Locking -

Moblie:- 8668266780

Vrindawan Academy

Locking

Locking Dance ?

Locking is a style of street dance that originated in the late 1960s and early 1970s in Los Angeles. It is known for its distinctive “locking” movements, which involve quickly freezing or “locking” the body into a position and holding it for a brief moment before continuing the motion. The dance was popularized by Don Campbell, the founder of the “Campbellock” style, and his crew, The Lockers.

Key elements of locking include:

  1. Locking: A fast, sharp freeze at the end of a movement, often held for a brief moment.
  2. Popping: Rapidly contracting and relaxing muscles to create a jerking movement.
  3. Arm and hand movements: Various gestures that add flair and personality to the dance, often combined with the locking positions.
  4. Grooves: A funky, rhythmic style that emphasizes the music’s beat, especially with funk and soul music.

Locking is often energetic and upbeat, with lots of expressive, theatrical gestures. It’s known for its playful, funky feel and can be performed solo or as part of a group. The dance was widely influential and continues to be a key component of hip-hop culture.

What is Locking Dance ?

Locking is a style of street dance that originated in the late 1960s and early 1970s in Los Angeles, primarily developed by Don Campbell, the creator of the “Campbellocking” style. It is part of the broader hip-hop dance culture and is known for its distinctive “locking” movement, where dancers freeze in a specific position and hold it for a brief moment before continuing their motion.

Key characteristics of Locking include:

  1. Locking: The dancer quickly “locks” their body into a position and holds the pose for a beat or two. This freeze is followed by a smooth transition to the next movement.
  2. Rhythmic Popping: Similar to popping, locking often involves sudden, sharp muscle contractions that produce a jerking movement, adding emphasis to certain beats in the music.
  3. Arm and Hand Movements: Locking involves expressive arm movements and hand gestures, which are typically exaggerated and playful, giving the dance a funky and fun vibe.
  4. Groove and Energy: The dance style is built around rhythm, and the dancer often incorporates playful facial expressions and body movements, interacting with the audience and creating an engaging performance.
  5. Upbeat Funk Music: Locking is generally danced to funk, soul, and disco music, with dancers using the beat to guide their movements.

Locking was popularized in the 1970s by groups like The Lockers, and it has remained an essential style in the hip-hop dance community, influencing various other dance forms and competitions.

Who is required Locking Dance ?

Locking dance is typically practiced by individuals who are interested in street dance, hip-hop culture, and performance arts. It is especially popular among:

  1. Street Dancers: People involved in hip-hop dance culture often learn locking as part of their repertoire. It is one of the foundational styles of street dance, along with popping and breaking.
  2. Hip-Hop Enthusiasts: Those passionate about hip-hop music and culture often take up locking to express themselves through dance, especially to funk, soul, and disco beats.
  3. Professional Dancers and Performers: Locking is also popular among professional dancers who perform in shows, music videos, and competitions. It adds a unique and energetic style to choreographed routines.
  4. Dance Crews and Groups: Many dance crews incorporate locking in their routines, as it has a strong group performance element and can be combined with other styles, creating diverse and dynamic routines.
  5. Dance Students: Individuals learning dance in schools or workshops may choose locking to diversify their skills in different styles of street and urban dance.
  6. Anyone Who Loves Fun and Playful Dance: Since locking involves a lot of playful, exaggerated movements and facial expressions, it attracts those who enjoy dancing in an energetic, expressive, and sometimes humorous way.

In short, anyone with an interest in dance and hip-hop culture, regardless of age or experience level, can learn and practice locking, making it a versatile and inclusive dance style.

Courtesy : Funky Bros Locking

When is required Locking Dance ?

Locking dance can be required or appropriate in various contexts, depending on the setting and purpose. Here are some situations where locking might be required:

1. Street Dance Competitions

  • Locking is often performed in street dance battles or competitions, where dancers showcase their skills in various styles, including locking, popping, and breaking. It is especially important in events that focus on hip-hop or funk styles.

2. Hip-Hop and Funk Music Events

  • Locking is often performed in clubs, music festivals, or dance events that feature hip-hop, funk, and soul music. The style complements the rhythm and energy of these genres, making it a key part of the performance.

3. Dance Performances and Shows

  • In professional or amateur dance performances, especially those based on street or urban dance, locking can be incorporated to add energy, expressiveness, and a unique flair. It can be used in musical theater, talent shows, or live performances.

4. Dance Classes and Workshops

  • Locking is taught in dance schools, particularly those specializing in hip-hop or street dance. It’s often included as part of the curriculum for students wanting to learn different dance styles and techniques.

5. Film and Music Videos

  • Locking is often featured in music videos, especially those by artists in the hip-hop, R&B, and funk genres. Dancers may be required to perform locking to match the vibe of the song or music video.

6. Cultural Events or Festivals

  • At events celebrating hip-hop or urban culture, such as block parties, festivals, or parades, locking is often performed as part of the celebration. It highlights the dance style’s importance within the larger cultural movement.

7. Dance Auditions

  • Dancers auditioning for roles in dance productions, movies, or music videos may be asked to demonstrate locking as part of their versatility and ability to perform different styles.

8. Fitness and Dance for Fun

  • Locking can also be performed as a fun, high-energy fitness activity. Dance enthusiasts or individuals looking for a creative workout may engage in locking as a way to stay fit while enjoying dance.

In general, locking is required or performed when the aim is to showcase a funky, energetic, and expressive style of dance that complements music, culture, and performance.

Where is required Locking Dance ?

Locking dance is required or commonly performed in various settings, including:

1. Street Dance Battles and Competitions

  • Street dance competitions: Locking is a popular style in battles, especially in events that focus on hip-hop or funk dance styles.
  • Dance tournaments: International competitions like the Red Bull Dance Your Style or Juste Debout often feature locking as one of the key dance forms in their events.

2. Hip-Hop Dance Studios and Classes

  • Dance schools: Locking is taught at dance studios that specialize in street dance, hip-hop, or funk styles. These studios may offer specialized classes or workshops for those wanting to learn locking.
  • Workshops and masterclasses: Locking is often featured in workshops, particularly those hosted by experienced dancers or pioneers of the style.

3. Live Performances and Shows

  • Concerts and music videos: Many hip-hop artists and funk musicians incorporate locking in their live performances, often with professional dancers.
  • Musical theater and dance shows: Some performances that feature urban or street dance styles may require locking as part of the choreography.

4. Clubs and Dance Parties

  • Nightclubs and dance parties: Locking is often seen in places that play funk, disco, or hip-hop music, where dancers perform to the rhythm of the music. It is also a form of social dance at some events.
  • Block parties or festivals: Events celebrating hip-hop culture, such as hip-hop festivals or block parties, often feature locking performances or informal dance battles.

5. Film and Television

  • Movies and TV shows: Locking is sometimes featured in movies, television programs, or commercials that highlight hip-hop culture or need energetic dance performances.
  • Music videos: Locking is a common dance style in music videos, especially in genres like hip-hop, R&B, and funk.

