
Turning Pointe: How Hip-Hop Ballet Is Redefining Dance And Discipline
âWe can do it because the space between our ears tells us that we canâ
The following feature appears in the September 2017 issue of NYLON.
Homer Hans Bryant exudes an aura of brightness and joy. So it feels somewhat incongruous that the Chicago Multi-Cultural Dance Center, where he spends most of his time, is in the basement of an old train station with no cell service, buried deep in the bowels of a big, red Romanesque Revival-style building on Dearborn and Polk.Â
In many ways, the basement is an equally unsuitable place for some of The Chiâs youngest and most talented cultural ambassadors. The dancers who train under Bryant have recently become viral social-media sensations thanks to videos of them performing Hiplet (pronounced hip-lay). Bryant has spent years developing this version of ballet that combines classical technique with African, Latin, and hip-hop danceâmovements rooted in various communities of color.Â
From certain vantage points, it seems like his work is finally paying off: over 700 million video views, appearances on all the big daytime TV shows, performances around the globe. But, according to Bryant, âThe thing, now, is to get out the basement.âÂ
Iâve known Bryant (or âMr. Homerâ as his students know himâteachers and elders at CMDC are called by familiar, familial terms) for all of five minutes, and heâs already given me a personalized gift: dangly, kente-patterned earrings heâs hand-sculpted out of fabric cut out to look like pointe shoes, covered with some sort of epoxy. He crafts ballet-themed accessoriesâpins and bow ties in addition to earringsâin his spare time because he likes to work with his hands. âMy grandfather was a carpenter,â he explains, showing me the foot stretchers he also fashions. âI mold kids through the discipline of dance, but I feel like Iâm a carpenter.âÂ
Bryantâs school is home to 285 students, now âmostly kids of color,â he says. Considering over half of Chicagoâs population is black or brown, this makes sense. But CMDC is primarily a classical ballet school, and Chicagoâs demographics donât change the fact that many traditional dance spaces are often predominantly whiteâsomething Bryant saw time and again during his early days of guest teaching out in the suburbs, and something he wanted to actively work against. So when he opened the doors to his school in 1990, he knew he had a challenge ahead of him.Â
âI was like, âOK, how am I going to connect with my people?ââ he says. His âahaâ moment came one night while he was at a rap show in British Columbia, Canada: âThe kids in the audience [were] singing every word, and I walked away with thatââI wanna put rap and ballet together.ââÂ
Next thing I know, Bryant breaks into his own rap: âIâve got a story to tell, one of the best/ This is a story, above the rest/ Itâs about a discipline that starts people clapping/ The only discipline youâll ever hear me rapping/ My name is Homer, Iâm here to say/ I am the guru of the rap ballet.âÂ
I start to ask him if, back then, he was just using rap as a way to teach aboutâHe jumps in. âNo. When we went out there to perform, I was using rap to bring black kids, multicultural students into my school,â he says with a laugh, his levity not belying the importance of his message. âThe school is 28 years old, and used to be called Bryant Ballet. In the â90s I changed it to Chicago Multi-Cultural Dance Center to reflect the diversity that was coming in.â Rap ballet was working.Â
Back then, there was no dedicated class for the hybrid techniqueâstudents learned it when they were taught specific choreography. Bryant would adjust the rap balletâs cadence and movement vocabulary to reflect the timesââthe running man, the moonwalk, whatever the dances, we were doing themââbut at the core it was always classical ballet infused with soul.Â
Now under the moniker Hiplet, itâs taught as a one-hour class every Friday, as a way to work some different skills after a full and rigorous week of highly technical, classical training. âI usually put in a lot of hours of work. Every day Iâm here, Iâm trying to get better,â says 14-year-old Jacksyn-Symone Sallay, whoâs been dancing with Bryant for seven years. She tells me she trains in ballet âfive to six days a week.â I ask her why she chooses practicing dance over, say, a teenage social life. âBecause I realize how much time and effort dance takes to succeed,â she says. âDance is not easy.âÂ
This is why the girls in the viral videos train for 12, 13, 14 hours a week. Hipletâs not even an option for students before completing all of the traditional prereqs: picking up pencils with their toes, working with Therabands, stretching their feet in Strengthening for Pointe, training on half-toe in Free Pointe. They finally get their first pointe shoes in Basic Pointe, where they spend at least two years before moving on to Intermediate Pointe. Only then, with Bryantâs permission, can they take Hiplet. According to Bryant, itâs about building strength, and getting the students to believe in themselves and their ability.Â
