Breaking the norm surrounding hip-hop dance while upholding its tradition, Boy Blue’s newest production, Cycles, is a game changer!
The 90-minute experience of uninhibited artistry with outstanding dance artists, defying choreography by Kenrick ‘H20’ Sandy, and progressive music beats composed by Michael ‘Mikey J’ Asante is one to remember for a long time. It was hard to decipher which aspect of this production came first, however the post-show Q and A with the creative team revealed that the choreography was inspired by the music and the disciplined dancers were given the freedom to respond in a way that’s true to them. It’s visibly clear that each dancer used their body to amplify a personal message through the music and choreography.
The music takes us to an organic plane with its hypnotic drill patterns, looped strings and motifs played on the piano. The unanimous demand at the post-show talk for Maestro J’Asante to release the tracks says it all, I’m pleased to say that this is a possibility, so watch this space. The beats and tempo are steady, which is a contrast to the feverish choreography. At times the dancers movements are harmonious and sometimes they become frenzied. There are displays of superpowers and altercations, and it’s always interesting to see what happens when the music hits them.
“Boy Blues’ Cycles is raw and uncompromised hip-hop theatre. This masterpiece was progressive, inspiring and authentic from beginning to end”.
Living up to its title, Cycles is a continual energy shift marked by the dancers extraordinary physicality and strength as well as the choices made in the choreography. Despite its continuous element, it remained focussed and tight.
The nine talented dance artists have created their own stories to be interpreted by the audience. We get to forge a story from what we see on stage as opposed to being pressured into following a particular narrative.
Each dancer has their moment, expressing a unique language through movement. They all embodied confidence and empowerment whether they are flocking together across the stage, spazzing out in a cluster or performing a solo piece. Now I must mention that whenever a solo dancer was in the spotlight, or a gestural conversation was taking place in small groups, the others watched intensely from the sides. This is a common practice in hip-hop culture to observe, respect and consume art in the present moment. There was a constant sense of connectivity that I loved!
Lee Curran’s superb lighting completes the cycle and supports the creativity on stage which the dancers utilised to great effect. It’s easy to imagine how they drew inspiration from it. A beautiful moment was when the lighting spilled out over the audience as an embrace, an invitation to become part of the story. It was an uncommon and special experience.
The historical home of hip-hop may be on the streets along with the movements associated with it, but it is now seen in places like the Barbican. Trust me when I say that I have been to shows that have been gentrified to fit in a new space and to be more palatable to its unfamiliar audience, but what I saw tonight was far from that. Boy Blues’ Cycles is raw and uncompromised hip-hop theatre. This masterpiece was progressive, inspiring and authentic from beginning to end.
The performers:
Jimmy Allan
Nicey Belgrave
Tanaka Bingwa
Gabija Čepelytė
Paris Crossley
Evion Hackett
Kyron ‘Nykro’ Jake
Kelsey ‘Hydro’ Miller
Corey Owens
Need to know: Cycles plays at the Barbican Centre until 4 May 2024.
