02
  SPEAKER_02: Oh god, it sure doesn't.
• 1:00:07
  SPEAKER_02: I'm like, you're 11 years old.
• 1:00:09
  SPEAKER_02: Have you ever been sad like that before?
• 1:00:11
  SPEAKER_02: But that's another conversation.
• 1:00:12
  SPEAKER_06: I sure hope not.
• 1:00:13
  SPEAKER_04: That's another conversation, but yeah.
• 1:00:16
  SPEAKER_00: Actually, I just want to throw out uh because I mean it's gonna sound like a brag, but I'm gonna be the hype man for us.
• 1:00:23
  SPEAKER_00: No, no, but for 2019, um, that's when we were first pregnant with our first kid.
• 1:00:30
  SPEAKER_00: And you know, as an artist, we were afraid that uh oh, like it's just gonna affect our art because we're gonna be so focused on our kid.
• 1:00:37
  SPEAKER_00: But you know, come out of it, we created this piece to free to fly, you know, and it was it was beautiful and it was hip-hop, it was an RB, and it ended up winning choreography of the year at the Industry Dance Awards.
• 1:00:52
  SPEAKER_00: Nice, you know, you know, and and and that same token, we also with our production requiem with like we had capes and stuff, that won best hip hop.
• 1:01:00
  SPEAKER_00: So we won like two things that one year, and it just like reassured us as artists, but also reassured us that like you know, it's what we're doing is is being seen, and and it it is possible for hip-hop to be just as beautiful as everything else.
• 1:01:17
  SPEAKER_00: Absolutely.
• 1:01:18
  SPEAKER_02: Because life is beautiful, hip-hop is life, and and it come and it and that's what and that's so beautiful that that it flowed like that, and and you were able to make that beautiful piece because I think that's what people realize.
• 1:01:31
  SPEAKER_02: They think hip hop is a certain thing, but it it is hip hop is the pillars of graffiti, rapping, break dancing, and DJing.
• 1:01:40
  SPEAKER_02: And like, and that's just like that's just the life and culture that our hip us hip hop people like kind of live, and that's just an everyday thing.
• 1:01:48
  SPEAKER_02: I mean, I'm listening to music every day, I'm looking at art every day, and and they they make it seem as if it's this other thing, but when it's like that's just hip hop and it's just life, and it's you you can make those beautiful pieces and and people like people we all live life, and people can see that and go connect to it.
• 1:02:07
  SPEAKER_06: I think too, like going back to the storytelling, I I think what helps us with our students is them understanding the history, but understanding that it came from struggle.
• 1:02:19
  SPEAKER_06: And so once they feel connected to that, then they're like, Oh, well, this is way bigger than just me.
• 1:02:26
  SPEAKER_06: Like this is about community.
• 1:02:29
  SPEAKER_06: And that that for us has has really served like us, but also I I'm very aware, like as a white woman, I have to be up and up on my history and and be on my game and understand that I'm going to be teaching a lot of youth of color.
• 1:02:47
  SPEAKER_06: And you know, so for me, like it's extra important to to understand where everybody is coming from and and to know how to be a great leader to bring that all together.
• 1:03:01
  SPEAKER_06: So that that has really unified the company in that way, but also I think that gives the kids just a nugget more inspiration to be able to tell that story, you know?
• 1:03:16
  SPEAKER_06: Yeah, yeah.
• 1:03:17
  SPEAKER_06: I love it.
• 1:03:18
  SPEAKER_05: Let's see how you feel.
• 1:03:19
  SPEAKER_05: I think we covered it.
• 1:03:20
  SPEAKER_05: This was so educational and so awesome to hear everybody's perspectives.
• 1:03:25
  SPEAKER_05: I don't think I have any more questions, Court.
• 1:03:27
  SPEAKER_01: Yeah, I think I think we're in a great place.
• 1:03:29
  SPEAKER_01: I love it.
• 1:03:29
  SPEAKER_01: This is awesome.
