So, what exactly is French hip hop?

Hip-hop came on the scene in France in the 1980’s and was primarily performed by adolescents. By the 1990s – only a decade later - it was professional dancers that took over the hip-hop movement. At the time it was not viewed as art, but just “street dance.”  Fortunately, most of that opinion has changed in the past twenty years. In modern day France, hip-hop has a presence throughout the country, especially in large cities such as Lyon, Montpellier and Paris. Nevertheless, this presence has echoed in small towns and is recognized more than ever before as having a certain amount of power.

The power of hip-hop stems from its capacity to develop far beyond what has been institutionalized and considered culturally middle ground in the artistic world, thus creating a meeting place not onlyfor the artists, but also the public. Hip-hop, by nature, is all inclusive, excluding no one based on their socio-economic status, cultural background or language. With this movement, ”art” becomes the center, the core – or corps-  and thus unites everyone.

Hip-hop started as and remains a way to challenge the dominant culture and how it views artistic expression, representation and narration. It  to and succeeds in pushing the limits of what defines art in contemporary society – think Surrealism at its beginning.

This idea of narration is at the heart of hip-hop and goes back to the number one primordial human attachment: Mother Earth. This means that the stage, whether it is the street or a theatre, is the temple where movement becomes universal and everyone is linked. If we look at it from another perspective, since hip-hop dance stems from African dance, Caribbean dance, martial arts, capoeira, breakdancing, and so many other dance forms, the cross-cultural influences break all boundaries and link the dancers, stage and audience in one harmonious world. In this light, hip-hop dance has become an art of collage.

This urban art form began as an artistic movement and remains so to this day. It has resisted domination by rejecting the idea that there is a difference between the street world and the art world.  For hip-hop artists, these terms are not mutually exclusive, but rather mutually binding. Combining both perceptions is not only a refusal to renounce any difference between popular art and cultural art, but it is also a way to reject the notion of an “elite,” consequently including every strata of the population. This rejection creates a unity and a certain mobility – not only of the physical body, but also of the non-refutable relation between the intrinsic nature of what is cultural and what is artistic.

The innate free-style of hip-hop dance is not only represented by the physical movements of the artists themselves but also by the inclusion of audiences in the performances. This active participation by the audience reinforces the all-inclusive, boundary-breaking nature of hip-hop dance.

The power of hip-hop therefore lies in the reaction and participation of the audience. The only legitimate judgment of this modern art form can come from the public who is, of course, the target audience. The power of the people, so to speak, inherently reinforces all the underlying goals and messages of hip-hop dance. Consequently, hip-hop is almost by definition an art for the people and by the people.

Written by: Megan Russler

For many French citizens of minority origin the only way to claim, or reclaim, the French identity that is denied them is through artistic expression. In contemporary French society, one of the most influential and prolific of these representations is hip-hop dance and music. Although originally started in America, hip-hop took quite a hold in France in the 1980s; so much so, in fact, that France is now considered number two on the world hip-hop scene.

With lyrics like “…their bodies are falling apart/and their children are still being judged according to their origins” (“Ils ont” by Aktivist) it’s hard to ignore the anger, hurt and overall feeling of rejection that is made quite clear through their songs. Artists like Aktivist reclaim their identity as well as their voice with hip-hop. Music is not the only outlet for artists, however. Dancers and dance troupes have found a similar way to share their struggle for identity through movement.

Abdou N’Gom, choreographer for Compagnie Stylistik explains, “I wanted to restate my repulsion of all prejudices and bring up front the doubts and questions life confronted me with. They shaped me, helping me build the person I am now.” The title of Abdou N’Gom’s performance, “Entre Deux,” stems from a French expression-turned-phenomenon that represents the feeling of many second generation immigrants who are often caught “between two.” Caught, that is, between two cultures, two languages and sometimes two citizenships, they feel torn and rejected by both their culture of origin and their culture of birth.

