CURATED MUSINGS

What? It's the semi finals already? It feels like it has only been a month since they started competing on the ABDC stage. Oh wait. [Edit: I know that this post is a tad bit too late but I've been busy the past few days. For your information, I have yet to watch the finale and am currently staying away from the usual social media platforms to not be told who won. Of course, when the finale post is up, I would be very much up-to-date on the comments and what not. BACK TO THE POST.]

This week, the crews had to tackle two challenges, namely the VMA Nominee Challenge and their Final Statement. For their first challenge, every crew had to perform a piece to any of the VMA nominated songs. After the three crews perform their pieces, the judges would deliberate and choose which two should move on to the finals.

First up was Quest Crew. Their chosen VMA nominated artist and song was WALK THE MOON's Shut Up And Dance. One word I would use to describe their performance is fun. The entire performance was so enjoyable to watch because you could tell that they're having fun. I would have never paired Quest with the 80s, but after watching their piece, it made a lot of sense to me. Their lighthearted approach is essentially what Quest is, and what the 80s was. From their tricks to their high-energy dancing and their cheesy sense of humour, it was no wonder that I could not stop smiling throughout the two minutes of their performance.

Next to perform was Kinjaz. For their chosen VMA nominated artist and song, they chose, surprise surprise, The Weeknd's Earned It. If you've followed Anthony Lee, Vinh Nguyen or Pat Cruz's YouTube channels/choreography, it would come as no surprise that they'll do something outrightly suave and sexy. It was a matter of when, and of course they had to do it at the end. Again, they were so clean and tight, and basically everything I wanted and expected from them.  Also, I have to say that it was a good call just staying at the bleachers. As great as their past 4 performances were, I really did miss watching their performances on YouTube where there were no cuts to other parts of the stage and the focus was not just on their dancing, but also on how they used the space. Fantastic performance as always.

Final crew to perform their set for the first challenge was Super Cr3w. They did a piece to Jack Ü's Where Are Ü Now featuring Justin Bieber. First of all, I have to say that it's a rather bold song choice because it's not exactly a bboy song, and as Ben mentioned, it has faster tempo than their previous song choices. Again, choreography wasn't their strongest suit but their athleticism was on point, especially considering how fast the song is. That section in the middle with the various freezes and headstands is a great example of such. Choreography-wise, it was rather odd and disjointed for me. It felt like a medley of bboy tricks and what not, mixed in with some parts of movements to the song. All in all, for me, they delivered an "okay" piece.

Now, the judges were left to deliberate on which two crews they would send through to the finals. Surprise surprise, they decided not to exercise their power and left it to the public to choose by letting all three crews through to the finals.

The final challenge of the night was the Final Statement. Basically, it's the crews' last chance to convince the public why they should win ABDC Season 8.

Again, in the same order as the previous, Quest Crew performed their piece. They decided to do a post apocalyptic routine to the song Febreze by Jack Ü featuring 2 Chainz. I have to be honest and say that I expected more from the crew. I mean sure, it was a great routine, but knowing these guys, I felt like I've seen everything they've done in this routine, and was kind of anticipating more hard-hitting/mind-blowing tricks and choreography. This could also be the result of me being a rather jaded Questie but that's just my opinion. Also, as much as I understood why they chose to have a post apocalyptic-themed routine as their final statement, I didn't quite agree with it. To me, the final piece should have been something authentically them, just with higher stakes, as it would be how they leave their mark on the stage and on the show. It really was a good routine, just that maybe it was the wrong time for them to use it. Well, it is difficult to come up with two separate routines for one night. Anyway, it's always great to see Ryanimay shredding his keytar, and seeing as how they have a strong following, I wouldn't be surprised if they win.

Kinjaz did their Final Statement piece to Troyboi's O.G. Now, if you followed the crew at least since the start of the year, this piece has been a long time coming. Whenever Kinjaz does something to Troyboi, everyone knows that it would be ridiculous in the best possible sense. I was not disappointed. The whole routine truly showed what the Kinjaz has and always been, which is something they've not really shown much on the show. There were so many great moments in the routine, like Pat's solo in the beginning and that five-man section with Vinh in the centre. They did what we all know they do best, and danced with the intricacy we expected from them. The routine was not entirely perfect because they weren't super clean, but again, they had to prepare two separate routines for the night. However, as much as I did notice all these little bits that affected the cleanliness of the piece, I have to say, the overall impact was not lost on me. After confusing me (in a positive light) throughout the entire competition, it's a great move to see them end with this piece. As much as I want them to win (mostly because they've never won any season before), it is up to the public to decide their fate.

Super Cr3w ended the night with a performance to The Chemical Brothers' Block Rockin' Beats with a special guest appearance from Qviolin. I have to say, this is one of their best pieces I've seen so far. As much as they aren't good with choreography, with the lighting and the concept, they were able to make this routine seem less disjointed, and far better than their routine earlier. Of course, the breaking was on point, especially with the three solos and the never-ending 2000s, but what made it for me was the acting. I mean, the acting was not so big that I could mention it as a great moment, but it did help tie everything together. The orchestrating of the bboy moves, especially with an expressive Doknock, made the transitions from trick to trick seem more purposeful, which is much better than their usual let's-put-this-trick-after-this-trick-because-we-can. Again (I'm sorry for the lack of vocabulary), this routine is a reminder of how using 'live' music on the show can never do the crew any wrong. First KRNFX, then Ryanimay and now Qviolin. Their solo bboy sections were done to the music, and not like any regular bboys where if I changed the music, it would not have made any difference. Good on them, and I wish them the best of luck with the competition.

