Style, or the way we construct our dress, seems capable to achieve political goals—equal to the power of protests. Speaking from experience, I did not know that my clothes upset the authority figures. Since my professor claimed that I was funny-looking last night, I’ve found a complement in my teacher’s words. Where he was speaking from started at a position, of a certain way of looking at the body. Each new generation violates the laws for presenting the body of the previous generation. This historical function should reveal another strategy for change, another method of power.
Our parents figured that their generation saw the end of “real” dancing. You know, they tell you that they danced artistically and romantically and that we have pioneered a tasteless substitute for sex. I’m embarrassed to say that I was starting to believe the hype, but this was before I paid attention to our generation of choreographers. Never has there been such a style that is so sensitive to both music and lyrics as that of our young people of color. Artists such as Ian Eastwood, Kenzo Alvares and Pat Cruz represent a new heritage of dance that brings the body, as an object of creative contortion, to the incomplete music of Hip Hop and R&B.