# data[].attributes.body
X0jane.com 2013, The origins of twerking, (online) available from http://www.xojane.com/issues/the-origins-of-twerking accessed 11th May 2016

# data[].attributes.attachment_link.provider_name
xoJane: Women's Lifestyle & Community Site - xoJane

# data[].attributes.attachment_link.readable_text
I've seen variants of twerking my entire life. I remember watching the elderly women dance at the predominantly West African church I attended growing up. If the right "praise" song was sung, they'd grab a white handkerchief and dance their way to the front of the church. They'd rotate their hips and bounce their bums until they were barely above the ground.

In essence, their core movement was the same as twerking -- all in the ass and hips. It's rhythmic and complex, the footwork's intricate and even though the body is blending different rhythms, it all manages to flow like water.

The roots of twerking are rich. Variants of the dance exist in most places where there's a high concentration of people of African descent. Its current iteration is commonly associated with the New Orleans bounce scene, however growing up in London I immediately associate it with the Dancehall scene.

If people took the time to explore the root of what's been dubbed as the "twerk," they'd realise its origins lie in West Africa. It's strikingly similar to the Mapouka dance from Côte d'Ivoire, a dance done by women that focuses on the buttocks. It's existed for centuries.

Perhaps twerking doesn't have the technical depth or chronicled history of ballet. It isn't viewed as a dance scholarship worthy discipline like tap. However, it has an equally interesting history. And when done properly, it takes tremendous skill and attention.

If we view twerking through a Western prism, we'll interpret it as being sexual, scandalous and controversial. However when you place it in its original context you'll realise it's a cultural expression of joy, with its function being primarily celebratory rather than for sexual provocation. Growing up, I saw it most frequently performed during joyful occasions -- family gatherings and weddings. There was nothing scandalous about it, it was simply dancing.

Basically "twerking" isn't new. Its ubiquity may seem sudden, but mainstream media's merely catching up to something that's existed in black global culture for years. And now, sadly, twerking has been branded, and is now being fetishized and ghettoised.

As we all know, Miley Cyrus was the conduit that brought twerking to the mainstream consciousness. This is unsurprising. The world is enamoured with black culture and corporations know this. However, they'd much prefer to sell and explore the black cultural experience using white faces.

A few months ago, Cyrus uploaded a YouTube video wearing a onesie and twerking to a song called "The Wop." Frankly, she can't really twerk. Miley can't move like the Twerk Team (who've accumulated millions of views on YouTube and a significant underground following).

As a result, Miley's recent MTV VMA's performance was a master class in how to become an unintentional comedy masterpiece. She "twerked" badly and stuck her tongue out. It was weird and awkward.

But Miley Cyrus' cleverly marketed hyper-sexualisation tour doesn't trouble me. If that's her expression of agency, let her do as she wishes. For me, the most disturbing thing about Miley's performance was the use of black women as props.

I doubt Miley grasps what she's doing. Miley thinks she's just "turning up" with some "cool" black girls behind her. She doesn't understand the politics of race and gender at work while she gets to live out her beautiful capitalist fantasy surrounded by colorful props. I doubt she grasps intersectionality and how it means women of color experience oppression at an intensity that white women don't.

She certainly didn't feel me wince as she slapped a shapely black woman's behind -- a woman she happens to employ. That's what wealth and privilege do, they inoculate you from feeling the acute pain oppressed groups live through daily.

Wealth and privilege also mean Miley can misappropriate a tiny element of the black cultural experience for profit and shock value, while the originators get none of the credit or capital. She's not the first and won't be the last. Is this to say that Miley is trying to be black? Of course not. A construct as complex as blackness cannot be compressed into a dance move, attire and acts of rebellion. To say such would be myopic.

It's impossible to "become black" via behaviour and if there were some procedure to become black, I'm sure Miley wouldn't undergo it. That would mean she'd be exposed to the systemic prejudice that comes with being black -- that's too cumbersome and no fun. Instead Miley picks the parts of black culture that suit her agenda and tickle her taste buds.