• 1:03:31
  SPEAKER_01: Y'all fantastic chat all about hip hop at competition.
• 1:03:35
  SPEAKER_01: Hopefully, all of our listeners out there learned something new.
• 1:03:38
  SPEAKER_01: I know I sure did from our wonderful guests who joined us.
• 1:03:41
  SPEAKER_01: I always love being educated by our spectacular guests that we bring over here on making the impact.
• 1:03:47
  SPEAKER_01: So thank you for contributing and being a part of our podcast and supporting us.
• 1:03:51
  SPEAKER_01: We are so grateful for y'all and loved the chat today.
• 1:03:54
  SPEAKER_01: So hopefully, this uh for all of our studios out there, for all of the dancers who are taking hip hop, who are competing in hip hop, maybe this will give you a new perspective and uh shift your mentality, shift your focus and training, maybe help you understand your critiques more as to what why you got the score that you did, why you placed where you did, maybe go back into rehearsal and restructure, re review, revisit some of the choreography choices and things and or get a fresh set of eyes in there to check out that dance and help tweak to make it even better before the next competition for that hip-hop category.
• 1:04:30
  SPEAKER_01: So thank you to Carlo, Angelina, and Justin for this wonderful chat and for being our guests today.
• 1:04:36
  SPEAKER_01: And thank you thank you, thank you.
• 1:04:39
  SPEAKER_01: Yes, you're so welcome.
• 1:04:41
  SPEAKER_01: And how we always have our guests lead us out on making the impact is with one final thought on the topic.
• 1:04:46
  SPEAKER_01: So you can talk to whoever you want in the dance world when it comes to hip hop at dance competitions.
• 1:04:54
  SPEAKER_00: Actually, you know what?
• 1:04:56
  SPEAKER_00: I think maybe judges have to be more aware if they're all talking on on one tape.
• 1:05:03
  SPEAKER_00: What what they're they're talking about, their personal preference and and what they see.
• 1:05:08
  SPEAKER_00: Like that should be saved for a teacher tape.
• 1:05:11
  SPEAKER_00: Because when we're sharing these these critiques with the kids, you know, we evalue those words to help them find their aha moment.
• 1:05:18
  SPEAKER_00: So I think these judges have to it's a it's a weird situation.
• 1:05:23
  SPEAKER_00: Sometimes these judges aren't don't understand the mentality of a weekly teacher because when when you get them in the weekend, like you get to be the fun interim.
• 1:05:34
  SPEAKER_00: Be the fun interpret.
• 1:05:35
  SPEAKER_00: Yeah.
• 1:05:35
  SPEAKER_00: Right.
• 1:05:36
  SPEAKER_00: So like having comments like, oh, you know, I think you can challenge them, or this choreography is not difficult enough.
• 1:05:43
  SPEAKER_00: It's just like we have to be aware of language so that you protect, and that's not just for hip hop, it's for everyone too, actually.
• 1:05:50
  SPEAKER_00: That you just have to kind of protect the teachers that have been training those dancers because you don't know what it took to get to that point.
• 1:05:58
  SPEAKER_00: So, and especially for us on the Hip-hop side where a lot of times maybe the judges don't have you know a clear understanding of dynamic and technique.
• 1:06:07
  SPEAKER_00: I think just uh be more aware of the words being shared so that we can inspire the dancers.
• 1:06:15
  SPEAKER_06: Yeah, I think that's good even in a general sense too, because you know, even for dancers who are just learning this style, for you for them to understand that there's more and that they should dig deeper into the history, the foundation, the technique, and to care about it, you know?
• 1:06:34
  SPEAKER_06: So that that speaks to the dancers and the the judging community and educators alike.
• 1:06:41
  SPEAKER_06: It's just to be very careful and in and intentional and thoughtful with your words and how you present yourself in in the hip-hop genre.