6. Cultural Festivals and Events

  • Hip-Hop festivals: Events like The Hip-Hop International World Dance Championship or The Funk Fest celebrate locking and other street dance styles, where the dance is performed as part of the cultural celebration.
  • Urban cultural events: Locking is often performed at events that celebrate urban culture, such as exhibitions, conventions, and festivals focusing on dance and street art.

7. Fitness and Dance Communities

  • Dance fitness classes: Some dance fitness programs incorporate locking as part of the choreography, especially those designed around urban dance styles.
  • Community events: In some communities, locking may be performed in informal settings or community events as a way to promote street dance culture and physical activity.

8. Social and Casual Settings

  • Jam sessions or dance circles: Locking is often part of informal jam sessions, where dancers gather in public spaces (like parks or plazas) to dance and share skills.
  • Dance meetups: Social gatherings focused on dance, where dancers of all levels come together to share techniques, often feature locking as part of the mix.

In short, locking is performed in spaces where hip-hop and funk culture are celebrated, such as dance competitions, classes, cultural events, and performances, making it an important part of various social, artistic, and entertainment contexts.

How is required Locking Dance ?

To effectively perform locking dance, several key skills and techniques are required. Here’s a breakdown of how locking dance is executed and what is needed:

1. Mastering the Locking Technique

  • The Lock: The most essential move in locking is the “lock” itself. This involves quickly freezing your body in a specific position, typically in a sharp, dramatic pause, and holding it for a brief moment before transitioning smoothly into the next movement. The lock should be crisp, with a clear and distinct freeze.
  • Fast Arm and Hand Movements: Locking often includes exaggerated arm gestures, such as pointing, waving, or hitting specific poses. These movements must be sharp and on beat to match the rhythm of the music.

2. Rhythmic Precision and Timing

  • Musicality: Locking requires precise timing to sync the movements with the music, especially to match the upbeat and funky rhythm. The dancer must feel the groove of the music and hit the beats with each lock and move.
  • Counting and Timing: Dancers must be able to count the music, understanding where to pause (lock) and when to flow into the next movement. The freeze (lock) typically happens on strong beats or after a quick burst of motion.

3. Energy and Expression

  • Energy: Locking is a highly energetic style, requiring explosive movements followed by sharp freezes. The dancer needs to maintain high energy levels to keep the performance lively and dynamic.
  • Facial Expressions: Locking is often playful and theatrical, so the dancer’s facial expressions are just as important as the body movements. Expressions can vary from serious to humorous, depending on the performance’s style.

4. Body Control and Isolation

  • Muscle Control: Locking involves isolating different parts of the body, such as the arms, legs, and torso. The dancer must be able to control these body parts individually to create the sharp, locked movement.
  • Isolation Techniques: Good locking dancers develop muscle control to isolate and emphasize each movement, giving the style its characteristic sharpness.

5. Fluid Transitions

  • Smooth Flow: While locking involves sharp freezes, it also requires smooth transitions between movements. The dancer must switch between locked positions and flowing movements without losing rhythm or energy.
  • Groove and Bounce: The dancer should incorporate a “groove” in their movements, a kind of bounce or subtle sway that adds to the funkiness of the style. This groove is crucial to making the dance feel natural and not robotic.

6. Practicing Signature Moves

Some of the common signature moves in locking include:

  • The Lock: The sudden freeze that the style is named after.
  • The Funky Chicken: A playful arm gesture that resembles a chicken pecking.
  • The Wrist Roll: A fluid wrist movement often used in combination with a freeze.
  • Pointing and Posing: Sharp arm movements, often pointing or hitting defined poses.

7. Performance and Showmanship

  • Engage the Audience: Locking often has a theatrical quality. Engaging with the audience, making eye contact, and using big, expressive movements are important for creating an impactful performance.
  • Confidence: A confident attitude is key to locking; the dancer needs to own the stage and embrace the playfulness and funkiness that locking offers.

8. Practice and Repetition

  • Training: Regular practice is essential to perfecting locking. This involves learning the techniques, building muscle control, and developing a sense of rhythm.
  • Improv Skills: Although locking has structured moves, dancers often improvise, adding their own personality and flair to the style. The ability to improvise within the dance is an important skill to develop.

9. Learning from the Pioneers

  • Studying the Legends: Locking has a rich history, and learning from the pioneers of the dance like Don Campbell (the creator of the locking style) and The Lockers can provide valuable insight into the foundational techniques and style of the dance.

In short, locking dance requires practice, body control, energy, rhythmic precision, and creativity. It’s a highly expressive style that demands not just physical technique but also the ability to perform with flair and engage with the audience.

Case study is Locking Dance ?

Case Study: The Evolution and Cultural Impact of Locking Dance

Introduction Locking dance is a vibrant and energetic style that has played a crucial role in the development of street dance and hip-hop culture. Originating in the late 1960s and early 1970s, locking was created by Don Campbell and became popular through the influence of the dance group The Lockers. This case study explores the evolution of locking, its cultural significance, and its impact on both the dance world and broader popular culture.

Background

Locking was born in the early 1970s in Los Angeles. Don Campbell, who is credited with creating the locking style, was influenced by a combination of funk music, street dance, and his own desire to create a unique dance form. He initially referred to the style as “Campbellocking” before it became widely known simply as “locking.”

The essential movement in locking involves quickly freezing (or “locking”) the body in a specific pose and holding it for a beat before continuing the movement. This style was initially popularized in street dance battles and showcased on television programs such as Soul Train, where groups like The Lockers became famous.

Key Elements of Locking

  • The Lock: The hallmark of locking, this involves a sudden freeze, where a dancer sharply stops in a pose before continuing their movements.
  • Arm and Hand Gestures: Locking often incorporates exaggerated arm movements, such as pointing, waving, or making precise hand gestures.
  • Rhythmic Energy: The dance style relies heavily on rhythmic precision, with dancers synchronizing their movements to the beat of funk and soul music.
  • Groove: Locking is known for its sense of “groove,” where dancers add playful, bouncy movements that reflect the funk music.

Impact on Dance Culture

  1. Development of Hip-Hop Dance: Locking is one of the four foundational styles of hip-hop dance (along with breaking, popping, and house dance). Its energetic, playful nature influenced many other dance forms within the hip-hop community, leading to the development of new movements and styles.
  2. The Lockers: The dance group The Lockers, which formed in the early 1970s, was instrumental in bringing locking into the mainstream. Members of The Lockers, such as Fred “Rerun” Berry and Adolfo “Shabba-Doo” Quiñones, helped popularize locking through performances on TV shows, movies, and in live performances. Their theatrical style and use of humor and showmanship made locking accessible to a wider audience.
  3. Globalization of Locking: By the late 1970s and 1980s, locking had become a global phenomenon. It was not only performed in street dance battles but also appeared in commercials, movies, and music videos. It is often seen in performances by artists such as Michael Jackson and MC Hammer, who incorporated locking elements into their routines.
  4. Influence on Other Dance Styles: Locking influenced other dance forms like popping and new style hip-hop. Elements of locking, particularly the sharp freezes and arm movements, have been incorporated into modern hip-hop choreography seen in music videos, commercials, and competitions.

