So far, I’ve been proper under it this year. Working on the re-mixed and re-cast version of ‘TAG… Me Vs The City’ was like creating a brand new piece. It was well worth it, this version is much clearer than last year. As with all my work, it goes through a development process of about 3 years. On a long ting!

Programming Breakin' Convention has been quite different this year for various reasons. Firstly, the process for programming local dance acts had to change. We wanted a bit more quality control over the work presented. We didn’t just feature groups that we like. That’s too easy. There are nuff streetdance crews in and around London that we like. There is also an increasing number of events where we can witness the talent sprouting from the concrete crevices of the capital.

This year we wanted to program specific pieces rather than crews. We wanted to develop a program of work that is different from any other dance event, maintaining BC’s status as THE most innovative Hip Hop Dance Theatre event in world… hence the hoop jumping! Big respect to Olivier award winning Kenrick H20 Sandy, who didn’t bat an eyelid about having to make a proposal. Apologies to all those dance groups out there that were fazed by the application process. Be ready next year…

Last year, I travelled to South Africa, Germany, France, Holland, and Korea on the lookout for potential BC acts.

In Seoul, I was part of the judging panel for the Street Jam dance competition. Chillin with Last For One B-Boy crew and Myosung was enlightening. I understood why some of the greatest B-Boys in the world are Korean. Them mans will rehearse from midnight to 5am, sleep for 3 hours, then go to work. Maximum commitment, and desire for excellence.

I was reasoning with Charlie Shin (Project Soul management) about this. He told me about recent Korean history, being invaded on numerous occasions by the Japanese, and having to fight for the right to exist as a sovereign state. He believes that these experiences have contributed to a ‘never say die’ defiance that is characteristic of original Hip Hop culture. Add to that the mandatory conscription for all men in South Korea, then you have a situation where B-Boying becomes as a pathway to freedom.

In spite of this, I decided to feature Spartanik Rockers from Japan this year…

In Holland, I checked out a festival called Breakin Walls. Similar premise to BC, in that it presents ‘urban culture’ in theatre spaces. I performed Lyrikal Fearta there in 1999. I saw some really interesting approaches to Hip Hop theatre, my favourite pieces just couldn’t work in BC because they were performed in Dutch.

What I did find fascinating out there were the Hip Hop schools! I was invited to the ISH Institute in Amsterdam. A disused college building which received government funding to reopen as ‘a breeding ground for youth culture and young creators of stage art.’ Also, Solid Ground Movement in Amsterdam and Hip Hop Huis in Rotterdam, which has regular evening classes covering all aspects of the Hip Hop artform. We really need to get on the case over here in the UK! The institutionalization of Hip Hop is a whole other conversation…

I was hanging with Ram1 in Cape Town. He’s an old skool B-Boy that has been holding it down for Hip Hop since the early eighties. His crew Azanian B-Boys toured with seminal South African rap crew Prophets Of The City, visiting London in the early nineties where we first met. I was part of an outreach project called African Battle Cry in 1998, organized by Black Noize. We gave workshops in Breakin’, Graff writing, DJing, Emceeing and Hip Hop theatre (guess who?) all over the Cape Flats. It was then that I realized the affect Hip Hop has in various communities, not just in the ghetto!

Azanian B-Boys cancelled this year though. I’m not going into the reasons why… I don’t wanna upset myself! I will do my best to put it right next year!

Battle Of The Year in Germany still has to be the biggest, most highly anticipated B-Boy battle event in the world. The sports hall venue is cavernous, but still works because it’s always packed and uses video screens effectively. I saw the Austrian crew Moving Shadows performing a dope theatrical set using stage make up and great lighting. We met a year earlier when I was a part of a B.O.T.Y panel discussion. I was bigging up Hip Hop theatre practice when one of the crew stepped to me asking about BC. A year later, they performed a set at B.O.T.Y. that inspired me to invite them to the festival.

Eurostar make nuff dough outta me. The amount of opportunities to see great Hip Hop theatre in France is ridiculous. I checked out Recontres De La Villette, and saw a whole heap of potential BC acts. I saw Etha-Dam’s magical duet there, Cie Revolutions Emilie Sudre with an astoundingly sensuous solo, and a stunning new piece from Franck II Louise, which I will definitely make sure hits the UK soon. Juste Debout was dope too, Meech won in the House Category – had to book him!

The French… just get it! They have taken the genre and continually push ideas fwd.

They are technically diligent, and creatively astute in they’re approach to making theatre. It’s really hard to program an international festival when all of the dopest stuff comes from one country!

It’s been weird having 3 days to program, having to decide what companies to repeat and on what day to repeat them. It doesn’t help with a limited budget either (Sponsors! Where are ya!!??) The odd number has made it a bit difficult. Maybe we should do 4 days? Answers via email please!

Peace