Break dancing does not exist—at least not according to Lorenzo “Rennie” Harris. Still, that doesn’t stop him from kicking, spinning or spontaneously performing headstands to the sounds of a super emcee. He isn’t going to stop dancing simply because a nation of millions failed to research the history of b-boying, therefore accepting without question a term created by the media.

Tonight and Friday night, the Philadelphia-bred dancer/choreographer will be at Kingsbury Hall to demonstrate the true meaning of hip-hop.

While Harris uses art to educate, changing the world is not his main mission. He is often cited as a vital force in challenging misconceptions about hip-hop, a credit he shrugs off as misleading. “I don’t feel like I’m challenging people— just correcting them,” he says.

Harris understands that the average person is unaware of the many different styles of hip-hop. “The western thinking is that if it’s not in their world, it doesn’t exist,” Harris says. Consequently, popular culture’s collective consciousness has misappropriated several elements of the subculture, stripped them and refurbished them in bastardized form.

A prolific artist and skilled entrepreneur, Harris founded Rennie Harris Pure Movement in 1992. The hip-hop dance company was originally designed as a method for preserving traditional values while also experimenting with and perfecting upon various styles.

His works reflect a tradition rooted in funk, one that is inseparable from contemporary hip-hop. Terminology is perhaps the best way to clearly understand connections between the two genres. For example, the link between James Brown, George Clinton and Grandmaster Flash can be summed up in one word— boogaloo, a dance craze that slowly evolved and resurfaced as a new, breaking move. Similarly, popping, predecessor to the robot, originated in street-dance funk.

“Hip-hop just kind of swallowed everything up,” Harris says. He accepts the evolution, certain it is an expected response to an ever-changing society. In fact, forward motion is exactly what attracts Harris to hip-hop. “There are no limitations— no one way to do it. It’s the understanding of the rhythm and how you apply it,” he says. “There is always a sense that you can keep moving it forward.”

Over the years, Harris has created several innovative works including “Facing Mecca,” “Legends Festival” and “Rome and Jewels.” The latter was inspired by “West Side Story” and Baz Lurhmann’s “Romeo + Juliet.” Harris’ version is not only a visual departure from the others, but also features a different script. The production, which holds the honor as the longest touring hip-hop dance theater work in American history, is just one example of how Harris successfully incorporates a street-based vibe onto a formal stage.

Harris’ Salt Lake City appearance will highlight his Repertory Program, specifically pieces chosen from the years 1992 to 1995. A typical Puremovement performance features the company’s five core members, along with three training performers and several dancers contracted for that specific date or tour. Those fortunate enough to score a steady position likely relied on both talent and connections to get their feet in the door. “Everyone got into the company based on someone they knew in the company,” Harris says. Dedication and a sense of community help members maintain their positions. For many, dancing with Harris is a privilege— and their enthusiasm surfaces on stage.

Through the Repertory Program, dancers are given the opportunity to showcase the company’s eclectic persona. “Philly Style” is an energetic homage to Philly stepping while “Continuum” appears to have no beginning or end, thereby emphasizing the motion of an ongoing event. Both “March of the Antmen” and “Students of the Asphalt Jungle” were created to remember the past, the former honoring a fallen friend and the latter affirming the African-American heritage responsible for the existence of hip-hop.

It may not have been Harris’ intention to challenge or inspire, but he’s breaking ground for a new generation of informed b-boys and b-girls.

Ticket prices for Rennie Harris Puremovement are $22 and $32 for the general public and $8 for University of Utah students with valid ID. The concerts will take place on March 4 and 5. For more information please call 585-9010.
jamie@red-mag.com