Cultural Significance

  1. Hip-Hop and Funk Music Connection: Locking’s close relationship with funk music cannot be overstated. The dance form is designed to match the rhythm, groove, and upbeat energy of funk, soul, and disco music. Dancers often lock and freeze on the downbeat, creating a visual representation of the musical beats.
  2. Expression of Individuality: Locking encourages dancers to incorporate their own unique flair and character into their performances. Unlike more formal styles of dance, locking allows for a high level of personal expression, making it an important form of cultural expression for dancers, especially in the context of urban youth culture.
  3. Influence on Popular Culture: Locking has had a lasting impact on popular culture. It has been featured in countless movies, TV shows, and advertisements, and continues to influence music video choreography. Performers like Usher, Missy Elliott, and Beyoncé have incorporated elements of locking into their performances, keeping the style relevant in modern entertainment.
  4. Dance Communities and Social Impact: Locking created a sense of community among dancers, especially in urban areas. Dance crews and collectives, many of which focused on locking, formed around the world. These crews often participated in battles, exchanged dance techniques, and influenced the growth of street dance culture globally.

Challenges and Evolution

  • Commercialization vs. Artistic Integrity: One of the challenges for locking dancers has been balancing the style’s roots in street culture with its commercialization in mainstream media. As locking became more visible in TV shows and music videos, some dancers felt that its authenticity was at risk. However, the continued presence of locking in street dance battles and urban dance communities has preserved its artistic integrity.
  • Adapting to Modern Dance Trends: In the 1990s and 2000s, as hip-hop dance evolved and new styles emerged, locking adapted to remain relevant. Modern locking often blends elements of breaking and popping, with some dancers incorporating smoother transitions and more intricate footwork, while maintaining the core locking techniques.

Conclusion

Locking dance has had a significant impact on both the dance world and global popular culture. From its roots in the funk and soul music of the 1970s to its ongoing presence in street dance competitions and pop culture, locking remains an essential part of the hip-hop dance community. The style’s emphasis on rhythm, energy, and individual expression ensures its continued influence and relevance. Despite facing challenges in its commercialization and evolution, locking has remained a dynamic and celebrated form of dance, inspiring dancers around the world to “lock” into their groove.

Courtesy : SKILLZ studio

White paper on Locking Dance ?

White Paper on Locking Dance: Evolution, Impact, and Future Prospects

Executive Summary

Locking dance, an energetic and playful movement style, originated in the late 1960s and early 1970s in Los Angeles. It has since become a cornerstone of street dance, contributing significantly to hip-hop culture and influencing other forms of movement globally. This white paper explores the origins, evolution, key features, cultural significance, impact on global dance communities, and future prospects of locking dance. We analyze its role in promoting creativity, community building, and as a vehicle for social expression. Additionally, the paper considers how locking has evolved with changing times, challenges it faces, and the continued relevance of this art form in modern dance and popular culture.


1. Introduction

Locking dance, characterized by its sharp freezes (or “locks”) and rhythmic energy, was pioneered by Don Campbell in the early 1970s. It quickly gained popularity through its association with funk music, especially in the context of Los Angeles’ vibrant street dance scene. Today, locking is an internationally recognized style that continues to evolve. It remains an integral part of hip-hop culture and a prominent feature in both street dance competitions and mainstream entertainment.


2. History and Evolution of Locking

Locking’s roots are deeply tied to funk and soul music, particularly the rhythmic qualities of these genres. Don Campbell, a dancer and choreographer, created locking as a response to the fluidity of movements in other dance forms, such as breaking. He wanted to develop a style that allowed for quick, dramatic pauses, or “locks,” to emphasize the beat of the music. Initially known as “Campbellocking,” the dance form was later shortened to simply “locking.”

The popularization of locking came with the formation of The Lockers, a dance group that performed on national television shows like Soul Train in the 1970s. The group, which included notable members like Fred “Rerun” Berry and Adolfo “Shabba-Doo” Quiñones, helped bring locking into the mainstream, making it one of the most recognizable street dance styles.

Over the years, locking has spread globally, influencing not only other forms of street dance but also choreographies for popular music artists, commercials, and movies. Locking’s evolution has seen it incorporate elements of breaking, popping, and modern hip-hop, creating a dynamic and diverse dance form.


3. Key Features of Locking Dance

The essence of locking lies in its rhythmic precision, expressive energy, and sharp body movements. Key features of locking include:

  • The Lock: A sudden freeze in the middle of a movement, holding a position for a brief moment before continuing the dance. This sharp, defined pause is the hallmark of the style.
  • Arm and Hand Gestures: Locking emphasizes exaggerated arm movements such as pointing, waving, and rolling the wrists, often synchronized with the beats of the music.
  • Energy and Bounce: Locking requires high-energy movements paired with a sense of groove or bounce. Dancers flow from sharp freezes into fluid motions, incorporating rhythmic timing that matches the groove of funk and soul music.
  • Facial Expressions: While not always emphasized in other dance forms, facial expressions play a crucial role in locking. The dance is often theatrical, with dancers using their faces to add humor or drama to their performances.

4. Cultural Significance

Locking holds a significant place in hip-hop culture, which includes not only dance but also music, fashion, and art. The dance reflects key elements of urban culture and is intertwined with the rise of funk music and the development of street dance.

  • Hip-Hop’s Roots: Locking is one of the foundational styles of hip-hop dance, alongside breaking, popping, and new school dance. The style emerged during a time when the hip-hop movement was gaining momentum, influencing the culture of young urban communities in Los Angeles.
  • Social Expression: Like other hip-hop dance styles, locking serves as a medium of social expression. It provides a platform for creativity, individuality, and commentary on life experiences, particularly within marginalized communities.
  • Global Influence: Over time, locking has transcended its cultural origins to become a globally recognized art form. Dancers in Europe, Asia, and Africa have embraced the style, each adding their unique flair while maintaining the core elements of locking.

5. Locking’s Impact on Dance and Popular Culture

Locking has had a lasting impact on global dance culture, particularly in street dance. Through its energetic movements, theatricality, and precision, locking has influenced many other dance styles, both within hip-hop and in commercial dance.

  • In Music and Media: Locking has been featured in numerous music videos, commercials, and films. Artists such as Michael Jackson, MC Hammer, and Usher have incorporated locking elements into their choreography, exposing the style to mainstream audiences.
  • Dance Competitions: Locking remains a popular style in international dance battles and competitions, including those in the broader hip-hop community. Its iconic freezes, arm movements, and rhythmic precision make it a favorite style for performance and battles.
  • Cultural Exchange: Locking has bridged cultural gaps by influencing other art forms, such as pop and electronic dance. It has also become a vehicle for cultural exchange, with dancers from different backgrounds and countries incorporating locking into their local dance traditions.

