This past Sunday marked SLAM’s sixth annual Hip-Hop Showcase. The philanthropic event is distinguished as the dance group’s largest and most anticipated display of the school year. This year, SLAM hosted 16 different dance crews that encompassed a wide variety of styles and ages. Tickets at the door cost $3 for students and $5 for the general pubic; all proceeds benefited Baltimore’s Dance Crews Project.
By 3 p.m., a line of excited attendees trailed down the steps of Shriver Hall where the showcase took place. Although the event did not draw a crowd quite as large as Shriver’s past a cappella showcases, the hall roared with applause and seated a satisfying turnout.
Graduate John Cardenas, who appeared to be popular with the familiar crowd, kicked off the showcase with a warm welcome and introduction. Once Cardenas exited the stage, the action began.
JHU Breakers opened the showcase with a single performance emphasizing a historical storyline. Their dance explained the origins of breaking as beginning in the garages of New York before later distinguishing itself in the streets. The crew described break dancing as deriving inspiration from all genres, notably Brazilian and ballet, and they mentioned a number of international Breakdancing competitions. The JHU Breakers made it clear that their art is not simply a hobby but rather “a lifestyle, a culture.”
Washington D.C.’s dance company UFN — which stands for Until Further Notice — followed the breakers with an expert, arousing piece. The non-profit was founded in 2010 and strives to break down social stigmas placed on hip-hop dancers, aiming to prove that they are driven achievers — not member of the “lost” generation, as statistics would have some believe. UFN certainly cleared the air of any assumptions with their erotic, well-choreographed routine.
Once the white bandana-donning performers of UFN took their bows, DyNaMic took to the stage. DyNaMic is University of Maryland at College Parks’ SLAM equivalent. The group incorporates small-group numbers with the entire crew of 30 dancers flowing in and out of different songs and styles. DyNaMic was born in 2004 and strives to breed professional dancers.
The crowd enjoyed DyNaMic’s comedic elements, such as the Backstreet Boys, ‘90s pop snippet and their “My D**k in a Box” stint. In contrast to the sillier, more immature and playful male elements, the group also channeled an alpha-female mentality with one segment featuring the female dancers flaunting curves, sexily tousled hair and extremely tall red stilettos to contrast their black leather pants. Beyoncé clearly influenced DyNaMic’s section of fierce divas.
An exciting debut took place once the sassy ladies left the spotlight. Funk Justice, comprised of Lockin Robin, Wu Styles and Ser Lock, aired its “season premier” at the SLAM Showcase. Interestingly, the three performers introduced themselves as dancing superheroes.
With funk at an all time low, the trio responds to the call in this hour of need. They join forces “to become the city’s beacon of hope, letting evil-doers know they stand for Funk Justice.”
Funk Justice, with only three friends in stark contrast to DyNaMic’s crowded team, was the highlight of the event. They incorporated an impeccable balance of humor, compelling narrative and raw talent. The audience would welcome — even encourage them — to return to Hopkins for future showcases. Their debut could not have gone smoother.
Hopkins’ very own dance group, the Eclectics, followed the entertaining supermen. Eclectics was founded in 2004 and is known for not holding auditions. They welcome all cultures and experience levels, and require only a dedication to and love of hip-hop. Eclectics was another very large group, which often overwhelmed the stage and detracted from performances. The highlights of the group’s set were the moments that smaller, more specialized group members broke away from the whole.
Some crowd members noticed the Eclectic’s open bum fixation. The backside focus lasted from start to finish, working through songs like Fergie’s “My Humps,” Major Lazer’s “Bubble Butt” and Finatticz’s “Don’t Drop that Thun Thun Thun.” They came, they twerked, they conquered.
After Crewcial featured The Pussy Cat Dolls’ “Buttons” and Kaution Dance Kru from D.C. made their mark, SLAM took the stage.
SLAM delivered their performance “The Robbery.” The narrative incorporated ski masks, fake guns and a depicted shootout, to the sounds of M.I.A’s “Paper Planes.” The performance was as technically skillful as it was traumatizing.
Major Definition, Upperclass Men, Mosaic, KickRocks Crew, Urbanknowlogy 101 and others followed in the second half of SLAM’s Hip-Hop showcase.
Though the choreography, inspiration and deliveries fell on all parts of the spectrum and varied without fail, the common ground was the goal of benefiting local dance projects. Thanks to SLAM’s successful planning, the Baltimore Dance Crews Project will offer free dance lessons to the children of Baltimore and continue to encourage the performance art of hip-hop dance.