Another thing I must mention: Still as kind of awkward as he is, Jason Dundas is starting to grow on me. He's no Mario Lopez, but he seems to be opening up more and warming up to the job. As much as I've mentioned how much the judging improved, for some reason, today's "critiques" were generally just praises and not so much as critiques. I'm just giving them the benefit of the doubt and saying that it's because it is their last time judging the crews, and that they know they won't necessarily affect the public's votes, seeing the backlash from the previous episode.

Here's to an awesome finale.

Dan out.

Image Courtesy of Patrick Fraser

So when Dan and I came up with a first rate strategy of posting on alternate weeks each to ensure a seamless flow of content here, I was left flummoxed. I had not the faintest idea what sort of material I could touch on that was quick enough for the schedule, and that resonated with me enough not to sound contrived.

I am pleased and infinitely relieved to say that, a solution has been found. This past season in the ballet world has seen the retirement of many a great dancer of our time. To celebrate their legacies, I have decided to feature a great dancer in each post, starting from those who have recently hung up their pointes for good, and perhaps branching out to stalwarts of the past, and other notable but less renowned artistes.

In the course of these posts, I will provide insight into their careers, and where possible, indulge you with some of their work that is available on YouTube. To do justice to their contributions to the noble art of ballet and bring more to appreciate their consummate grace is what I hope to achieve, God willing.

Which brings me to another important question: of all the illustrious personalities to have graced the ballet stage, whom should I select to first showcase? Many prolific dancers achieved their status through different means, all of which merit mention and are strong arguments for the respective individual being first. Longevity in the art form is a solid contender, but so is rank. And in an art where the measure of performance is subject to taste and style, it is all the more difficult to ascertain one's virtuosity, and therefore who should take precedence over another. Should it be the ballerina who has originated the most roles, or the danseur who has served in the finest company?

And so I elected to begin with a danseuse whose career, in my opinion, ended prematurely.


Carla Körbes was a principal dancer with Pacific Northwest Ballet (PNB) in Seattle, Washington until her decision to step down and pursue other ambitions. Her final performance in June 2015 was a bittersweet affair. At 33, Körbes' choice to retire is a sorrowful one when considering her age and talent, but understandable in light of her injuries. Having suffered a knee injuring in 'Tide Harmonic', a work of Christopher Wheeldon, she then discovered a torn meniscus and further issues concerning her patella. That was when she made the decision in late 2014 that the season would be her swansong. The affixed video above documents her dancer profile in PNB.

Körbes, a fair-haired and lithe figure who hails from Porto Alegre, Brazil, began her ballet training at the age of five before attending Ballet Vera Bublitz at eleven. It was there that she caught the eye of Peter Boal, then a principal with the New York City Ballet (NYCB), leading to her enrolment at the affiliated School of American Ballet (SAB). After four years, she graduated into the ranks of the company as part of the corps de ballet in 2000, eventually being promoted to soloist in 2005. How far she might have gone in NYCB we will never know, for in that same year, Boal was named director of PNB, and Körbes followed her mentor there, taking on the rank of principal in 2006. 

Here is a short of her pas de deuz with Justin Peck, a NYCB principal and fellow product of SAB.

-Jac

Picture Courtesy of Quest Crew

This week's episode was interesting to say the least. I cannot put a finger on how I really feel about it so hopefully, after unpacking the events of the episode in this post, I'll be able to come to a conclusion.

For this week's episode, the crews had to tackle two challenges, namely the VMA Mega Crew Challenge and the Crews' Control Challenge. Instead of the usual group routine, the show started out with the Mega Crew Challenge where the crews were paired up (Super Kinjaz and I aM Quest) to do a piece each, and the piece that the judges like/save would be the mega crew advancing to the semi finals. The other megacrew would then be in the bottom two and would battle it out for the last spot in the semis.

First up was Super Kinjaz aka The Ill-iance. I have to say, when I first heard of this pairing, I wasn't certain that this would be a great pairing. I mean, it's a known fact that I'm not a big fan of Super Cr3w and a huge fan of the Kinjaz, but that's not the reason why I didn't like the pairing. Considering these crews' styles, I don't think they would compliment each other in any way, and that it would take a stroke of luck/genius for them to come out with a banging routine.

When Jason (Dundas) announced the song they would be using, Jac and I shrieked because we loved Anthony Lee and Mike Fal's choreography to the song and expected a kick-ass routine. Not to say that it wasn't a good performance, but I felt let down by the routine. The dancing and breaking were great, and they certainly looked like one crew (with clever choreography) but I can't help feeling like something was missing. In some parts, there was a lack of the usual cleanliness associated with the Kinjaz, and I guess it had something to do with Super Cr3w "diluting" Kinjaz, as quoted from Jac. Also, I wanted more from the breakers. I know that Super Cr3w has Red Bull BC One champions, and since Kinjaz did bring it with the dancing, I would have wanted the breakers to do the same.

Up next was I aM Quest. Now, for this pairing, I was certain that they would kill it because I know Hok, Pacman and Moon are the brains behind AXYZM. If you don't already know, AXYZM is a group consisting of Hok, Pacman and Moon and they specialise in movement design. Since I'm not as eloquent as Jac, here's a video demonstrating how awesome they are.