Although French hip-hop originally mirrored American hip-hop, over the years it has taken on its own intrinsic battles, messages and artistic forms. Reclaiming French identity and expressing anger and pain through music and dance has given a voice to the musicians, dancers and choreographers at the heart of this contemporary movement.

For the first time ever in D.C., the Alliance Française de Washington will bring together four French hip-hop dance troupes, including Stylistik, during Urban Corps: A transatlantic hip-hop festival, which will take place from May 17 until May 25. Click here for more info about Stylistik

By Megan Russler

The closing event of the festival is the true embodiment of Urban Corps’ message of cultural exchange. This final performance unites French performers with local talents from Urban Artistry and DCypher for a cross-cultural take on the tradition of battling dance crews.

Join us at 9pm in the Artisphere Town Hall for music, drinks and mingling with the dancers until the battle begins at 10pm in the Ballroom. Stick around after the show and get on the dance floor to show off your own moves to the beats of DJ Baronhawk from 11pm to midnight.

Three crews from France will be showing their talent: Cie De Fakto, Cie Par-Allèles and Cie KLP. From the U.S., two local hip-hop crews will perform and assert their own styles:

Urban Artistry, a collective of dancers, artists, historians, musicians, folklorists and documentary filmmakers on a mission to preserve and continue the practice of urban dance, music and arts culture. They are known for offering performances and educational programming that share the rich traditions behind the ever-changing movement found in urban dance, music and arts culture.

DCypher Dance, Joy of Motion Dance Center’s resident adult hip-hop company. DCypher Dance focuses on developing new and innovative pieces of hip-hop and fusion that are high energy, provocative, and “culture specific” for audiences of all ages and walks of life.

Friday, May 25 at 9pm
Artisphere // 1101 Wilson Boulevard, Arlington, VA
Cost: $5
RSVP: http://artisphere.com/ or at (703) 875-1100

A group of friends in 1960s Brooklyn reminisces about the trying times of  their past, questioning social, economic, and cultural standards while simultaneously sharing the story of the birth of hip-hop. This historic dance  fresco, which was partly created in New York City in 2011 during an artistic  residence of KLP in the city.

 Cie KLP is a reference in the world of French Hip Hop dance. Created in  1999, it has given birth to 8 shows, that tour regularly throughout Europe. Now  led by dancer and choreographer Sofian Jouini, the company stresses the  importance of transmission to younger dancers, of collaboration with other  companies and other artistic disciplines, and of the multiple ways to promote  Hip Hop cultures and values.

Thursday, May 24 at 8pm.
Atlas Performing Arts Center// 1333 H St. NE
Watch an extract of the performance here.
Costs: General Admission: $23, AF and Atlas Members: $18
RSVP: Please click here or call 202.399.7993

Sunday, May 20 at 6pm
Kennedy Center’s Millenium Stage
Free to the public

Watch an extract of the performance here.

 In “Le Petit Bal 2 Rue” two dancers pull out all the stops  for an audition in front of 1950s film actor, André Bourvil, in this charming  mix of contemporary dance, hip hop, and classic French movies. For this  particular performance, Aurelien Kairo will be dancing with Clarisse Veaux, from the dance company Stylistik.

“Entre Deux” is a solo performance that questions identity and how outside experiences shape who we become. “I wanted to restate my repulsion of all prejudices and bring up-front the doubts and questions life confronted me with. They shaped me, helping me build the person I am now,” says Abdou N’Gom, the choreographer.

Urban Corps creates a new give and take between French and American dancers, generating a symbiotic, artistic relationship. This collaboration, the likes of which is unprecedented in D.C., serves as proof that urban issues are not only local, but mutually influenced on both sides of the Atlantic and across the globe.

Urban Corps performances highlight the unique interpretation of French dancers, who have been influenced by contemporary dance, theater, mime, circus, capoeira and, of course, American hip-hop.

Full Program

“Tour of Duty” by Compagnie KLP
Thursday, May 24 at Atlas Performing Arts Center. 8pm