• 1:06:51
  SPEAKER_02: For me, I'll I'll talk to the the dancers who usually are not excited for hip-hop, the dancers who are usually nervous for hip-hop, who are usually better movers in contemporane jazz and and ballet.
• 1:07:03
  SPEAKER_02: I'll talk to them and say the same energy that you bring into contemporary jazz, bring it into hip-hop.
• 1:07:09
  SPEAKER_02: And see how and and and do that for maybe just two weeks and see how that how that changes your perspective and and uh kind of just backing off of um Angelina, just like find a care in it, find a find a passion in it because this is something uh this is what I love to do.
• 1:07:27
  SPEAKER_02: I love to just bring hip hop to the forefront.
• 1:07:29
  SPEAKER_02: I love hip-hop.
• 1:07:31
  SPEAKER_02: Not to sound cliche, but hip hop saved my life.
• 1:07:33
  SPEAKER_02: Hip hop is hip hop is just something that just it's just a engine in me.
• 1:07:38
  SPEAKER_02: And like when I see it, and it doesn't even have to be like a whole combo, but when I see a kid, because I usually say, hey, raise your hand if you don't feel like you're like there in hip-hop.
• 1:07:48
  SPEAKER_02: And then I'm saying, put your hand down.
• 1:07:50
  SPEAKER_02: You'll never feel like it if you continue to say those statements to yourself.
• 1:07:53
  SPEAKER_02: You gotta it's like uh I see a car that I want to buy on a commercial, and then for the next week I see it all the time because it's in my head, it's a daily thing, occurrence, and I'm like thinking about 24-7.
• 1:08:06
  SPEAKER_02: So I have to say, I'm gonna be good at hip hop.
• 1:08:08
  SPEAKER_02: I'm gonna, I'm gonna dive into the style a little bit more, and I and I want them to not be so afraid of it.
• 1:08:13
  SPEAKER_02: I think they see it as something that's so daunting.
• 1:08:16
  SPEAKER_02: But the cool thing about hip hop is there's so many, there's so many different places, there's so many like different people that it comes from that we're all connected, and so the diversity in hip hop is crazy.
• 1:08:29
  SPEAKER_02: So everybody is welcome.
• 1:08:30
  SPEAKER_02: So I just want to let I want to let the kids know that when they feel stressed and when they feel like I can't, you can, you can.
• 1:08:36
  SPEAKER_02: We're here.
• 1:08:37
  SPEAKER_02: I open the door for you, pull up.
• 1:08:42
  SPEAKER_01: We hope you enjoyed this week's episode all about hip hop at competition.
• 1:08:46
  SPEAKER_01: Special shout out to our guests for joining us.
• 1:08:48
  SPEAKER_01: Don't forget to follow them on social media and Instagram.
• 1:08:52
  SPEAKER_01: You can find Justin on Instagram at Streeter J, Carlo at Carlo Fumilara, Angelina at Angelina Fumulara, and follow their choreography account at KA Choreography.
• 1:09:05
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• 1:09:18
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• 1:09:33
  SPEAKER_01: Making the Impact a Dance Competition Podcast will be hosting a live podcast event in the heart of New York City at the Capizio flagship store in Times Square.
• 1:09:42
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• 1:09:52
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• 1:10:03
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• 1:10:11
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• 1:10:18
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• 1:10:21
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• 1:10:29
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• 1:10:34
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• 1:10:38
  SPEAKER_01: And don't forget to spread the word and share with other dance friends and fans who would like to attend this free event.
• 1:10:44
  SPEAKER_01: We hope to see you there.
• 1:10:46
  SPEAKER_05: Stay tuned for even more great episodes coming your way, including our next studio spotlight, cameras in the classroom, and nutrition and dance.
• 1:10:55
  SPEAKER_01: Happy competition season, y'all.
• 1:10:57
  SPEAKER_01: Hope you're enjoying season five.
• 1:10:59
  SPEAKER_01: We'll see you next week.
• 1:11:00
  SPEAKER_01: Until then, keep dancing.