Right off the bat, I aM Quest annihilated the challenge. They did what I expected them to do, which is essentially brain banging but on a bigger scale, but also blended the styles of the two crews perfectly. I honestly felt like they were dancing as one crew. Yes, I do agree that they could have been cleaner with a handful of their dancing sections, but other than that, I cannot find any fault with the routine. They showcased the athleticism of both crews, and I felt that they delivered the power that T-Pain thought was lacking in Super Kinjaz's performance. Even though the judges did appear to share the same sentiment, Super Kinjaz were the ones who were saved, and I aM mE and Quest Crew had to battle it out for the final spot in the semis.

The second challenge, Crews' Choice Challenge, is essentially just giving full control of everything (lighting, camera work, staging etc.) to the crews. In my opinion, this is the best challenge ever as I feel like some of the camera work does not allow us viewers at home to watch and fully appreciate the crews' choreography, so in giving the crews that control, we should technically be able to see what they envisioned and hopefully react in the way that they wanted us to.

Since Super Kinjaz was saved from elimination, Kinjaz was the first crew to perform their piece. As usual, the surprise (in this case, of KRNFX performing with the Kinjaz) was ruined for me on the various social media platforms (Thursdays are now known as anti-social media days). Anyway, knowing how well Mike Song and KRNFX work together, I knew that Kinjaz would do well for their performance. And they did. First of all, do you guys know how difficult it is to dance with 'live' music, let alone a beatboxer? It requires a lot of teamwork and trust. Not only did the guys nail it with their musicality (or KRNFX's dance predictability), but they were also clean, if not cleaner than when they were dancing to a track. That Goro section though. There is always something nerdy incorporated into all of their routines and that is something I love about them because they make us nerds look cool. They're basically dancing cosplayers. Anyway, I loved the entire routine and I do hope that they'll continue to surprise us and make it all the way to the end.

Super Cr3w was the next crew to be saved from the bottom two. They did what they wanted, which was to showcase this old school breaking vibe in the subways of NYC. Other than their (usual) great bboy skills and big tricks, their routine kind of reminded me on Elektrolytes' final item in the sense that it was a good performance and concept, but there was no wow factor to their performance. I mean, they had wow moments (and boy were they great ones), but it is not exactly a routine I would watch on repeat. Shoutout to that elbow slide with Ronnie surfing on the dude. I can't exactly remember who the other three guys were but that move was sick. Anyway, it's always great to see a crew having fun and enjoying their piece.

First of the bottom two crews, I aM mE performed to Wolfgang Gartner's Firepower. When Pacman mentioned the airboards, I was kind of excited for their performance as I've seen what he's done with them. That, with their concept, was a really good idea, and it reminded me of this video I watched not too long ago regarding the origin of the pointe shoe. Anyway, I have to say that their performance was great, and that they did master the use of the airboard. I am a sucker for Victorian-inspired things so there's that. They definitely did clean up their fast choreography because for a moment there, I felt like that bit at the end was on fast forward. Of course, I have to mention Emilio's flip off the airboard and off stage, and Bebo running over 7, Moon and Emilio. Now, the only thing that I kind of had an issue with is that the focus was more on the boards than their entire routine. Yes, I know that it is difficult to operate the airboards, let alone dance on them, but at the end of the day, the dance should be remembered as a dance, and not because it was done on airboards. Nonetheless, it was a good routine.

Last crew to perform was Quest Crew. A risk with the minimalist approach and it paid off. I've never seen a performance on the ABDC stage that emotionally-driven. The unity and brotherhood that I knew Quest Crew had and felt with one another was, for a rare moment, transcended beyond them dancing together. Choreography-wise, there were no big tricks that I knew they couldn't do, but what made this piece memorable for me was the heart put into it. I mean, I didn't get all teary-eyed like T-Pain, but I was touched. They told their story the only way they know how, and in terms of the challenge, they delivered. They did what they wanted to do, and it was appreciated the way I think they would have wanted it to be.

Between this and I aM mE's piece, I would have to sadly say that it's no surprise that I aM mE were sent packing. Personally, I would have rather Super Kinjaz be in the bottom and let the judges save Kinjaz but as fans, we cannot do anything until the finale. The show did not end on a downer though as Moon got to propose to his then girlfriend, now fiancé, Wei Wei. The moment was kind of ruined for me when #SheSaidYes appeared before she even responded, and then I remember that again, this is how today's shows try to keep up with the times.

Here's to a kickass semis and an even greater finale.

Dan Out.

[Just as an FYI, this is the finale I want to see.]

I know I'm a day late on my review post but, accounting for time difference and that I had other engagements, I'd say this is the most punctual I've been on any piece. Nevertheless, I assure you I was no less eager to watch the episode, and when the link to the upload was sent my way just as I was headed out to dinner, even Dan can vouch for my hopping impatience. So here I am, on a Friday morning, anxious about an assignment due today that I have yet to begin, but disregarded in favour of a much needed dance fix and prosaic ranting. So I have the episode ready on one tab, fingers assertive on the keyboard in another, and ready to rumble.

In my bid to add spice to an otherwise drab post, I will devote this section to my personal prediction as to the unlucky group who will be sent packing. Of course, given I have not actually seen the entire episode, I will put in my guess after seeing and reviewing all performances and before the verdict. So to that end, Elektrolytes are my pick for screwed crew of the week. Read on to see why.

