mis maestros y amigos!!

Esta entrevista fue realizada a un amigo mio y maestro James Morrow bailarín profecional de modern dance and hip hop, una persona que en poco tiempo se convirtió en una inspiración.

Si ya se dieron cuenta cambíe la letra debido a que mis fans querían poder leer mis bellas palabras y mis enormes faltas ortográficas con mayor facilidad.
Aquí les dejo la primera de mis entrevistas puesto que realicé 4. Subiré las demás en otros días y entenderán porque tantas. muajajaja (risa malévola) 

¿Qué piensas del street dance y su evolución en estados unidos?
I feel like urban aesthetics have been a long time staple of Jazz dance in America since its inception. In fact Gus Giordano a jazz dance legends said that popular dance forms that take place in different locations around the U.S. and abroad will always find its way into American Jazz Dance. Then Hip Hop emerged as an aspect of Jazz Dance, one of those elements that Jazz would pouch from. The movement aspect of Hip Hop eventually developed its own identity independent from Jazz Dance although they share many similar movement dynamics: ie, Isolations, poly-rythmic movement, athletic forward poise, syncopation, ect. As Hip Hop began to have an independent voice and was no longer considered a fad or trend, those artists submerged in the culture began finding their own voice.

¿El baile urbano hoy en dia es llevado al escenario?
Some artists who are straight hip hop heads have a very strict idea of where the culture belongs. They believe that it should stay where it started, in the streets. Other individuals who grew up within Hip Hop Culture took their gifts to the stage. Many of these individuals are concert dance choreographers who pull from their own movement history to express themselves through dance. As these artists were more than just b-boys and house heads, they began fusing genres together to create modern/ urban dance hybrids. Some pioneers that immediately come to mind are Rennie Harris and Doug Elkins.
Both these artists took their roots in b-boying and house and experimented with modern fusion to create new kinds of dance. As I have seen Doug continue experimenting in this realm, I feel like Rennie has gone back to his Hip Hop roots and has become a ambassador to historical roots in hip hop culture.
Another two artists that I think need to be discussed are Ronald K. Brown and Nicholas Leichter. Both these guys went to college to dance and were exposed to a plethora of dance styles. Has they began to create their own work they started to merge to aesthetics that they were exposed to in school with their roots, for Ronald K. Brown Senegalese dance like Sabar and West African with Urban Aesthetics and Leichter with New York Based Release Technique and pop/ hip hop. For Leichter I would also say there is some voguing and house for sure.
As I'm sure there were many others who have and do create the modern dance/ hip hop hybrid, those four I feel are major pioneers who have taken many genres of movement and developed the own style/ movement vocabulary. These four artists are also East Coast based. Ron, Nick, and Doug I believe are NYC and Rennie is from Phillie.
As they began to influence other dancers the hybrid of modern/ hip hop grew. Some people who come to mind that are currently rockin it out are Camille Brown, Kyle Abraham, and myself James Morrow. Moving away from the East Coast and talking about an area that I know a lot about is Chicago where there are two companies the fuse modern and hip hop. THose companies are Chicago Dance Crash and The Massive both of which founders danced for my company. My company was called instruments of movement. As I can not talk for any of the artists that I have discussed, I will say that they all have a unique style and movement vocabulary that is very much a part of who they are as humans, their history, and their evolution as artists, where they are today.
There are a lot of early artists from LA also but I feel like they are more lumped into the Jazz Dance World. There are also others in Chicago that influenced me but they are considered Jazz/ Contemporary Artists.

¿Cómo ha crecido tu danza?
For me, growing up in Chicago, I started b-boying at age 10. When it started to get played out and kids were losing interest, i kept it up but housing became a big part of my life, then senior year in high school and on into college Raving/ liquid was big. My junior year in college I dropped my baseball scholarship and took a dance scholarship. I was exposed to many different forms of dance including West African, Modern, and Jazz. After graduating and while dancing in the Chicago Dance Community for quite a few years with lots of different companies I felt the need to express myself from within my own movement as opposed to dancing for someone else and communicating what they had to say. In 2001 I founded instruments of movement with a friend, Cameron Jarrett, has a conduit for myself and a dynamic group of Chicago dancers to redefine some of the dance concepts that were taking place in Chicago during that time period. Coming from an urban dance background I yearned to see the contemporary movement prevalent in concert dance fused with the hip hop culture that I was submerged in. instruments of movement became a hybrid of modern, contemporary, and urban aesthetics.