We are so lucky to have a cultural centre like The Southbank in the heart London. With the Hayward Gallery curating exceptional exhibitions, the Royal Festival Hall’s concerts, and the Queen Elizabeth Hall’s wonderfully eclectic programme of events and free offerings on site and on the terraces overlooking the Thames makes this a centre for all ages to gather for a huge variety of cultural experiences.  It really is the place to be especially on a glorious summer’s night, as was the case the evening we attended. Early evening dancing in the sun to the free DJ playing, university students in their robes for graduation taking photos in the sunshine, proud parents toasting success (and probably the end of school fees) with Pimm’s and bubbly, children squealing with delight as they cool off in Jeppe Hein’s Appearing Rooms (a dancing waterfall installation) all made for a “good for the soul” evening out.

This year’s dance programme has many treats in store for dance enthusiasts. Our visit to see the European premiere of In My Body by Canada’s b-boy Crazy Smooth was no exception.

Before the show began the audience was encouraged to cheer the dancers on, as would happen during breaking battles, ensuring we were engaged and part of their community, even if it was for one night only and without needing to move from our seats. I went along with my adult son who has Down Syndrome and severe sleep apnea who generally falls asleep with the drop of a hat when in a dark room no matter what is going on or how loud. He is the acid test for how engaging a show is. I can report he remained very awake and with a smile on his face and immediately remembered his hip hop days with fondness.

The performance brought together an energetic intergenerational group of Canada’s top street dancers ranging from 26 – 58. Yvon Soglo aka Crazy Smooth, the Benin-born founder of Canada’s Bboyizm dance company and creator of In My Body investigates the effects of aging on street dancers as well as the B-boy and B-girl culture which binds them. His experience undergoing four surgeries for a serious knee injury nudged him in this direction The show begins with a voice over telling us of the risks he takes with his commitment to his b-boy life.

“B-boy for life” is the saying that echoes on stage and DKC Freeze at 58 is the embodiment of this as we discover in the post-show panel discussion that he continues to participate in battles despite risking injury. Within his performance on stage there is a zimmer frame- like movement and unsteady hand tremors in the choreography and a scripted voiceover explaining the liberation breaking dancing offers young people with their gravity defying performances, a feeling that is too hard to let go of. He remains in the community of dancers with what feels like a bubble of elder statesman-like respect providing legacy for those behind him.

The enthusiasm and dedication of this dance form is felt throughout the evening which includes the poignant tale of performer Tash (Natascha Jean Bart).  The mother of four who at one point in her life, as a single mother, felt she had to leave this art form where she found a deep sense of purpose and connectedness to her body behind her in order to provide and care for her children.  Living a life without it and switching to a nine to five job made her physically ill with migraines and she eventually found her way back showing its irresistible life-long compassion.  Her dancing in this performance defies her 53 years.

The battle format of breaking is always an exciting performance which oozes confidence, invincibility and thrives on one upmanship.  The battles between the younger dancers: Vibz, Montuu and JC Fresh are outstanding and shows what is possible when young and at one’s performing peak. Meeting the physical demands of breaking requires the fitness of an athlete with this in mind it is interesting that we will see the introduction of breaking to the Olympics this year in Paris.

My exposure to this dance form is limited but I vividly remember the excitement of seeing break dancers in the street dancing the genre which began on the streets of New York. It felt rebellious, exciting and gravity defying while projecting an edginess. I feel the original excitement of this dance form is slightly lost when it comes off the streets and smaller spaces and into a theatre such as the Queen Elizabeth Hall and required a slight mind shift on my part.  I have seen elements of breakdancing cross over into alternative modern and contemporary dance companies to great effect. This production was successful in elevating a simple competitive breaking battle by their use of clever lighting and slick back drops and projecting the silhouettes of the moving dancers on stage all while making us question society’s attitudes to ageing and demonstrating to the audience the depth of devotion within the B-boy and B-girl culture and the sense of communal joy felt, be it watching, participating, or performing.  More of this and less screens for the next generation and the world would be a slightly better place.

Date: 18 –⁠ 20 July 2024. Location: Queen Elizabeth Hall, Southbank Centre.  

Words by Natascha Milsom