Hip-hop theater is a form of theater that presents contemporary stories through the use of one or more of the four elements of hip-hop culture—b-boying,graffiti writing,MCing (rapping), andDJing.[1][2] Other cultural markers ofhip-hop such asspoken word,beatboxing, andhip-hop dance can be included as well although they are not always present. What is most important is the language of the theatrical piece and the plot's relevance to the world.[2] Danny Hoch, the founder of the Hip-Hop Theater Festival, further defines it as such: "Hip-hop theatre must fit into the realm of theatrical performance, and it must beby, about and for the hip-hop generation, participants in hip-hop culture, or both."[3]
Hip-hop theater productions appear in a wide range of platforms including single performances, week-long festivals, and travelingrepertory companies. Board Chair Of the historic Philadelphia Freedom Theater and producing Director Of The Devon Theater Of MayfairKarl Dice Raw Jenkins is the leader in hiphop theater with multiple of Grammy nominations as a singer producer and Playwright, The Last Jimmy [The kümmel, Freedom Theater, Adrienne Arsht & La Grand performances have all presented Karl. Karl's other works include Box A Hiphop Musical telling the life of enslaved African American Henry Box Brown. The King Of Love and more.Marc Bamuthi Joseph is aspoken word poet and dancer who has been commissioned several times to create and direct single hip-hop theater works.British choreographer Jonzi D is the artistic director of the London-based Breakin' Convention, a week long hip-hop theater festival.Rennie Harris, Mourad Merzouki, Kwesi Johnson and Victor Quijada are artistic directors who run hip-hop theater companies in the U.S., France, UK and Canada respectively. The Rock Steady Crew, Magnificent Force, and the Rhythm Technicians pioneered this theatrical genre which started in the United States.
Though hip-hop culture has managed to establish itself on film, on television, in fashion, in music, and in the dance industry, it has not gained the same momentum in theater. Stage productions are few in number but growing.[4] The first hip-hop stage shows were 1990's. 1994 Saw Kwesi Johnson's 'Searching for a Shaman' premier on 20 April at Nott Dance Festival,off BroadwaymusicalSo! What Happens Now?, 1995'sJam on the Groove which were co-authored, co-directed, and co-choreographed by Jorge "Popmaster Fabel" Pabon and Steffan "Mr. Wiggles" Clemente.[5][6]Rock Steady Crew, Magnificent Force, and the Rhythm Technicians performed in both shows.[7][8][9] Aside from the pioneers in New York City was Lorenzo "Rennie" Harris' Puremovement (RHPM) hip-hop theater company which Harris founded in 1992 inPhiladelphia.[10] The company has toured all over the world showcasing its original works such asMarch of the Antmen,P-Funk,Endangered Species,Facing Mekka, andRome & Jewels.[11] RHPM also organizes the annual Illadelph Legends Festival which brings together thepioneers—the people who wereb-boying,locking, andpopping in the 1970s when these styles were developed—and respected practitioners of hip-hop dance to teach master classes, give lecture demonstrations, and participate in panel discussions.[12]
Hip hop music continues to influencemusical theater. Rap is used popular musicals such asRent andDreamgirls[13] While more notable for funk than hip hop, the Broadway musicalBring in 'da Noise, Bring in 'da Funk fusestap dance and hip hop dance styles, and includes rap.[14] Hip hop music was used inOff Broadway shows in the 1990s and early 2000s, with the musicalsSo! What Happens Now? andJam on the Groove.[15]In the Heights used hip hop music, rapping and hip hop dancing. With music and lyrics byLin Manuel Miranda and book byQuiara Alegría Hudes, it was performed off Broadway in 2007. The 2008 Broadway production fused salsa and hip hop styles, and included rap.[16] Miranda brought hip hop to Richard Rodgers Theater a second time in 2015 with his productionHamilton.[17] The show had box office success.Hamilton andIn the Heights included rap and the cast recording ofHamilton made a number one album on theBillboard rap charts. The success ofHamilton shows that hip hop can have a key role in musical theater.[18]
Other hip-hop theater companies were founded in the 1990s. CompagnieKäfig is a French hip-hop theater company of mostlyAlgerian descent founded in 1995 by Mourad Merzouki.[19] Their performances mix standardb-boying,locking, andpopping withcapoeira, mime, and gymnastics.[19] They use the same fusion in music by mixingrap music withclassical music andAndalusian guitar.[19] While on tour in the U.S. they performed atJacob's Pillow in Massachusetts and at theJoyce Theater in New York.[20][21]Bintou Dembélé performed at the Joyce Theater in New York with Mourad Merzouki's Compagnie Käfig in 2002.[22][23] That same year she created her own dance company, which she describes as being mainly inspired byPina Bausch's notion of 'danced theater'.[23][24]
The Groovaloos are a hip-hop theater company based in Los Angeles that was founded by Bradley "Shooz" Rapier. They started out in 1999 as adance crew and eventually developed a stage show calledGroovaloo that is a series of stories based on the true life experiences of the dancers.[25] Company members include Edmundo "Poe One" Loayza, Rynan "Kid Rainen" Paguio fromJabbaWockeeZ, and Teresa "Rag Doll" Espinosa fromBeat Freaks.[26]
RUBBERBANDance Group (RBDG) was founded in 2002 inMontreal by Los Angeles native Victor Quijada.[27][28] Quijada first started dancing as ab-boy inBaldwin Park, California.[28] He studiedmodern dance in high school and after graduating went on to become a professional dancer underTwyla Tharp and Les Grands Ballets Canadiens de Montréal.[28][29] He started RBDG after leaving the Montreal ballet.The New York Times called the style of dance his company performs "post hip-hop" because it's a fusion of hip-hop dance and ballet.[28]
Marc Bamuthi Joseph is a spoken word poet andplaywright who frequently directs independent hip-hop theater productions.[30] Some of his works includeWord Becomes Flesh,De/Cipher, andNo Man's Land. He collaborated with Rennie Harris in 2007 to createScourge, a play aboutHaiti's social-economic struggles. Joseph directed the play while Harris served as the choreographer.[31][32] In 2008, he createdthe break/s which is based on the bookCan't Stop Won't Stop byJeff Chang.[30]
Other solo hip-hop theater artists includeSarah Jones who headlined the first Hip-Hop Theater Festival[2] and award-winning playwrightWill "Power" Wylie who collaborated with Danny Hock on his one-man playFlow.[33] Also, West Coast feminist writer/performerAya de Leon whose award-winning show "Thieves in the Temple: The Reclaiming of Hip Hop" focused on fighting sexism and consumerism in hip hop.[34]
'Everyone has a different definition of how hip-hop applies to theater,' says Valentin, who published the hip-hop-culture-focused Stress Magazine before becoming involved as a producer with some of the genre's bigger names. According to Valentin, 'Every show doesn't necessarily have to include the four basic elements of hip-hop: a DJ, graffiti-based visual art, breakdancing, and an MC or rapper.' But he concurs with Forbes about the importance of 'the language on stage, the story, and the vibe,' adding that 'relevance to today's world, urban or otherwise, is a major part' of the hip-hop theater experience.
