But choreographer Kate Prince is putting a new twist on the dance-meets-pop-star story: pairing street dance with the iconic songs of Sting and The Police. The show, Message in a Bottle, is currently in development and slated to open at Sadler's Wells in February 2020.
It makes sense that Dance Magazine long ago dubbed Rennie (Lorenzo) Harris the "high priest of hip hop." When the often shy, Philadelphia-born choreographer founded his company Rennie Harris Puremovement in 1992, he planted a prodigious seed in the dance world. Then and now, Harris' mission has been to examine, preserve and share the culture of hip hop, decisively away from the commercially exploited view.
Harris remembers that when he started in the '90s, it was rough; a lot of his work was direct, so picketing and policing RHPM shows was the norm. But that time also harkened the birth of his well-thought-out launch of street dance onto the concert stage. There was the politically charged March of the Antmen, the pointed look at brotherhood and neighborhoods in P-Funk, and the tour de force Students of the Asphalt Jungle. His chilling solos, Lorenzo's Oil and Endangered Species, screamed chaos, contradiction and culture. In the 2000s, Rome & Jewels, his first evening-length work, garnered a Bessie Award. Facing Mekka followed, celebrating women of hip hop.
What do Fred Astaire, Pina Bausch and Misty Copeland have in common? They are all part of one of the most prestigious groups in dance: the Dance Magazine Award recipients. A tradition that dates back to 1954, the Dance Magazine Awards celebrate the living legends who have made a lasting impact on our field.
Today, we are thrilled to announce the four honorees for 2017:
Rennie Harris' Lifted. Photo by Brian Mengini, courtesy Harris
Dance Magazine reached out to us with the questions: Over the years, how has increased acceptance and visibility on concert-dance stages affected hip hop and its artists? And how has hip hop influenced concert dance?
Our response? Whoa! Acceptance? Visibility? Immediately we knew that any conscientious attempt to unpack these questions would easily exceed the maximum word count. But we also acknowledged that questions like these affect what we do as dancemakers and artist-citizens.
So we interviewed our colleague Nicole Klaymoon and mentor Rennie Harris to contribute to a conversation. We are all multilingual dance artists with our own unique voices in hip hop and street-dance theater. We are from different backgrounds and generations whose work is presented as concert dance and builds on the groundwork of Rennie Harris Puremovement.
Amy O'Neal's Opposing Forces. Photo by Bruce Clayton Tom, courtesy O'Neal