Association situé à toulouse rassemblant des citoyens du monde pour développer la citoyenneté des jeunes sans frontière, l'ouverture aux cultures du monde, et l'éducation à la solidarité internationale.
The Himalayan Times, par Shradha PAL, 16 décembre 2011
L Danse's insight:
United in hip-hop
Seventeen-year-old Jordan Descons was walking the streets of France and she saw a few people doing the hip-hop moves. The moment Descons heard the music and saw them perform, she knew where she belonged. Though she was practising contemporary dance since the age of four, her love for hip-hop was instantaneous.
Laure Thouault began dancing since she was three-and-a-half years old. She was being trained in modern jazz dance, but discovered hip-hop as her passion.
Dorothée Liauzun was exposed to hip-hop late — when she was 18 as she lived in the countryside of France.
But why are the three names taken simultaneously? Individually Descons “fell in love with the music,” Thouault got “bored with modern jazz” and for Liauzun who was getting trained in modern jazz as well found “it very feminine and didn’t like it,” and one common thread that binds them is hip-hop as they seek revelation in it.
Having mentioned all that, you must be wondering, why are they being mentioned and how are their stories relevant? Alternatively, perhaps, how is hip-hop relevant in the context of Nepal? Though these questions are appropriate in its own right, it also indicates ignorance.
Street beginnings :
Hip-hop is definitely a foreign concept, but its roots are deep, and concerns the society. It originated in the New York City, USA. African-Americans there used hip-hop as a medium to channelise their “negative energy into positive vibes,” added Thouault. There used to be many gang fights and violence in those days and all credit goes to Afrika Bambaataa who gave a platform for youngsters’ rage and frustration to be heard, but non-violently. This was possible through rap, graffiti, b-boxing, b-boying et cetera. All these are collectively known as hip- hop. “However, people don’t know much about it. They have a misconception that only a few styles of dance are hip-hop,” said Descons.
Hip-hop’s ideology is peace, love, unity and having fun, yet to date there are reservations associated with it. The reason perhaps could be the place it originated from — streets. “But now there are many institutes that teach and encourage hip-hop and is also pursued as a
respected profession in many countries,” adds Descons.
With this, it has gained popularity all over the world and Nepal is not far behind.
Descons, Thouault and Liauzun were recently in the Capital as a part of youth and international exchange, which was organised with Association L danse and Jeunes du Monde, “to realise the hip-hop culture in Nepal,” said Thouault.
With the time they spent in the Capital, they have concluded, “We may have technical knowledge, but here people have human value.” Moreover, Descons added that here students are “never tired to learn and the energy is spectacular.” To which Thouault elaborated, “Hip- hop was introduced in France 35 years ago, but in Nepal it has only been two to three years and seeing the acceptance makes us want to come here time and again.”
Different yet same
To some extent, Thouault’s idea of acceptance is prevalent in the country, but there is more to accomplish. Jenisha Dangol, 20, who has been into hip-hop since the past one-and-a-half years as a member and trainer of Nepal Break Dance Foundation feels there is a long way to go in terms of acceptance in society and learning techniques of different forms. “The main aspect where we still lack is the respect,” stated Dangol firmly.
Initially Dangol faced prejudice from the neighbours and relatives, “but when they saw me perform in various shows and observed that I got recognition from media, they have changed their views.” Yet this is restricted to a certain niche. The reason is also being a girl child. “In our society, being a girl and dancing is not considered a good thing. What will people think is a common assertion,” she added.
Usha Gurung who got inspired to open a hip-hop dance school in 2009, had a similar view. “It was very difficult to make people understand. I was the only female when the school began, but now things are changing. Many young girls come to me saying ‘even I want to learn hip- hop’,” said Gurung.
Usually when there is such discrimination, people often compare with foreign countries. But is doing so justified? Perhaps not as Thouault, Descons and Liauzun view that, “we haven’t faced any discrimination as such, but we always have to prove ourselves and the only reason is because we are not males. Only after proving our talent, it becomes easy.”
As a profession
Yes, the situation is improving, but it will take time. One of the main aspects which exemplifies this matter is lack of proper career as a hip-hop artiste be it in France or Nepal. “Although hip-hop has gained popularity to an extent, frankly there is no profit in dance. The reason could be dance being limited to just school classrooms,” opined Gurung. This is the reason Gurung is trying to establish a school that will cater to flourish career in hip-hop. “For the very reason we have to win respect of people and educate them with what hip-hop is all about,” she added.
Also Dangol views that there is no professional career but “I am taking a step towards building it by teaching others.” To add on the issue Thouault said, “There isn’t much wealth involved in it, but I am teaching dance to others, which spreads happiness and this becomes contagious making monetary aspect secondary.” Thouault explained with an example during her visit to Nepal. “We were at GAA hall teaching children of different castes and when they began dancing as a group all the differences were erased, it was only joy that prevailed.”
Festival de danse.Salle Albert Camus : Vendredi et samedi à 21h et dimanche à 16h : 32 spectacles chorégraphiques du classique au hip-hop en passant par la danse africaine Théâtre Paul Eluard : Vendredi 28 à 10h : Séance Scolaire : La Compagnie ...
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