Kicking off Season 2 of Studio Stories with the one and only living Legend @popinpete full interview Click Link in bio or highlights!! Many more topics you don’t want to miss!!
🎥: @eezy.optics
💻: @clarqofficial
#podcast #dance #studiostories
*Full interview Click Link in highlights or Bio*
a year agocpr_the_supersoulja_
I was wrong. Apologies to Pete and the people who love popping in their own ways regardless of whether I agree with that “love” or not. If you could please leave the original comment up as a lesson along with this one, to show a correction of my pride and misinterpretation of perspectives. I don’t want my semi blind loyalty to a lifestyle that is on its last legs, possibly swaying others to cause more problems. Pride is my deadly one, my bad. Again, I was wrong.
a year agobigbrotherave
He's wrong I was a pretty good popper back in the early 80s. Overseas are trained in a studio and I can see it. I actually told a guy teaching in a studio overseas that I can see the studio and not feeling in the pop.
a year agopoppingjutsu
When a culture is turned into a sport—for example, popping—it often loses many of the deeper values that gave it life. The focus shifts almost entirely to winning: finding the formula that works best in competition. But this “winning formula” does not require dancers to embrace the traditions, values, or ways of learning passed down by pioneers or rooted in the culture itself. As a result, the artistry, authenticity, and depth of the style can be diluted. The battle scene has reinforced this by rewarding efficiency over authenticity, often holding up popular or famous figures as the model to follow rather than encouraging engagement with the culture as a whole. Instead of cyphering with creative dancers and those deeply connected to the tradition, competitors often stay within the limits of their immediate environment, confined to only what that environment provides. And since we are shaped by our environments, if an environment projects only the value of winning, it produces dancers who think and move in the same narrow way. What is needed is a new structure of competitions in countries outside of the States—ones that make space for American Black culture and ensure the authenticity of the style is represented, respected, and valued fairly.
a year agobrianfootworkgreen
FIRST, 1 thing that's ALWAYS gonna be an issue is that contests are a decent way to find SOME GIFTED DANCERS in the USA or abroad because MANY GIFTED DANCERS (in any dance style) don't care about a contest; there's ALWAYS PLENTY here & abroad that's just getting down "in the cut (culture/club/jam)" , & those have ALWAYS BEEN the ONES to ALSO LOOK for when assessing what's the REAL LEVEL. On another note, the support system as a whole here sucks in comparison to abroad. Here, people SPEND WAYYY TOO MUCH TIME "gossiping/rumoring/di(e)viding on skin color, sexualities, boroughs, states, & cities"; but then go work for a boss/staff of a production company that has the same "issues" they whisper about, or even worse "issues" ridiculous CONtraDICtion for that money. Then what makes it worse, people here get invited abroad & SEE French, German, British, Japanese, Chinese, & Korean WORK TOGETHER on events/choreography, & also have tons of schools making money off of street dance styles that come from USA, & DANCERS here don't want to pull money together to START making DANCE STUDIOS/ACADEMIES; it's a sick REALity, that needs to CHANGE QUICK. Go overseas they have CHILDREN to adults in 1 class supporting local & international creators/innovators/teachers. Also, very high level poppers & other dance style dancers support creators/innovators/older & younger gifted teachers when they teach.....but come here, MANY high level dancers don't really support their creators/innovators/teachers, don't take classes with them, & aren't realEYESing the need to DO that as a "business model that shows support of a LINEAGE". Regardless of any sponsorship the 1 major thing that @popinpete said that's FULLY TRUE is that, "they bring ORIGINALS (creators/innovators) there to learn from".....but here there's no conceptual idea of building an establishment, it's STILL the "circles, the CONtests, call-outs, hope to be SEEN to be picked up for a job, auditions, maybe be CHOSEN for some choreography", & NO THOGHT on making street dance schools/academies around the USA, ran by creators/innovators/teachers; & in those studios/academies SKILLS CAN be HONED to find out a TRUE LEVELS.
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