Vancouver Ventures | DAY 10: BGM Hip Hop Intro Class

Gradually running out of steam meant for quieter days in the unit, namely relaxing (a shocking act, to say in the least) and reviewing photos captured thus far.

​An Oat Milk Latte was crafted in the afternoon, combining Starbucks Instant Espresso and ginger syrup leftover from making tang yuan. Minor Figures' creamy attributes lent an almost bubble tea-like milkiness, making for a splendid concoction overall.

After another brief round of errands at Aberdeen, I made my way towards BGM Dance Studio for my second class.

The Hip Hop Intro session that I had missed the previous week due to hair-colouring shenanigans would be led by Yaebin. Her original choreography piece would not be posted in advance of the session, likely to preserve its integrity - and fluidity, should details be tweaked before teaching.

The track of choice was Summer Too Hot by Chris Brown, an absolutely fitting track for the imminent June heat. Despite having exercised to the song countless times before, this was the first time hearing it on loud speakers with emphasis on the bass and underlying beats.

​Consistent with the previous class, the instructor arrived just a few minutes before the start time, then commenced the session with unwavering punctuality. A warm-up sequence would integrate the fundamentals to be used later in the choreography.
Afterwards, while she set up the music, we were encouraged to choose a member of the class with which we were unfamiliar to learn their name and favourite summer food. A total of six class participants (and a few latecomers) surrounded me. I'd turn to my right and introduce myself to "Dylan", who had tagged along with a friend to try out dance for the first time ever. His partner was no dance novice, being a supposed regular performer of Bachata.

Majority of the time would be spent teaching the moves, along with refining details. Approximately only ten minutes were left towards the end of the class to practice with music at full speed, resulting in stress. I had quite a bit of difficulty recalling the moves, in addition to timing it accordingly with the renowned R&B record. Suffice to say, I did not dance as well as I wished. The movements weren't difficult, but grasping the groove to properly express the dance surely would not be happening over the sixty-minute period.

As the class concluded, a handful of students were observed to approach the instructor for questions. One inquired of exercise or stretching routines that could improve her ability to dance. While the RFI had not been posed towards yours truly, I can confirm the most effective way to develop one's skills is to consistently engage in the act itself (ie. dance drills, choreography-learning, and potentially Zumba), and perhaps condition with mobility-enhancing pilates routines to strengthen and lengthen.
My own dilemma was less geared towards physical aptitudes, but rather timing of movements. The query launched an in-depth discussion on musical theory, bars of music, and beats. Yaebin began to delve into the subject with enthusiasm, continuing the conversation beyond the studio and into the reception area.

"Beats are always the same throughout the song, even if the melody changes." she explained. The natural bobbing of the head was actually one's innate ability to identify the beat, and also the reason why even those who cannot dance can still go clubbing and "bop" to the rhythm.

She proceeded to choose three songs as "homework" for identifying beats: one hip hop, one R&B, and one "unique" pick, in which the music would not start at the same time as the lyrics. These tracks were reviewed alongside her, testing my application of beat identification on-site.

​"It's about training your ears to hear music differently."
As soon as these words were uttered, I realized: This is where musicality comes from. She explained that understanding sheet music enables and empowers one to be a better dancer, and should really be enunciated when learning how to dance.

Her passion and love for dance was indisputable, and her music theory knowledge vast. Having started dance from the age of 8, she emphasized that, to truly understand the music and create fitting moves/choreography, one must first know the counts, next the melody, then lyrics, and, finally, the way the lyrics are sung. It was profound to hear the internal workings of a choreographer's brain, and absolutely remarkable to catch a glimpse of the song review and choreo-making process.

​​This discussion continued for about twenty minutes after class, depicting Yaebin's thoughtfulness, dedication, and mentorship. Time is a hot commodity on the East Coast, thus I truly appreciated her taking the time to conduct a crash course for my sake.
I informed her that it would be my first and only class with her, given that I would be returning to reality the following week. In response, she proposed that I attend her K-Pop Intro class at Harbour Dance later that Thursday, if possible. After all, the SkyTrain connected Burnaby and downtown. I thanked her again, then evaluated feasibility of the suggestion later that evening.

​My second class at BGM had left me feeling inspired and motivated. Despite my less-than-desirable performance, I was grateful to have received the opportunity to learn beyond the studio. Yaebin was an extremely friendly, laidback individual, but a truly powerful teacher with the ability to discipline and develop a student. It was a shame that I could not enroll in her Progressive course.

Her teachings would be brought back home with me, as I continue on my own dance development journey.