Heâs aware of what some skeptics have said: Hiplet isnât good for the ankles. His studentsâ feet are bad. They shouldnât be doing that. âSome of [my students] donât have the best feet. Some of them have got beautiful feet. But you gotta remember, weâre descendants of slaves. We worked from Monday to Saturday. Sunday we had church. And dance,â he says. âSome of our ankles are retracted from our ancestors. When we do what we do at Hiplet and ballet, trust me, they are rejoicing with us. Thatâs what I tell people all the time. Our ancestors can feel the thunder under our feet.âÂ
For Bryant, that lineage is key: âThatâs why weâre so strong on pointe. Thatâs why weâre so good at what we do.âÂ
Two decades and over 100,000 Instagram followers later, it seems like Bryantâs no longer worried about how to connect with his people. âMr. Homer is kind of like a mentor that all shades of brown girls in Chicago look up to,â says student Imani Arnett. She started dancing later than most, at 12, but advanced rapidly in CMDCâs nurturing environment. âIf youâre an African- American or person of color looking to dance, you will always get recommended to his studio.â
And thanks, in part, to Hiplet, Bryantâs reputation extends beyond cityâand dance-worldâlimits. âHiplet has become a global phenomenon because it is for all the people who like the technique of ballet but donât necessarily like classical,â Cheryl Taylor tells me as we sift through sequin-and-spandex-stuffed garment bags, looking for hats to complete outfits for the next dayâs performance. Iâve followed the schoolâs Auntie-like administrator into the costume closet to get her take on Hipletâs popularity, but this is an all-hands-on-deck operation. Dance can be a very cost-prohibitive activity; to help make it possible for their students, Taylor tells me, they recycle costumes and, when they can, even provide shoes. âWe have touched a nerve with folks; we get so many emails, social-media posts, Facebook messages from people around the world who say, âI would have stayed in ballet class if it were like this,ââ he says.Â
The thing about enjoying a meteoric rise based largely on the internet, though, is that thereâs a lot the world doesnât get to see.Â
Iâve only been at CMDC for a day, but itâs already clear to me that the magic of a Bryant education is about so much more than gettinâ down while on ya toes.Â
âItâs important for black dancers to have a place where they can feel at home, where they can see themselves, where they can be trained by people whoâve experienced what they have or will experience,â Taylor tells me. âAnd we donât have all black teachers, we mix it up, but they come here and theyâve got Mr. Homer, theyâve got me, they have other teachers who have traveled the path.â Taylor knows what itâs like because, as she says, she was born in a ballet body with a soul that wanted to groove. She knows the struggle because she lived it, as a working dancer, for years. âWhen youâre black, your path is different, because sometimes you will be the only one in the room. Sometimes you will be the only one at the audition,â she says. âAnd you know you have to push harder, fight harder, dance harder, dance better, sometimes, just to get recognized, and so here, we train [students] to do everything, so that they can be greater.âÂ
Dancers in the schoolâs youth professional training program have to do at least one year each of African, Latin, jazz, and tap. They do two to three years of contemporary and modern. This is all in addition to a minimum of three ballet classes per week (five for advanced students). âYou gotta do every style here, so that when you go out in the world, no matter what is thrown at you, you got it,â explains Taylor.Â
Confidence in his studentsâas rigorously trained dancers, as humans in the worldâis why Bryant hashtags nearly everything he posts #becausewecan. âSo many people have been saying weâre black and we canât do this and we canât do that, so I always put âbecause we can.â Itâs about pushing positivity,â he says. âWe can do it because the space between our ears tells us that we can.âÂ
Despite Bryantâs uplifting messaging, Hiplet still has haters. âNot only do I get people dissing me, I get people wondering why Iâm not using dancers that are not of color. Itâs crazy,â he tells me later over the phone. âI get, like, âWhy canât white girls be in your Hiplet thing?â But if you come to my school, then youâll be in my Hiplet thing!â Anyone can train at CMDC; there are no rules about whoâs allowed through the doors. Just ask Lady Gaga, whoâs taken private lessons down in that basement. Other notable students? âSasha and Malia Obama would have been Hiplet ballerinas if their path was differentâif they didnât have to go to the White House,â Bryant says, noting that the former first daughters trained at CMDC for years.