6. Challenges and Adaptation

Despite its success, locking faces several challenges, particularly in relation to its commercialization and the balance between artistic authenticity and marketability.

  • Commercialization: As locking grew in popularity, some traditionalists worried that its commercialization might dilute its authenticity. Dance crews, like The Lockers, helped preserve the style’s integrity by continuing to perform and teach it in its original form.
  • Modern Adaptation: Locking has adapted over time, blending with other dance forms like popping and new school hip-hop. While some purists maintain that traditional locking should be preserved, many dancers have embraced the evolution of the style, incorporating contemporary footwork and smoother transitions.

7. The Future of Locking Dance

Looking ahead, locking is poised to continue evolving while remaining deeply embedded in street culture. Some key trends include:

  • Fusion with Other Dance Styles: The blending of locking with modern styles, including popping, krumping, and contemporary dance, will likely continue to shape its evolution. Locking’s emphasis on rhythmic precision and dramatic energy makes it adaptable to a variety of performance contexts.
  • Educational Expansion: As interest in street dance grows globally, locking is gaining more attention in dance schools and institutions. Workshops, online tutorials, and social media platforms are helping spread the style to a younger generation of dancers.
  • Cultural Preservation: Efforts are being made by the dance community to preserve the cultural roots of locking through documentation, festivals, and educational outreach. This ensures that locking’s legacy remains intact while encouraging innovation and creativity in the dance community.

8. Conclusion

Locking dance remains one of the most iconic and influential street dance styles. From its origins in Los Angeles in the 1970s to its status as a global dance phenomenon, locking has shaped hip-hop culture and left an indelible mark on modern dance. The dance’s emphasis on rhythm, energy, and individual expression continues to inspire dancers worldwide, making it an essential part of the street dance movement. As locking continues to evolve, it will undoubtedly play a significant role in shaping the future of both hip-hop and contemporary dance.

Industrial application of Locking Dance ?

Industrial Application of Locking Dance

While locking dance is primarily a form of street and performance dance, its principles and techniques can be creatively applied in various industrial and organizational settings. Here are some potential industrial applications of locking dance:


1. Team Building and Collaboration

Locking dance, with its emphasis on coordination, synchronization, and collective performance, can be used as a tool for team building in corporate environments. The following applications illustrate its value:

  • Enhancing Team Coordination: Locking involves intricate movements that require precise timing, which can be translated into better coordination among team members in the workplace. Group activities involving locking can strengthen understanding and communication, ultimately leading to improved team dynamics.
  • Building Trust and Collaboration: The “freeze” moments in locking, where dancers rely on each other to maintain a synchronized pose, parallel the trust-building aspects required in collaborative work environments. These exercises foster interpersonal trust, a critical factor in productive teams.
  • Fostering Creativity and Innovation: Locking encourages dancers to express individuality within a group setting, much like encouraging creative problem-solving in teams. This allows for the development of new ideas and approaches in work-related tasks.

2. Corporate Wellness and Employee Engagement

Physical activity, especially dance, has been shown to have positive effects on mental health and wellness. Locking dance can be incorporated into workplace wellness programs:

  • Stress Relief and Mental Well-being: Regular physical activity, such as dance, helps reduce stress, improve mood, and increase energy. Locking can be part of regular wellness workshops that help employees unwind, stay energized, and enhance their overall health.
  • Boosting Employee Morale: Offering dance workshops or incorporating dance breaks can create a fun and engaging work culture, boosting employee morale and job satisfaction. Locking’s high-energy and playful movements can help employees engage in something light-hearted, promoting a positive environment.

3. Marketing and Brand Promotion

Locking dance can be leveraged in advertising and branding, especially for businesses seeking to connect with younger, more urban, or diverse audiences. Here’s how locking can be applied:

  • Promotional Events and Campaigns: Locking dance can be a core element in marketing campaigns, particularly for brands targeting youth or culturally hip audiences. High-energy dance performances, viral dance challenges, or collaborations with well-known dancers can attract attention and foster brand recognition.
  • Social Media Campaigns: Companies can use locking-inspired challenges or performances in social media marketing strategies. For instance, a company could encourage customers to submit videos of themselves performing a locking routine using the company’s product, creating engagement and viral content.

4. Robotics and Motion Design

The precision, timing, and coordination in locking dance movements have the potential to influence motion design and robotics:

  • Human-Robot Interaction: The fluid and distinct movement techniques in locking could inspire more fluid and engaging designs for human-robot interaction, particularly in settings like entertainment, museums, or service robots.
  • Movement Algorithms in Robotics: Locking dance’s movement precision can be used to improve robotic motion design algorithms, where sharp stops and starts (similar to the “locks”) might be modeled for applications in choreography for robots or for creating more sophisticated, human-like movements in robots.
  • Animation and Motion Capture: In the entertainment industry, locking movements can be utilized in character animation and motion capture technology to create realistic dance sequences in films, video games, or virtual environments.

5. Employee Training and Development

Incorporating locking dance into employee training sessions can have the following benefits:

  • Improved Attention to Detail and Focus: The precision required in executing locking moves translates into the skill of focusing on small, intricate details in a professional environment. This can be particularly useful for industries that require meticulous attention, such as quality control, manufacturing, and logistics.
  • Problem-Solving and Quick Thinking: Locking dancers must be quick to adapt to changing beats, musical cues, or partner movements. This ability to think quickly and creatively can be beneficial in industries that require agile problem-solving and adaptability in fast-paced environments.

6. Entertainment and Hospitality

Locking dance plays a vital role in the entertainment industry and can be used as a tool in various settings such as:

  • Live Performances and Shows: Hotels, cruise ships, and theme parks can incorporate locking dance performances into their entertainment programs to attract guests and create a unique cultural experience.
  • Event Planning and Cultural Events: Locking can be a feature at cultural festivals, product launches, or themed events. These performances can help create vibrant atmospheres, draw in large crowds, and maintain audience engagement.

7. Fashion Industry and Product Design

The fashion industry can draw inspiration from the dynamic, energetic movements of locking for its marketing and product development:

  • Dance-Inspired Fashion Lines: Fashion designers might incorporate elements of dance culture, particularly locking, in their collections. The visual aesthetic of locking, with its vibrant, bold movements, might influence clothing design, particularly in activewear or streetwear markets.
  • Fashion Campaigns: Dancers, particularly those specializing in locking, can be featured in fashion campaigns to present products in a way that emphasizes energy, style, and individuality. This type of marketing can resonate with consumers who value creativity and urban culture.