So to start, the opening piece, which I've never actually touched on. This week's theme was decidedly pugilistic. The entry was filmed in a tracking style reminiscent of when fighters first enter their corner of the ring, donned in robes and fitted with gloves. I actually enjoyed the concept of enshrining dance as a martial art; Quest made up for last weeks lack of martial arts tricking with Steve hitting some sick moves, and who can forget Villn cutting a fine figure in that Bruce Lee outfit. I.aM.mE went with the whole WWE getup which was interesting because at one point it looked like they were actually wrestling. Nice. Super Cr3w's Neguin gave us some Taekwondo-inspired flips, and Elektrolytes' classic boxing really amused me if only because TK in his outfit really reminded me of Muhammad Ali. Do you not see the resemblance? Anyhow, the opener is always fun and really nothing particularly impressive. I quite enjoyed it, even if Taylor Swift's Bad Blood isn't my cup of tea.

This week's challenge is... VMA fashion. A test of not how well they wear the apparel, but how well they use them. So fasten your seat belts for some sartorial frenzy.

First to heat up the stage, I'm not surprised that Super Cr3w were saved first, between them and Elektrolytes. Their Week 2 performance was the strongest of the lot, even if I'm loathe to admit it. So and it's not surprising that this week's routine felt a little uneventful in comparison. For starters, I'm bothered by a new conundrum: my issue with them is the elevation of tricks over actual dancing. But now they're adding more 'dance' to the mix, just not of the quality I expect. Or maybe I'm hard to please. In any case, performing to Baby Baby by Tropkillaz, I rather enjoyed that rotating formation, or as Teyana put it, "Kaleidoscope" that they came up with. The shedding of the hoodies and all? Ingenious. But I do concur with Teyana. For a Fashion challenge, I felt that the group didn't showcase the garments adequately. I mean, there was a tonne of undressing and all, but it was mostly just lip service to the theme requirement. Notwithstanding, a good nod to creativity, and we'll see if their slump is a case of peaking too early.

The next crew to narrowly miss landing in the bottom two was Kinjaz. The ABDC producers must have read my previous gripe about Kinjaz because this week's intro accorded them the titles "honourable and fearless". Hardly an exaltation, but I'll take it for now. For a fashion challenge, I've made it known that Kinjaz are the best-dressed gents in the competitions. So I had very high expectations for them when they took to the stage to the tune of DJ Snake and Lil Jon's Turn Down For What. Spotlight on the red carpet tail coming from Mike Song. That was a good idea and made better by the fact that [Otaku moment] its a nod to the Nine-Tails Demon, Kurama or Kyuubi, that inhabits the titular character in Naruto (even if it's five tails short). Basically, threads down, and they made Mike a sort of Jinchuriki. Mind blown. That moment of enlightenment aside, I absolutely adore Kinjaz's dancing. It's a stark contrast to Super Cr3w, who produce the top tricks. Kinjaz really makes clean, classic dancing the centre of attention, and their transitions are second to none. Turn down for what?

Following Kinjaz was I.aM.mE, who were the second team declared safe for this week. I.aM.mE brought creepy and unconventional. In a good way. Their choice of Pentatonix's Dance of the Sugar Plum Fairies felt an odd one to me at first, my love for the a cappella showstoppers aside. In retrospect, it was the perfect choice for them to execute the whole delicately hypnotic effect. It felt like a whimsical fairy tale with a Tim Burton twist. Add in some real covert trench coats and red-black habiliments and we have a real visual fest to behold. The shadow illusion on the screen was typically brain-banging! And that central formation with the transforming was really augmented by the black and red costumes. I really don't have anything negative to say to be honest. Creativity, check. Safe from next week's elimination, check.

The first team to be in the bottom this week was no surprise. Elektrolytes are a great crew, though unfortunately saddled with the loss of a member and outshone by more prolific performances by the other competitors. Fighting to stay on the show with Feel Right by Mark Ronson, I have to say that in hindsight, if Quest hadn't come on later and brought their A game, this was actually Elektrolyte's best routine thus far. Right from the get go, that inverted illusion with TK and the arm chair, I was so shocked for a moment. That was very smart play. There was some good involvement with the walkers, like the gliding and stands, but seeing as they were set on a more 'geriatric' direction, it left much to be desired. To be frank, if they didn't mention the whole notion of greasers reminiscing on their glory days, I wouldn't have noticed. There's more to the act than fake beards and acting like you have arthritis. On the whole it was a commendable performance, but vis-à-vis the other crews, I'm sticking to my initial call that they'll be hitting the road tonight.

Rounding up the performances of the night was the most sublime drag act ever to go down in the history of ABDC. I already had a minor anticipation of the cross-dressing shenanigans that were to unfold given a the feminine form of Ryanimay featured on Kinjaz's BTS video on YouTube. Ultimately though, nothing could prepare me for the spectacle that was to storm social media. As Bang Bang by Jessie J, Ariana Grande and Nicki Minaj plays, Feng emerges from a mock dressing room looking all...gender normal, and then the curtains unveil to unadulterated sass. Quest Crew brought more "All-Female" than We Are Heroes in this season, no disrespect. D-Trix hit some pretty sexy fouetté turns before hitting us with the full force of air flares. The fair ladies of Quest Crew's artillery of booty shaking, body pumping and hair flipping then turned into a dressing game of sorts, with Steve busting out with the curtain-poncho and launching into a skirt. We have to mention that criss-cross pants segment. The team really took the fashion aspect of the challenge to unmatched heights. Even after the routine concluded, they were committed to their act, hands on hips, bootie out, tilted heads, air kisses and lip biting in full parade. Not to mention. Hair. On. Fleek. This is the Quest Crew that I love.