âI think the thing with me, or many other black dancers, when Hiplet first came up, was that it was a bit frustrating that [Hiplet] was what was getting recognized so much,â says Zoe Buess-Watson, a classically trained dancer living and working in New York, pointing out that some of the pushback is an issue of space, figuratively speaking. When you live in a society where people of color are considered a monolith, it often feels like thereâs no room for us to be all that we are: âYou know, like in a movie, thereâll be one black friend? Thatâs kind of the same everywhere. So it felt like theyâre taking all the attention away. [Like] people wonât be able to recognize all of the other great black dancers,â she says.Â
And itâs trueâwe been on point(e), but rarely get recognized. Youâd think Misty Copeland was the first, the only, black ballerina. How many people outside of the dance world have ever heard of Michaela DePrince or Ingrid Silva or Lauren Anderson?Â
âWhen I found out more about what Homer was doing, it made me think about it in a completely different light,â Buess-Watson continues. âPersonally, Iâm not a big fan of the choreography, but I love that heâs creating this space for black dancers to feel completely comfortable, because I never felt that. I was definitely not the stereotypical ballerina when I was in training. I always had to adjust myself to that [classical ballet] world.âÂ
âYou know,â she reminds me, âwhen Martha Graham first invented her modern technique it was a huge scandal because she was âchangingâ classical ballet, and now, it is a very widely taught dance form.â Katherine Dunham, the queen mother of Black Dance, has a similar story. What Bryantâs giving ballet is much like what Dunham gave modern: a coherent lexicon of African diaspora movement.Â
Not all detractors have changed their tune, but Bryantâs unfazed. Heâs out here defiantly clappinâ back with more than just hashtags: ââDonât Sweat the Technique,ââ the title of CMDCâs June showcase, âis because we got technique!â he tells me with a laugh one morning. The man is never off brand. The way Bryant sees it, thereâs a huge difference between adding challenges and lowering standards. âI showed this Hiplet stuff to [Dance Theatre of Harlem co-founder Arthur] Mitchell when he took me to Russia in 2012. He said, âYouâre on to something. Just make sure their classical ballet is strong.ââÂ
âHiplet is just one thing within several other things,â says Carl Jeffries, whoâs been teaching at CMDC for seven years. Jeffries has danced all over: He began breakdancing on the Southside, and went on to be the only black man ever to dance with Mordine and Company (the Midwestâs longest-running contemporary dance troupe). âIf ballet is classicalâand it isâitâs not specifically classical for one particular race. It stands on its own as ballet,â he says. â[What we do at CMDC is] still classical ballet. But no one told us we couldnât do other things with it.â
I ask him to describe some of the features of âclassicalâ ballet: âNutcracker, Swan Lake, all of the traditional stuff,â Jeffries tells me. âOK, thatâs good, it holds its own, but do you stop there? If you take a second position on pointe, and go deeper, is it not second position on pointe? If you take a parallel position on pointe and get in your pliĂ©, and then open and close your legs, is that not allowed?â Weâre sitting in the foyer of Benito Juarez Community Academy. People are pouring in to pack the auditorium for CMDCâs recital, but Mr. Carlâs asking no one in particular. âItâs allowed. Now that Mr. Homer is approaching [ballet] like that, everyoneâs freaking out, like heâs gonna take something away from it.âÂ
Jeffries doesnât see it that way, though. âHeâs adding to it. Heâs layering it. Heâs building upon the foundation of what is classical ballet in a hip-hop sense. In an African sense.â More Afrocentric, less Eurocentric. An approach that simply addresses black and brown bodies. Hiplet rejects the submission of our bodies to standards that deny them.Â