8. Cultural Education and Preservation

Locking dance has cultural significance and can be applied in educational settings to teach about urban culture, the history of hip-hop, and dance anthropology:

  • Workshops and Classes: Organizations, schools, or cultural institutions can offer classes or workshops that teach locking as part of a broader curriculum on urban culture or dance history. These programs could provide students with a deeper understanding of cultural history and artistic expression.
  • Global Exchange and Cultural Diplomacy: Locking dance can serve as a bridge for international cultural exchange. Through workshops, dance tours, and collaborative events, locking can promote cross-cultural understanding, community building, and creativity worldwide.

9. Health and Rehabilitation

Locking’s physically demanding nature can be applied to rehabilitation and physical therapy:

  • Movement Therapy: Locking’s controlled movements and precise muscle engagement can be used in rehabilitation programs to help patients regain motor control, improve balance, and strengthen muscle coordination. Its rhythmic nature can also enhance cognitive focus and body awareness.
  • Active Recovery Programs: For people recovering from injury or surgery, light locking routines can be incorporated into recovery programs to aid in mobility and muscle restoration, while also keeping patients engaged and motivated.

Conclusion

While traditionally a performance art, locking dance has several promising applications across industries. From fostering teamwork in corporate settings to inspiring innovative designs in robotics and fashion, the elements of locking—such as rhythm, precision, and energy—can be creatively adapted to serve a variety of industrial functions. As the dance style continues to evolve, its influence on different sectors will likely grow, providing new opportunities for integration into both professional and creative environments.

Research and development of Locking Dance ?

Research and Development of Locking Dance

The research and development of locking dance can be viewed from several perspectives, including its artistic evolution, cultural impact, educational methods, and potential applications in other fields. As a foundational style of hip-hop dance, locking has influenced various disciplines, and ongoing research can further deepen our understanding of its dynamics, technique, and significance.

Here are some key areas where research and development of locking dance can be advanced:


1. Artistic Evolution and Innovation

Locking dance has evolved over several decades since its inception in the late 1960s by Don Campbell and others. Researchers can explore the artistic innovations within the locking dance style and how it intersects with other forms of dance. Key areas for development include:

  • Fusion of Dance Styles: Locking is often combined with other dance styles like popping, breaking, and contemporary dance. Research can explore the techniques and patterns that emerge from such fusion, developing hybrid forms and expanding the language of street dance.
  • Cultural Influences: Locking, like other hip-hop dances, is heavily influenced by urban culture and African American traditions. Understanding how these cultural elements shape the choreography, music, and movement vocabulary of locking could provide deeper insight into its historical and cultural significance.
  • Innovative Choreography: As locking evolves, dancers continuously push the boundaries of creativity and technique. Research in this area could focus on analyzing new trends, techniques, and performance styles within the locking community and how these innovations influence the dance world as a whole.

2. Technique and Training

Locking is characterized by fast, precise movements, abrupt “freezes,” and rhythmic locks. The development of effective training methods and techniques is essential to mastering locking. Areas of research and development in technique and training include:

  • Biomechanics and Motion Analysis: Research into the biomechanics of locking movements can help dancers improve their efficiency and reduce the risk of injury. Motion capture technology and video analysis could provide valuable data on how dancers execute complex locks and freezes, helping to refine techniques.
  • Training Methodologies: There is a need for the creation of standardized training programs for locking dancers that balance physical conditioning, creative exploration, and cultural education. This includes the development of exercises that target strength, flexibility, and precision, which are crucial for executing locking movements.
  • Dance Pedagogy: Research on the teaching methods for locking dance could result in more effective educational frameworks. Studying how dancers at different skill levels engage with the style could lead to tailored programs that cater to beginners, intermediates, and advanced students.

3. Social and Cultural Research

Locking has strong ties to hip-hop culture, which emerged in the 1970s in New York. Researching the social and cultural aspects of locking dance is key to understanding its role in both local and global communities. Areas for exploration include:

  • Cultural Identity and Expression: Locking, like other forms of hip-hop dance, is a form of self-expression and a way to assert cultural identity. Research could focus on how locking functions as a tool for expressing social, political, and personal narratives within urban communities, especially among youth.
  • Globalization and Cultural Exchange: Locking has spread globally, with practitioners in Europe, Asia, and beyond. Studying how the style adapts and is incorporated into different cultures can provide insights into the globalization of hip-hop dance and its influence on local communities.
  • Dance as Social Empowerment: Many dancers use locking to empower themselves and their communities, providing an alternative to violence or social disenfranchisement. Research could examine how locking serves as a form of social activism or as a tool for youth empowerment.

4. Locking and Technology

The advancement of technology has influenced both the creation and dissemination of dance styles like locking. Here are some avenues where technology and locking intersect:

  • Motion Capture and Virtual Reality (VR): Motion capture technology could be used to study and replicate locking movements in a digital environment. VR can also be explored for immersive dance education, allowing dancers to practice locking techniques in a virtual space, guided by digital coaches or in competition environments.
  • Dance Apps and Software: The development of mobile apps and software that teach locking could broaden its accessibility. Research into how these digital platforms can improve learning experiences, track progress, and provide remote learning options could significantly impact dance education.
  • Music and Sound Design: Locking is often performed to funk and disco music, but its use in modern music genres is growing. Research into how music affects the rhythm, timing, and style of locking movements could lead to new insights in choreography and performance.

5. Locking in Media and Popular Culture

Locking has had a significant impact on popular culture, from movies and TV shows to viral internet trends. Research in this area could explore the role of media in the development and popularization of locking.

  • Dance in Film and Television: Studying how locking is portrayed in media—such as in films like Breakin’ (1984) and TV shows like So You Think You Can Dance—can provide insight into the commercialization and mainstream adoption of the style. It also offers an opportunity to investigate how the representation of locking in media shapes public perception of the dance.
  • Locking in Digital Media: The rise of platforms like YouTube, TikTok, and Instagram has created a new space for the proliferation of dance trends, including locking. Research into how social media influences the practice and evolution of locking, especially in terms of viral dance challenges, could help understand how digital culture impacts dance forms.
  • Locking’s Influence on Fashion and Street Culture: Locking and hip-hop culture have long been linked to fashion trends. Research could examine how locking influences style, including clothing and accessories, and how the dance form intersects with streetwear brands, helping to shape youth subcultures.

6. Locking Dance and Health

The physical demands of locking require a high level of strength, flexibility, and endurance. Research in the health and wellness aspects of locking dance could have the following implications:

  • Physical Benefits and Injury Prevention: Research on the health benefits of locking could highlight how this dance form contributes to physical fitness, particularly in areas such as cardiovascular health, muscle strength, and coordination. Additionally, understanding how to prevent injuries, especially from repetitive locking movements, is crucial for long-term participation in the style.
  • Dance as Therapy: There is growing interest in dance therapy for physical rehabilitation and mental health. Locking’s energetic nature could be integrated into therapeutic practices to help individuals with motor disabilities, cognitive impairments, or emotional challenges.

