![]() Due to this fact, I would not feel comfortable teaching a combo to it in a secular environment without editing it.My anaconda don't want none unless you got buns, hunīoy toy named Troy used to live in Detroitīig dope dealer money, he was gettin' some coins It’s a perfect example of a hip-hop song with a positive message that was created by a Christian artist, so it also includes deeply religious messaging in some of the verses. “I have used this song off and on for years and never get sick of it. When I used it, I did edit it to highlight the most relatable sections of the verses for the female teenagers I was setting a competition piece on, and I had the hook come on right at the beginning as a more high-energy intro to the track.”Īrtist: Flame Album: Our World: Redeemed Song: “Go Buck” “This track is more of a pop/jazz funk vibe with a side of beast mode! I’m really drawn to the song’s message of female empowerment. I do find the message is for a more mature demographic, since it speaks of suffering and homelessness, which may be scary for younger dancers to hear about.” ![]() I have used this track for social-justice concepts and also to perform in several outreach events. “The strings, bassline and lyrics of this track provide a variety of syncopation and musicality choices with sections that rise and fall with authentic feeling. It also has an uplifting steady beat that is great for beginning levels.”Īlbum: Mikeschair Song: “Keep Changing The World” It crosses over into all levels, because it has such a diverse composition between the rap, singing, bassline and high hats, and some fun effects on the lyrics that give so many musicality choices for more advanced creations. “I have choreographed to this track for competition, used it for warm-up and for class combos. Here are four suggestions Scott uses for class:Īrtist: Je’kob Album: First EP of three-part series Faith, Hope, Love Song: “Love Is All” “I ask myself: ‘How does that child feel reading the lyrics, and how’s the audience responding?’ If the song doesn’t pass this test, I don’t use it,” says Scott. When a song seems questionable, Scott imagines a child or teenager reciting the words to a group of people. Finding “clean” music might require more creativity and mixing your own music, a skill Scott has developed, but it frees teachers from worrying about a debatable song choice. This doesn’t mean teachers have to limit their choreography. Mainstream hip hop has the “good beats,” says Scott, but it’s often not child-friendly. “The kids are also saying the words with me,” she adds-another reason blasting explicit music isn’t conducive to her process, or her classroom. She’s aware the kids are hearing the same song over and over again. ![]() “I want to be able to spit the lyrics while I teach,” she says. Whether teaching at a Pulse convention or setting choreography at a studio, Scott wants the movement to have a relationship with the lyrics. ![]() “If I choose a song that’s sexually explicit or violent,” says Scott, “that’s me as an educator co-signing the song’s message.” As a teacher, she finds it essential to pick music free of gender and cultural stereotypes, female objectification and misogyny. Of that group, only 6 percent asked for permission. A major component of the organization’s certification program focuses on choosing age-appropriate music.Ī 2015 YPAD study of 143 dancers ages 7 to 13 found that 87 percent of kids who heard a song in class watched the music video online. ![]() One of the 7-year-olds told me it scared her,” she says.Įnlightening moments like this are why Scott founded The Youth Protection Advocates in Dance, which is committed to evolving the integrity of dance education. “Have you seen the video? It’s basically the lyrics come to life. When a curious group of young dancers asked Leslie Scott what the lyrics to Nicki Minaj’s sexually explicit rap song “Anaconda” meant, Scott was mortified. ![]()
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