This approach encompasses all aspects of training at CMDC. For example, in traditional ballet schools, female students are typically required to wear pink tights and slippers, because the OG ballet dress code was made with white bodies in mind. âIn our school we have brown tights. Why? Because brown tights go with brown bodies,â Jeffries explains. âThatâs getting [students] to have a good self-esteem about themselves, feel confident about who they are.â (Dancers of color were finally able to buy flesh-toned pointe shoes for the first time after dancewear shop Gaynor Minden released brown shoes in two hues at the beginning of this year. But students at CMDC have been dying, painting, and pouring concealer on traditional pink shoes to make them brown for years.)Â
âYou put them with something that they can relate to, feel comfortable in, and then you address them in that way,â Jeffries continues. â[You] teach them the same fundamental principles of classical ballet, without demeaning or disrespecting them, or making them feel some type of way, so theyâre able to approach the discipline and keep the integrity of the historical preference, but with a confidence and recognition that âI could do this, too.â Now the self-esteem is off the roof, because they see other black bodies like them, other advanced girls that are more flexible and everything, and they go off to the top schools.âÂ
Students like Imani Arnett prove Jeffriesâs point: âThe studio is almost like a safe place to explore yourself and have fun with your friends, to move on with your technique and grow and get stronger,â she says. Sheâs headed to NYUâs Tisch School of the Arts in the fall. âItâs just a whole family as soon as you walk into the doors of CMDC, like youâre absorbed into this freeing life.â How does she define Hiplet? âFree movement and expression to be yourself, whenever.âÂ
âPassing it on,â according to Jeffries, is another core aspect of CMDCâs mission. This goes hand in hand with the notion that you canât be what you canât see, which drives much of Bryantâs work.
Bryant began dancing thanks to the generosity of a friendâs mom who paid for his first six months of lessons in St. Thomas, where heâs from. Not long after starting his first dance classes, his teacher noticed his natural talent and suggested he study classical ballet. âI didnât realize what that meant, until Dance Theatre of Harlem walked across the floor, years later.â It took seeing other dancers that looked like him, dancing beautifullyâproving that it was worth itâfor him to realize his first dance teacher was right. âThat next day, I asked to take a class,â he says. Soon after, DTH co-founder Arthur Mitchell made him an apprentice, and eventually invited him to tour with the company.Â
âI have not looked back since that day,â Bryant says. âFor me, Mr. Mitchell was the ultimate mentor.âÂ
In many ways, Bryant is following in Mitchellâs footsteps. Mitchell also had his dancers wear flesh-toned shoes and tights. He also used dance to push back against the cultural residue of anti-blackness that touches all aspects of American life. âDonât forgetâMr. Mitchell started Dance Theatre of Harlem after the death of Dr. King,â Bryant tells me when I ask how Mitchellâs tutelage led him to open CMDC. âHe was in Brazil doing something, and he said, âWhy am I here doing this? I should be doing stuff in Harlem with my own people.ââÂ
âI always hear my grandmother and grandfather in my ear. And my mother. And Arthur Mitchell. What would Mr. Mitchell do? You know, the people who are my elders,â he says. âThat made it possible for me to be doing what Iâm doingâI just hear their voices in me all the time.â Reaching back inspires looking forward.Â
Itâs just after 5am for Bryant, but his greeting of âEarly morning, early morning!â floats buoyantly through the phone on the same undercurrent of laughter as always. Heâs up for an early call time with a group of Hiplet dancers on a work trip in Los Angeles, a âsecret project,â likely the result of walking through one of the many doors that have opened since Hiplet went viral. âThese kids have been to Seoul, Korea, theyâve been to Spain, theyâve been to Germany, theyâve been to the Virgin Islandsâthis is our fifth time out here in California. Ya know, itâs crazy!â he tells me, proudly, careful not to take all the credit. âThey put in the work.â
And thereâs that legacy again: Just like Bryant, theyâre doinâ it for the culture. In many ways, this is much bigger than ballet.