7. Cross-Disciplinary Applications of Locking

Locking can be applied to industries outside of dance, creating an interdisciplinary research space. Potential areas include:

  • Human-Robot Interaction: Locking’s precise and sharp movements could inspire motion algorithms for robots in fields such as entertainment, manufacturing, and service robotics. Research into how human dance influences robotic movement and interaction can lead to advancements in robotics and human-robot collaboration.
  • Urban Design and Public Spaces: Locking’s connection to street culture and urban spaces can be explored in the context of urban development. For instance, creating public spaces that encourage dance or performances could improve social cohesion and creativity in cities. Research can also explore how street performances, such as locking battles, contribute to urban culture and community identity.

Conclusion

The research and development of locking dance spans multiple disciplines, from the evolution of its artistic form to its applications in health, technology, and urban culture. As the style continues to grow and evolve, deeper research into these areas will not only advance locking as an art form but also help integrate it into various industrial, educational, and technological fields.

Courtesy : hirokoboogie 【Japanese Dancer🇯🇵】

References

  1. Jump up to:a b c “Breakdancing, Present at the Creation”NPR.org. October 14, 2002. Archived from the original on November 24, 2010. Retrieved September 8, 2009.
  2. Jump up to:a b c d e Chang 2005, p. 116.
  3. ^ Chang 2005, p. 76.
  4. ^ Roug, Louise (February 24, 2008). “Hip-hop may save Bronx homes”Los Angeles TimesArchived from the original on October 20, 2012. Retrieved December 8, 2012.
  5. Jump up to:a b Chang 2005, p. 79.
  6. ^ “Aug 11, 1973: Hip Hop is born at a birthday party in the Bronx”History.com. August 11, 2011. Archived from the original on October 5, 2012. Retrieved August 12, 2011.
  7. Jump up to:a b Chang 2005, p. 115.
  8. ^ “Uprocking?!”Spartanic.ch. Archived from the original on July 3, 2010. Retrieved February 13, 2010.
  9. ^ Chang 2005, p. 138.
  10. ^ Chang 2006, p. 21. “The structure was different from b-boying/b-girling since dancers in b-boy/b-girl battles took turns dancing, while uprocking was done with partners.”
  11. Jump up to:a b “The Roots”Spartanic.ch. Archived from the original on December 2, 2009. Retrieved November 8, 2015.
  12. ^ Chang 2006, p. 20.
  13. ^ Chang 2005, pp. 117–118, 138.
  14. Jump up to:a b Cook, Dave. “Crazy Legs Speaks”DaveyD.com. Archived from the original on March 6, 2010. Retrieved September 6, 2009.
  15. ^ Chang 2006, p. 20. “Early influences on b-boying and b-girling also included martial arts films from the 1970s.”
  16. Jump up to:a b Chang 2005, p. 136.
  17. ^ Stoldt, David (October 1980). “Who Really Invented the Flair?” (PDF). International Gymnast Magazine22 (10). Archived from the original (PDF) on October 4, 2011. Retrieved October 12, 2011.
  18. ^ Hess 2007, p. xxii. “1977: The Rock Steady Crew is founded by Jojo and Jimmy D in the Bronx, New York.”
  19. ^ “History of the Mighty Zulu Kings”Ness4.com. Archived from the original on April 7, 2010. Retrieved September 21, 2009.
  20. Jump up to:a b c d e Milosheff, Peter (July 7, 2008). “Rock Steady Crew 32nd Anniversary”The Bronx Times. Archived from the original on January 11, 2011. Retrieved August 25, 2009.
  21. ^ Irwin, Demetria (April 2008). “Breakdancing pioneer, Frosty Freeze, passes away”. New York Amsterdam News99 (17): 6. ISSN 0028-7121.
  22. ^ Del Barco, Mandalit. “Hip Hop Hooray: Breaking into the Big Time”NPR.org. !Mira! magazine. Archived from the original on May 8, 2008. Retrieved May 1, 2013.
  23. Jump up to:a b Kugelberg 2007, p. 59.
  24. ^ Feuer, Alan (July 7, 2008). “Breaking Out Of the Bronx: A Look Back; A Pioneering Dancer Is the Last of His Breed”The New York TimesArchived from the original on November 29, 2014. Retrieved August 27, 2002.
  25. Jump up to:a b Chang 2005, pp. 182–183.
  26. ^ Guzman-Sanchez 2012, p. 143.
  27. Jump up to:a b c d e f g Pabon, Jorge. “Physical Graffiti… The History of Hip Hop Dance”DaveyD.com. Archived from the original on February 20, 2010. Retrieved July 31, 2009.
  28. ^ Essien, Aniefre (2008). Capoeira Beyond Brazil: From a Slave Tradition to an International Way of Life. Berkeley: Blue Snake Books. p. 31. ISBN 9781583942550Cair no rolê: Roughly translated as “fall into a roll,” this means that when you get knocked off your feet, don’t fall flat on your back. Capoeiristas are supposed to be adept at this. In the game of capoeira only five parts of the body should touch the ground: your two hands, your two feet, and your head.
  29. Jump up to:a b Taylor 2007, p. 170.
  30. ^ Guzman-Sanchez 2012, p. 135.
  31. Jump up to:a b Assunção 2005, p. 190.
  32. ^ Banes, Sally (1994). Writing Dancing: In the Age of PostmodernismHanover: Wesleyan University Press. p. 128. ISBN 0819562688.
  33. ^ Morgan 2008, p. 29.
  34. ^ “The Roots”Spartanic.ch. Archived from the original on October 1, 2011. Retrieved October 11, 2011.
  35. ^ Delgado, Julie (September 26, 2007). “Capoeira and Break-Dancing: At the Roots of Resistance”Capoeira-Connection.com. WireTap Magazine. Archived from the original on October 20, 2011. Retrieved October 11, 2011.
  36. Jump up to:a b Chang 2006, pp. 18–19. “Although dance forms associate with hip-hop did develop in New York City, half of them (that is, popping and locking) were created on the West Coast as part of a different cultural movement. Much of the media coverage in the 1980s grouped these dance forms together with New York’s native dance forms (b-boying/b-girling and uprocking) labeling them all “breakdancing”. As a result, the West Coast “funk” culture and movement were overlooked…”
  37. Jump up to:a b Mackrell, Judith (September 28, 2004). “We have a mission to spread the word”The Guardian. Archived from the original on March 5, 2016. Retrieved August 16, 2009.