Eliminated: Elektrolytes. Again, no surprises. A valiant effort from them, but I suppose it came up short. They can take comfort in the fact that they have and always will be Champions of the ABDC stage, and the only way from here on is upwards.

A quick weigh in on the judges is due. They're making some headway although how much of a difference it makes remains to be seen. T-Pain actually finally commented on the set with Super Cr3w's DJ and turn-table vibe, even if it may have helped that it was his element and he was, by and large, stating the obvious. Teyana's remarks on Super really hit the nail on the head for me. I can also understand where Frankie is coming from when he cautions Kinjaz on being predictable, though we agree to disagree. And at least he know his stuff, name-dropping Busby Berkeley and all. Let's hope they continue to improve.

-Jac

Image from Kinjaz's Instagram

I finally got to watch the third episode of ABDC after being teased and spoiled on every social media platform so LET'S GO [hello lack of originality]. Also, and I feel like I should have mentioned this last week, I do mention who gets eliminated while I type these posts so SPOILER ALERT.

For this week's episode, the crews' challenge was VMA Fashion, that is to incorporate the use of their wardrobe in their pieces. The show started off with a battle-themed group routine to a remix of Taylor Swift's Bad Blood featuring Kendrick Lamar. There were no standout moments for me per se, but it was a nice platform to showcase the trickers and those with martial art backgrounds.

Super Cr3w started out the show with a routine to Tropkillaz's Baby Baby. The routine was not bad, but compared to their previous performance, I kind of expected more. As I have mentioned in my previous post, the only comparisons people should make with these crews are with their previous performances, and because they did do so well last week, this week was a bit of a downer. I felt like they were going back to their old style of just breaking and doing tricks, albeit with a bit more dancing. In terms of the challenge, they could have done more with their wardrobe. Yes that pinwheel trick is cool, and the illusion with them removing their vests is great, but I did expect more from them, especially when Ronnie suggested something about all of them following the fedora in the package. Also, I don't understand why they removed their hoodies at the end. I mean, if they did a trick to remove the hoodie, that would make sense but I guess it's part of giving what the audience wants. [Side note: Ronnie's pierced nipples can never be unseen] That being said, their breaking skills are great as per usual, with those headspins on the pads imitating the turntable and that three-man flag freeze, and hopefully they won't be in the bottom next week.

Next to perform was Kinjaz. As an avid fan, I have to say that I'm quite surprised by their song choices. Usher's OMG and DJ Snake's Turn Down For What featuring Lil Jon are songs I would never have imagined them dancing to, but they did and they killed them. I know I sound like a broken tape recorder but their choreography and dancing was fantastic. They were so clean and so tight, and reminiscent of the days when tricks were not the focal point, or even used, in dance routines. There were so many good points in the routine that if I were to point them out, I would just be putting their dance into words (I know I've mentioned this before. I'm running out of compliments.). Basically, these guys can dance. One thing I'd like to talk about is the Mike Song solo with the four red cloths. It was a great solo from Mike, don't get me wrong, but I felt like they either could have used their red cloth more, or made their control of Mike a bit more obvious. It still was an incredible performance from the guys. Oh, and another thing that I must mention: in the entire competition, I feel like Kinjaz and I aM mE are the only consistent crews in the competition in the sense that they have always done, bare minimum, as good as their previous week's performance, or in the case of the first week, as good as we know they are. If it's anything to go by, Kinjaz will go far, or in my biased fangirl heart, win the competition. [Edit: I know that Kinjaz always salutes to Naruto in their various ways. Since I'm not an otaku, please refer to Jac for all things Naruto.]

Brain-bangers I aM mE performed a routine to Pentatonix's version of Dance of the Sugar Plum Fairy. First of all, their concept was so abstract that while watching it, I forgot that they were competing on ABDC. Anyway, this was their least athletic piece this season, and it felt better than their past seasons. I mean sure, they can do these crazy flips and jumps, but this minimalist approach in the beginning with the shadows and the silhouettes a la Wayang Kulit was way more captivating. I must mention that beginning with Moon and Pacman dancing with their "shadows". I was fooled because it genuinely looked like it was just the two of them dancing. I also loved that bit with Liza on Pacman's back and that bit in the middle where they were just grooving and Pacman did that bone breaking bit. The only critique I have would be that portion where 747 was in the front. Now I know that we can sometimes forget choreography (GUILTY) but considering the level of competition, no one can afford to make mistakes. Other than that, it was a great routine, and I especially loved the sneaky sinister feel to the whole piece.

Elektrolytes, again at the bottom, was the first of the bottom two to perform. It's nice to see how these guys always tie-in their performance with their previous one. In a way, it's like they're prepared for a compilation reel. Anyway, back to the performance. On a whole, it was a good performance with a good concept, and it was, again, great to see them having fun with their piece. I have to mention that beginning section with (I think) TK. For a while there, I really believed that he was floating or something and was wondering what kind of budget they had on the show. Moving on. They did mention in the reel and in some interviews how it was difficult for them to choreograph with just 7 members since they were so used to their 8-man crew, and that their biggest trickster was injured, but it really didn't show in this piece. Despite this being a good piece, because their other competition in the bottom was Quest Crew, it was kind of obvious that they would be going home (this is based on the night's performances alone). I do wish all the best to the crew in their future endeavours, and that they'll continue improving to inspire their students and future dancers back in Arizona.

