The main excuse people use in defense of Raygun and why it doesn't work. Her attempt at strategy at the Paris Olympics for breakdancing was insulting. The new Breaking Badly documentary is a PR piece. Fans will still try to defend her.
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00:15 the "old school" defense
03:55 what Raygun was selling
05:14 competition changes art
06:15 the most important questions to ask
07:30 why spectacle seems to dominate artistry
08:07 the SYTYCD effect
#raygun #raygunbreakingbadly #breakingbadly #netflixdocumentary #parisolympics2024
The main excuse people use in defense of Raygun and why it doesn't work. Her attempt at strategy at the Paris Olympics for breakdancing was insulting. The new Breaking Badly documentary is a PR piece. Fans will still try to defend her.
Thanks so much for everyone's support on my baby channel! 🥹
⭐️ Find my favorite sensory regulation and accessibility tools! ⬇️
https://benable.com/th...
🛍️ Fing my favorite books, gear, and Audhd related items in my Amazon store! ⬇️
(As an Amazon influencer I may collect commission) 🙏
www.amazon.com/shop/influencer-48736117
💜 Check out my blog! ⬇️
ww.annaleewright.com
🙏 Help me pay my medical bills and support my upcoming book! 💜🙏
Venmo ⬇️
https://venmo.com/u/Annaleewright5678
Paypal ⬇️
https://www.paypal.me/annaleewright2020
✌🏽 Follow me on Tiktok! ⬇️
TikTok: nobodyspecialforreal
00:15 the "old school" defense
03:55 what Raygun was selling
05:14 competition changes art
06:15 the most important questions to ask
07:30 why spectacle seems to dominate artistry
08:07 the SYTYCD effect
#raygun #raygunbreakingbadly #breakingbadly #netflixdocumentary #parisolympics2024
Although there are very real discussions to be had of the institutionalisation of competitive street social dance styles, Raygun uses these debates to sidestep the very real concerns of dancers who are major pillars in the breaking community and neglects codified technique. In my opinion, she speaks from the perspective of someone who has, to date, relied on outdated cultural research practices, which are unfortunately very common in dance research. These research practices tend to view urban dance styles as less codified or technically complex compared to theatrical dance styles because they developed outside of traditional Western academic dance environments; her statements that she is interested in "authenticity" and originality in breaking reek of this because of her ignorance of codified breaking techniques.
We had this same conversation in a dance history class when Raygun first competed at the Olympics. She uses her academic credentials to create a platform for herself and justify her actions while actively pulling attention away from the dancers who are active in the global breaking scene and continue to push the technique through their skill and originality. You can lack skill; you can improve; you are also allowed to not be great at something and still compete; the problem becomes when you use your lack of skill and supposed expertise to "um actually" your way to a platform while actively pulling money and resources and putting negative attention on a community of skilled dancers.