  38. Jump up to:a b c Freeman, Santiago (July 1, 2009). “Planet Funk”Dance Spirit. Archived from the original on November 21, 2010. Retrieved July 30, 2009.
  39. Jump up to:a b Nelson 2009, pp. 32–33.
  40. Jump up to:a b c Guzman-Sanchez 2012, pp. 6–7.
  41. Jump up to:a b “The History of Locking”LockerLegends.net. Archived from the original on May 29, 2010. Retrieved July 30, 2009.
  42. ^ Hess 2007, p. xxi. “1973: The Lockers dance group is started in Los Angeles by Don Campbell, the inventor of the locking dance style…”
  43. Jump up to:a b c Chang 2006, p. 22.
  44. Jump up to:a b c d e Garofoli, Wendy (April 1, 2008). “Urban Legend”Dance Spirit. Archived from the original on May 23, 2010. Retrieved November 24, 2010.
  45. Jump up to:a b McMillian, Stephen (June 29, 2011). “Diary of an Ex-Soul Train Dancer: Q&A with Shabba Doo of the Lockers”SoulTrain.com. Archived from the original on October 10, 2011. Retrieved November 10, 2011.
  46. Jump up to:a b c Chang 2006, p. 23.
  47. Jump up to:a b Guzman-Sanchez 2012, p. 44.
  48. ^ “Old School (O.G.) Hall of Fame”LockerLegends.net. Archived from the original on July 23, 2011. Retrieved November 24, 2010.
  49. ^ Guzman-Sanchez 2012, pp. 35–36.
  50. Jump up to:a b McMillan, Stephen (June 18, 2012). “The Soul Train History Book Presents: The Mighty Mighty Jackson 5!”SoulTrain.com. Archived from the original on October 26, 2012. Retrieved December 10, 2012. After an Ultra Sheen commercial, The Jackson 5 opened with “Dancing Machine,” the last track off Get It Together. This percolating tune, with its relentless throbbing beat anchored by Michael’s soulful tenor and the brothers’ “ooo-bop-diddy-bop” background vocals, had the Soul Train Gang dancing up a storm. During the song’s instrumental break, Michael spun around and did the Robot, a dance that was among the popular fad dances done by the Soul Train Gang since Soul Train’s inception… Michael’s performance of the robot on the most popular show of the time with black kids, teens and young adults caught on and exposed the dance move to people in various parts of the country who may not have been familiar with the mechanical dance steps Michael so perfectly executed.”
  51. ^ Guzman-Sanchez 2012, p. 38.
  52. ^ The Preservatory Project (2016) Boogaloo Traditions: Interview with Boogaloo Vic & Boogaloo Dana
  53. ^ Guzman-Sanchez, T. (2012) “1965 and Soul Boogaloo”, “The Oakland Funk Boogaloo Generation” Underground Dance Masters: Final History of a Forgotten Era. Praeger.
  54. ^ Guzman-Sanchez, T. (2012) “Oakland Funk Boogaloo to Popping”. Underground Dance Masters: Final History of a Forgotten Era. Praeger.
  55. ^ Higa, B. & Wiggins, C. (1996) “Electric Kingdom” The history of popping and locking, from the people who made it happen. Rap Pages. Sep. 1996: 52-67. Print.
  56. ^ Guzman-Sanchez 2012, p. 118.
  57. ^ “Electric Boogaloos Group History”ElectricBoogaloos.com. Archived from the original on March 1, 2010. Retrieved July 17, 2009.
  58. Jump up to:a b Chang 2006, p. 23. “Sam [Solomon]’s creation, popping, also became known as the unauthorized umbrella title to various forms within the dance. past and present. Some of these forms include Boogaloo, strut, dime stop, wave, tick, twisto-flex, and slides.”
  59. Jump up to:a b Pagett 2008, p. 19.
  60. ^ Guzman-Sanchez 2012, pp. 110–113, 122.
  61. ^ Guzman-Sanchez 2012, p. 122.
  62. Jump up to:a b Rubin 2007, p. 120.
  63. Jump up to:a b c d e f “‘Funk Styles’ History And Knowledge”ElectricBoogaloos.com. Archived from the original on February 9, 2010. Retrieved August 24, 2009.
  64. ^ Morgan 2008, p. 38.
  65. ^ “Hip-Hop Dance History”DanceHere.com. July 7, 2008. Archived from the original on April 13, 2010. Retrieved July 30, 2009.
  66. ^ “Drop Me Off in Harlem”Kennedy-Center.org. August 29, 2008. Archived from the original on April 19, 2010. Retrieved April 5, 2010.
  67. ^ Held, Joy (August 29, 2008). “Earl “Snake Hips” Tucker: The King of Hip-Hop Dance?”Dance. Archived from the original on November 16, 2011. Retrieved March 12, 2010.
  68. ^ Guzman-Sanchez 2012, p. 121.
  69. ^ Jackson, Michael (2008). Thriller 25th Anniversary: The Book. ML Publishing Group. ISBN 978-0976889199.
  70. ^ Paggett 2008, p. 72.
  71. ^ DiLorenzo, Kris (April 1985). “The Arts. Dance: Michael Jackson did not invent the Moonwalk”. The Crisis92 (4): 143. ISSN 0011-1422Shoot… We did that back in the ’30s! Only it was called The Buzz back then.
  72. ^ Guzman-Sanchez 2012, pp. 16–17.
  73. ^ “Remembering Michael Jackson (August 29, 1958 – June 25, 2009)”SoulCulture.com. June 25, 2011. Archived from the original on June 29, 2011. Retrieved July 15, 2011.
  74. ^ “Jeffrey Daniel joins judging panel of Nigerian Idol”AllStreetDance.co.uk. Archived from the original on January 22, 2012. Retrieved July 15, 2011.
  75. ^ Guzman-Sanchez 2012, pp. 104–107.
  76. ^ Guzman-Sanchez 2012, p. 106.
  77. ^ “Release dates for Breakin’ (1984)”IMDb.com. Archived from the original on December 24, 2008. Retrieved August 16, 2009.
  78. Jump up to:a b Scholss 2009, p. 60.
  79. Jump up to:a b c Israel (director) (2002). The Freshest Kids: A History of the B-Boy (DVD). QD3 Entertainment.
  80. ^ Kugelberg 2007, p. 140.
  81. ^ Klopman, Alan (January 1, 2007). “Interview with Popin Pete & Mr. Wiggles at Monsters of Hip Hop – July 7–9, 2006, Orlando, Fl”Dance. Archived from the original on November 16, 2011. Retrieved July 31, 2009. An important thing to clarify is that the term ‘Break dancing’ is wrong, I read that in many magazines but that is a media term. The correct term is ‘Breakin’, people who do it are B-Boys and B-Girls. The term ‘Break dancing’ has to be thrown out of the dance vocabulary.