Closing out the show was Quest Crew. Now, this was the only crew whose piece was kind of spoiled for me (thanks MTV) and I had my doubts when I watched that one segment, but watching the entire piece, it was excusable and a pretty entertaining performance. In fact, I think it will be one of the most memorable pieces of the season. Their routine to Jessie J, Ariana Grande and Nicki Minaj's Bang Bang reminded me so much of their Britney Spear routine, just that they got to explore their feminine side a whole lot more. In terms of the challenge, I have to say that Quest did it best. That poncho section with Steve and the skirt is one of the wonderful moments in incorporating wardrobe into the routine. That other section with D-Trix, Jolee and Steve removing their pink pants was another one. As marvellous and overwhelming (in a good way) the whole routine was, the only thing I have to say was that there could have been more dancing, and the dancing could have been cleaner. Also, and I feel like JC saying this, they did pose quite a bit in this routine. Other than that, these guys, especially Hok and D-Trix, were incredible dancing as girls, and when I say dancing as girls, I am referring to the more feminine choreography. I honestly think whoever did the line-up knew that no one could top their performance, hence making them last. Anyway, it was a wonderful performance, and here's to hoping that they can keep up, if not top their performance next week. [Side note: Hok's shablam ending though.]

After watching this week's episode, I have to say that the judges (namely Teyana and Frankie) are really improving on their critiques on the show. T-Pain did improve slightly, but it still needs work. Jason Dundas is also getting less awkward as the season goes on, and even though he's no Mario Lopez, it's still better than the first few X Factor (USA) hosts.

Another thing, if you guys are wondering why I only upload Kinjaz videos with these performances, it is because they're the only crew who uploads their rehearsal videos. I cannot upload the full performance videos because of copyright claims so please go to the MTV website for the full episode. If you can't, you know what you can do.

Dan out.

Picture Courtesy of Frankie J. Grande's Instagram

Okay, so let's be real here. After two episodes, I think the judges need their own critique as well. Badly. To start, I wasn't exactly thrilled when I first found out none of the former ABDC judges would be returning. No Shane Sparks. Not even JC Chasez or Lil Mama. So when Season 8 premièred, and I witnessed first-hand the calibre of the new panel, you'd best believe I was cringing.

Maybe I'm being too hard on them. But when the bar has been raised that high, anything less just cheapens the competition. My main gripe with the line-up in general is the lack of constructive criticism, 'constructive' being the operative term. Yes, they 'critique' the performances. But any Joe round the corner can say, "Oh that was bad." That counts as a form of 'critique'. What I want is a technical evaluation of the dancing, the routines, or a take on their creative artistry. Not just a lame 'Oh that was wicked' or 'man, ya'll did some sick shit'. You are a judge on a dance competition, and that kind of assessment doesn't cut it. 

If you think something was 'slick', articulate why and what. Was it the timing of the downrock? The distribution and use of space in the routine? If you "ain't feelin' it", maybe express what about it was off. Poorly-executed flips? Maybe they've been reusing their finger tutting? Say it. The onus lies on judges to call out these instances. If you don't, then I will call YOU out on a sub-par run.

Of the three, the biggest buffoon is T-Pain, no disrespect to his record-producing chops or his double Grammy win. But the last time I checked, he doesn't have the deets 'dancer' or 'choreographer' on his credentials. And it shows. Even when he makes an attempt to narrow in on specific movements, his paltry dance jargon compels him to say things like "that was a performance, y'all make me feel good, y'all makin' it work". I suppose in a bid to conceal his limited vocabulary, he tries to play king of the quotes. From "I may have peed a little bit" in response to Super Cr3w in Week One, to raving about Kinjaz with "cleanliness is next to me likiness", some of which are real hoots. But if I wanted wise-cracks, I would watch The Simpsons. He did pick up on Quest Crew's Jolee having a minor hand stand fail the week though. 

Teyana tries, but though she is less annoying than T-Pain, she still comes up short. She said Quest was the "epitome of teamwork", but hey, it's America's Best Dance CREW. There's teamwork left, right and centre. She does pick up on the more prominent moves, like pointing out Elektrolyte's 'Human Jump-rope' in Week One and I'm always welcoming towards fellow Kinjaz groupies. If there's one thing I like, it's that she's not afraid to defend her position. When she disagrees with another judge's remarks, she stands firm by her decision. Unlike T-Pain, who at first thought the Elektrolytes lacked "energy", but bit back his words a little when confronted by Teyana. But who can blame T-Pain? Dude probably can't tell the hip from hop.

Next to the other two, Frankie Grande seems like a bona fide critic. True, he is problematic in the same vein as I outlined in the beginning, but he does make an effort to say something beyond drab fillers. His comment about I.aM.mE playing on the birthday party theme with bed-jumping, balloons and moves that resembled the game 'Twister' was a well observed one. Last week he exalted Neguin for being the most "emotionally-connected break-dancer" he had ever seen, which was rather accurate. He looks at the quality of the lifting, the set, the rhythmic harmony between dancers, and I'm guessing his Broadway background helped hone his eye. At least he's an improvement from the others.