  82. ^ Rivera, Raquel (2003). “It’s Just Begun: The 1970s and Early 1980s”. New York Ricans from the Hip Hop Zone. New York City: Palgrave MacMillan. p. 72ISBN 1403960437With the barrage of media attention [breaking] received, even terminology started changing. ‘Breakdancing’ became the catch-all term to describe what originally had been referred to as ‘burning’, ‘going off’, ‘breaking’, ‘b-boying’, and ‘b-girling’. Dance styles that originated in the West Coast such as popping and locking were also grouped under the term ‘breakdance. Even though many of hip hop’s pioneers accepted the term for a while in the 1980s, they have since reclaimed the original terminology and rejected ‘breakdance’ as a media-fabricated word that symbolizes the bastardization and co-optation of the art form.
  83. ^ Schloss 2009, p. 10. “Battling is foundational to all forms of hip-hop and the articulation of its strategy—”battle tactics”—is the backbone of its philosophy of aesthetics.”
  84. ^ Wisner, Heather (2006). “From Street to Studio”. Dance80 (9): 74–76. ISSN 0011-6009.
  85. ^ Schloss 2009, p. 54.
  86. ^ Schloss 2009, p. 111.
  87. ^ Guzman-Sanchez 2012, pp. 80, 104–106.
  88. ^ Guzman-Sanchez 2012, p. 57.
  89. ^ Guzman-Sanchez 2012, pp. 60–64.
  90. ^ Guzman-Sanchez 2012, pp. 73–74, 80.
  91. ^ Guzman-Sanchez 2012, p. 74.
  92. ^ Guzman-Sanchez 2012, pp. 86–87.
  93. ^ Phillips, Jayvon (May 30, 2009). “‘America’s Best Dance Crew’ and worldwide Diversity”Los Angeles Times. Archived from the original on February 23, 2012. Retrieved November 28, 2011.
  94. ^ Lapan, Tovin (August 9, 2013). “World’s oldest hip-hop dance crew gettin’ its swagga on at Las Vegas competition”LasVegasSun.com. Archived from the original on January 17, 2014. Retrieved September 6, 2013.
  95. ^ Schloss 2009, p. 116.
  96. ^ Tawhiao, Carly (August 20, 2010). “ReQuest on top of the world”Central Leader. Archived from the original on October 24, 2012. Retrieved December 10, 2012.
  97. ^ “Big toe crew bags Asian hip-hop competition prize”. The Vietnam News Agency. October 14, 2010. With a number of prizes won at a variety of international competitions, Big Toe were awarded the Certificate of Merit on Oct. 12 by the Vietnam Electronic Sport and Recreational Sport Association under the Ministry of Culture, Sport and Tourism.
  98. ^ Pagett 2008, p. 104.
  99. ^ Knowles, Mark (2009). The Wicked Waltz and Other Scandalous Dances. Jefferson: MacFarland. pp. 136–139. ISBN 978-0786437085.
  100. ^ Pagett 2008, p. 168.
  101. ^ Stearns, Marshall and Jean (1968). Jazz Dance: The Story of American Vernacular Dance. New York City: Macmillan. pp. 322–329.
  102. Jump up to:a b White, Shelley. “Everyday I’m Shufflin’: Top 10 Dance Crazes”AOL.com. Archived from the original on January 12, 2013. Retrieved September 27, 2011.
  103. ^ “Dance”Ebony46 (10): 46–48. 1991. ISSN 0012-9011. Retrieved September 13, 2011.
  104. ^ Bracaglia, Kate (September 19, 2011). “Sept. 19, 1960: Chubby Checker’s “The Twist” hits number 1″AVClub.com. Archived from the original on April 16, 2012. Retrieved September 27, 2011.
  105. ^ Pagett 2008, p. 56.
  106. ^ Bury, Martine (2000). “Body Movin'”Vibe8 (3): 71. ISSN 1070-4701. Retrieved September 13, 2011.
  107. ^ Pagett 2008, p. 152.
  108. Jump up to:a b Neil Conan (February 9, 2010). “How ‘Soul Train’ Got America Dancing”NPR.org (Podcast). Talk of the Nation from NPR News. Archived from the original on February 2, 2012. Retrieved November 14, 2011.
  109. ^ Stelter, Brian (June 17, 2008). “After 38 Years, ‘Soul Train’ Gets New Owner”The New York TimesArchived from the original on November 28, 2016. Retrieved August 18, 2009.
  110. ^ White, Shelley. “Everyday I’m Shufflin’: Top 10 Dance Crazes”Music.AOL.com. Archived from the original on January 12, 2013. Retrieved December 6, 2012.
  111. ^ Guzman-Sanchez 2012, p. 99.
  112. ^ Pagett 2008, p. 33.
  113. ^ Pagett 2008, p. 45.
  114. ^ Pagett 2008, p. 68.
  115. Jump up to:a b Robertson, Regina (February 2, 2012). “Throwback: The Running Man”Essence. Archived from the original on July 14, 2014. Retrieved August 14, 2012.
  116. ^ Hanson, Mary Ellen (1995). Go! Fight! Win! Cheerleading in American Culture. Popular Press. p. 58. ISBN 0879726806.
  117. ^ Trust, Gary (September 8, 2011). “LMFAO’s ‘Party Rock Anthem’ Named Billboard’s 2011 Song of the Summer”Billboard. Archived from the original on September 25, 2011. Retrieved September 27, 2011.
  118. Jump up to:a b c d Crosley, Hillary (October 1997). “Song and Dance Routine”Billboard. Vol. 119, no. 43. pp. 14–15. ISSN 0006-2510. Retrieved September 13, 2011.
  119. Jump up to:a b c Cohen, Ben (November 13, 2010). “What’s the Latest Move in Sports? Doing the ‘Dougie'”Wall Street Journal. Archived from the original on June 10, 2011. Retrieved September 13, 2011.
  120. ^ Joyella, Mark (November 29, 2010). “Happening Now: Wolf Blitzer Dances The Dougie At Soul Train Awards”Mediaite.com. Archived from the original on March 15, 2012. Retrieved September 27, 2011.
  121. ^ Campbell-Livingston, Cecelia (October 3, 2012). “Truly outstanding”Jamaica Observer. Archived from the original on November 19, 2012. Retrieved December 8, 2012.
  122. ^ Pagett 2008, p. 156.
  123. Jump up to:a b Hay, Carla (February 2001). “Mr. C The Slide Man Sets Off A Dance Craze On M.O.B.”. Billboard. Vol. 113, no. 6. p. 9. ISSN 0006-2510The origins of the “Cha-Cha Slide” craze date back to 1996, when Mr. C created the dance for a personal trainer. The song then made its way to R&B station WGCI in Mr. C’s hometown of Chicago. The station began playing the song in early 2000, and the tune garnered play in clubs, with label offers soon following. Once it was Universal’s project, ‘we made some instructional ‘Cha-Cha Slide’ dance videos and distributed them to clubs,’ says senior VP of urban promotion Michael Horton. ‘We also promoted the song at various black functions, such as homecoming events at black colleges.’
  124. ^ Mochan, Amanda (February 25, 2011). “Largest cha-cha slide dance”GuinnessWorldRecords.com. Archived from the original on March 4, 2011. Retrieved October 17, 2011.

Leave a Comment

Your email address will not be published. Required fields are marked *

Translate »