You know who else had a minor improvement? A MINOR one? The host. But Jason Dundas is still no Mario Lopez.

Well, until next week, we'll see if the content and delivery of the judges' reviews makes any progress.

-Jac

Picture Courtesy of Hok's Instagram

Just watched the second episode of ABDC Season 8 so LET'S GO. [Note: Jac's inputs are in here as well so if there's no label next to the paragraph, it's more probably done by me, Dan, so yeah.]

Photo Courtesy of Mike Song

Okay okay. I know I was suppose to do an "Intro to the Crews" post and I am, but I'm not done. The thing is, since the first episode was so good (I basically raped the replay button), I felt like I had to do one on the episode. Here's my two cents.

First up was Super Crew. Now, I have to be honest with you guys; I'm not a big fan of their work since I honestly think that all they do are tricks, and their performance kind of showed what I meant. They are great breakers, don't get me wrong, but they are on America's Best Dance Crew, so maybe just dance a bit more? Other than that, their set was good. Also, and this is a good 'also', I rarely see breakers "break" with the music, so I have to say their musicality (especially in Neguin's solo) was great. I have to agree with Frankie that Neguin's solo really had heart. I don't know how far they'll go on the show but that was not bad as an opening item.

I aM mE. Now, this is one of my three favourite crews coming into the show, and they did not fail me. There were just so many great moments that I have to point some of them out. First of all, that stool trick with Emilio, Bebo and Tam reminded me so much of their season 6 Nicki Minaj routine where Jaja was used as a limbo for Chachi and Pacman, and then a jump rope for Emilio. If any of them failed that trick, it would have ruined the whole thing. Another part I must mention is that popping/animation section where Emilio was in the front. My dancer is showing but that part was freaking dope. As much as they do great tricks, and they do, I am a sucker for great dancing and that part was just sick. Every member of the crew is great, but I have to do a special mention for Tam Rapp. She was so fierce and athletic throughout the whole routine that I really couldn't take my eyes off her. I mean, that split ending. What was that? [Side note: She's my age so I feel quite unaccomplished hahaha] The entire routine was, I feel, one of the best routines of the night.

The most recent ABDC champions, Electrolytes, took to the stage. Now, I have to admit, I didn't follow season 7 as closely as I did the other seasons, so I don't know anything about the crew. First of all, big ups to Sal for joining his crew despite his injury. I know injuries are part of the job, but still, I have to give credit where credit is due, especially considering the intensity of their routine. I like how the crew is well-rounded in the sense that they seem to be an amalgamation of the different hip hop styles, and that's important if you're joining a show like ABDC. Overall, I'd say their crew is not bad, and that they did justify how and why they're the champions of their season, just that maybe they need to up the ante in their future performances.

Disclaimer: I have been a big fan of this crew since their Anbu Black Ops days, so if I do sound like a fangirl/biased, I do apologise. I will do my best to tone it down. I would first like to state how great  it was to see some of the Kinjaz brethren in the audience supporting their crew. Anyway, I was so nervous coming into this as I am a big fan of the crew, and thus have high expectations for them. I was relieved that they didn't fall short. It was a great debut performance. I never thought I would say this, but Kinjaz had that sexy vibe going on. I mean, I know Anthony Lee, Vinh Nguyen and Pat Cruz would choreograph/dance with a kind of suave style, but as a crew, I didn't see it coming. I was pleasantly surprised. Props to Vinh for the great choreo. The whole dance was just one great moment that if I were to tell you guys everything that I loved in the routine, I would just be typing out their entire routine. One part I must mention is that tableau in the centre with Anthony and Mike in the front and Vinh, Pat and Ben at the back. Ugh. MUSICALITY WAS ON POINT. Also, even though it is their thing, I do like how they're all wearing masks. It does add on to their clean movements. It's similar to that Jabbawockeez thing, where they all seem like they're the same person (unless you're a big fan and can identify who's who by their dancing). Again, another great routine from the guys, and one of the best routines of the night. [Edit: For some reason, the video was deleted from the Kinjaz YouTube channel. The rehearsal video has a better camera angle anyway hahaha]

The only all-female champions We Are Heroes performed after Kinjaz. I must mention how I am one of those people who felt that Beat Freaks should have competed in season 4 but I must give We Are Heroes their due respect. If I remember correctly, the crew was not assembled by them, but by someone in ABDC as I read somewhere about Hiro's crew mates not having the visa approved in time or something like that, so winning a crew with members you're not that familiar with as compared to the other crews is really a feat. To forge such strong teamwork within that short frame of time is not something that can be easily done. That being said, I felt like their performance tonight was rather monotonous? What I mean by that is, despite their cool tricks, acrobatic moves, and their dance skills, there was no sense of building up tension. However, that wicked headstand split rotation thing from Airi was fantastic. I kind of expected a bit more from them, especially since they added Marie Poppins into their lineup, and I should also say that [SPOILER] It came as no surprise that they were the bottom crew. Hopefully they'll do better next week.

Last but not least, we have Quest Crew. Again, I am a fan of the crew, and when I was 16, I woke up at 5am just to meet them before they caught their flight to Indonesia. MOVING ON. In the reel, I was reminded of how I was also worried for Steve when he first posted on Instagram that he injured himself so badly that he might not be able to dance again. Same thing with Ryanimay. When I saw their WOD set last year, I was so happy that not only were Ryanimay and Steve dancing again, D-trix was also back with the crew. It was a lovely moment. Again, it was great to see Redfoo and the gang in the audience supporting Quest. Quest's routine was everything I expected from them; the high flying tricks mixed with smart choreography. I guess you could argue that I'm being biased, since Super Crew is also all about the tricks, but I feel like Quest also pays that much attention to their dancing. They put in the same amount of energy they use flipping and tricking into their dancing, and that is saying something. Overall, it was a great routine to end the show off with, especially since it's such an energetic set. I just hope that they'll maintain this with their next performance.

I'll end off my incoherent and lack of better vocabulary review here. Here's hoping I can think straight and actually write better reviews.

Dan out.

*If I can find all of the official videos of their performances, I'll upload them here.

So last night as I lay in my cushy bed, I indulged in my pre-somnolent custom of scrolling through my Youtube subscriptions like a frantic puppy (I spent the last two days in Ipoh, Malaysia with intermittent Internet access). Whilst trawling through 48 hours worth of visual fodder, my sleepy eyes were, by the mercies of divinity, held open long enough to see that the Royal Ballet had uploaded a series of clips. Glory hallelujah.

One in particular caught my eye, largely because the dancer featured was the ever-sublime Edward Watson, whose calf muscles have more life to them then my entire body. Watson was helping RB resident choreographer Wayne MacGregor demonstrate the latter's upcoming work. I've attached the video below and details are in the info bar, go read up if you have to, I'm not your mother.

    

Let me just say that for a person on the verge of stupor, what more with the attention-span of a fruit-fly, I was utterly mesmerised by Watson. He is one of those dancers of such compelling, captivating quality that prying your eyes away from his form feels unvenial. The way he cuts through space is fluid yet incisive, a mathematical equation slicing clinically through a plane, but with the dynamic, genesis-like touch of gracefulness. Each flourish of the hand is nuanced, the expressiveness of every extension is palpable, the delicate transference of weight and pregnant inertias are stunning. Speed is an element, but never is a moment frantic or frenzied.

Even in the absence of accompaniment he is electrifying, which is truly diametrical to the perception that dance is inherently dependent on music. The dance is the music; a sort of synaesthesia if you will, for those that do not naturally discern it as such. When, or if, acoustics are thrown into the mix, the craft becomes even more enriched, and when the dancer is able to commune with the sensibilities with keen discretion, that dance becomes exceptional. I presume that was how the great works of our past became truly great, and that is the beauty of these often misunderstood movements. 

We have to mention, of course, the genius who conceived such work. Credit to MacGregor for his labour and direction. One wonders how much toil must have gone into cultivating his partnership with Watson: the two combined are such a creative force. I imagine that when the creator and the dancer have formed such a cohesive working relationship, it feeds into the performance and tones it.

I particularly enjoyed how this rehearsal provided an insightful glimpse into the artistry of the choreographer and the way he works. One striking feature of his is the abundant vocalising. It seems a peculiar addition to the room - as if ballet itself has not already been dismissed with its eccentricities - save for the fact that MacGregor's alveolar trills and percussive noises are not the mere products of the clichéd choreographer's idiosyncrasies. Words often fall short of explicating the spirit of movement, and ballet jargon, employed mostly to communicate the sequence of steps, rarely has any say on interpretation. As far as I am concerned, given the limited lexical references, MacGregor's phonating is but a physical translation of how he envisions his ballet in the real world. 

When MacGregor does actually speak in the video, and mind you he does quite a bit of it, he brings several concepts to our attention. The philosophy of transition versus space is a pertinent one. From a purely spectatorial point of view it is the essence of dance as a craft, as opposed to haphazard marriages of distorted angles. The 'ending' of one shape morphing into the 'beginning' of another essentially embodies the natal aspect of dance, whether in the creative or the performative process.

I am also intrigued by the notion of perspective posited by MacGregor. He broaches this from a choreographer's lens, but I believe it would be interesting to investigate this from the audience's vantage point. Spatial awareness is rarely afforded to them because of the way stages are designed, and unsurprisingly the art can often fall victim to being of mere static enjoyment for this sedentary assembly. During the practice, the choreographer's mobility within the same plane as the dancer, and at such intimate proximity, subverts the dimensional artifice of the work at its embryonic stage, giving depth to the creation in an organic fashion. If we were to extend this to the actual recital, where the audience placement is markedly different to those of traditional theatres, that same subversion could occur and enrich the ballet-watching experience. One could say that instead of the dancer moving alone, we could potentially make the world move with him/her. 

Without a shadow of a doubt, if such possibilities were explored, the repercussions for the world of ballet would be unprecedented. One hopes that it will snuff out the prevailing sentiment that ballet is an antiquated, or worse dead, art form with nothing new to offer. I don't claim to know everything about ballet, or art, or staging, but seeing this video was a timely invigoration of my faith that this centuries-old dance tradition could definitely deal a new hand in the game. And even if you know nothing about the world of ballet, I pray this delightful clip will suffice as persuasion of the greatness yet to come. 

-Jacalyn

p.s. We will be commencing a series on SYTYCD: The Best Of. With any luck we'll have it up and running soon, but since I'm currently studying for some tests, I hope you'll pardon any tardiness.

Hello there.

Since yesterday was Tony Tran's birthday (yes, we're Asians), I shall dedicate my first post to the wonderful man. (Also, it's an excuse for me to re-watch all of his videos but hey, since when do I need such an excuse.)