Eventually, she'll get bored.

That's how brief periods of fascination with exotic things work. They're exploited for profit, social clout and cool factor, then discarded. A bit like that time when people wore bindis as a fashion statement. That Chinese calligraphy tattoo on your lower back that you're embarrassed to show now. All those Asian-inspired clothes from the 90s that you donated to your local thrift store. When all is said and done, the media will get tired and people will grow bored.

But before you get tired of twerking or whatever the newest ethnic inspired fad is, trace its roots. Find out what it truly means to people and how it evolved. Respect the rich cultural heritage it draws from, and remember the people who kept it alive long before it was trendy.

# data[].attributes.attachment_link.title
The Origins of Twerking: What It Is, What It Means, and How It Got Appropriated

# data[].attributes.attachment_link.description
I've seen variants of twerking my entire life. I remember watching the elderly women dance at the predominantly West African church I attended growing up. If the right "praise" song was sung, they'd grab a white handkerchief and dance their way to the front of the church.

# data[].attributes.body
M.Forrester & R. Docherty (2012) Do women in the music industry have to sell sex over talent?, (online) available from http://www.voice-online.co.uk/article/do-women-music-industry-have-sell-sex-over-talent accessed 19th May 2016

# data[].attributes.attachment_link.readable_text
WE ARE all familiar with the term sex sells, so why are we still debating the inevitable?

Sex has been used to sell everything. In music, starting way back with Elvis gyrating his hips, and The Beatles attracting fans because of their sex appeal. Moving to more recent times, artists like Madonna achieved success with her raunchy shows and music videos. The point is sexy images shift records.

Our attitudes toward sexuality (not just sex) have changed significantly since the 80s. Most women don't mind watching or listening to a woman in music who is not afraid of her sexuality.

As long as people support the music and buy into the brand of the artist, it would appear that this is the entertainment that audiences want.

Let's face it, it's not only men who are keeping these women in business. It's time we move away from the 'male gaze' way of thinking.

It was women that used go crazy at the sight of Elvis in the 50s, and it was women who were Madonna's biggest fans. Just as today, it is girls who sing along and mimick pop stars like Rihanna.

People shouldn't play victim to what they choose to watch or listen to.

Beyonce is another example of a woman in music dominating the industry and achieving great success.

You can say what you want about the booty shaking, hip thrusting choreography in next to nothing stage costumes. But credit is due, because she has found a way to market her sexiness in a not so trashy way.

Like many women in the industry she has identified her best assets and plays on them. Not necessarily to mask her talent or as part of a marketing plan.

She brings women together in a club with her sexy choreography and almost every women feels empowered by one at least one of her songs. Most girls are confident to tell their cheating ex boyfriend to move to the left and are more than happy now to upgrade them because of Beyonce.

Yes, we are now exposed to a more raunchy culture than before and it may come as a shock to some. However women in music are now challenging the old outdated hypersexual critique.

To say that women in music sell sex over talent for sales may be true. Sex does sell after all.

But, this does not mean that women can't express their sexuality with confidence, bask in their femininity, sell music successfully, all without jeopardizing their authority in that boardroom full of male music executives the very next day.

.....................................................................................................................................................................

IT SEEMS some women that want to get ahead in the music industry feel they can only do it by flaunting sexy attributes first and talent and personality second. For every Adele you have 10 Rihannas and I'm not just talking about those selling music.

You only have to go to YouTube - it's awash with budding music presenters embarrassingly flirty interviews in next to nothing outfits competing for those views. Our male industry counterparts (JLS excluded) don't do interviews with tops cut lower than Asda price at Christmas. So why is it some women feel that is all they have to show off about?

The Jump Off ( a music, sports and entertainment platform online) recently ran a online competition called Want to be A Jump Off Host? What is a Jump Off Host? According to the You Tube 'auditions tapes it's something that involves strutting up and down with your best sexy 'look at my bum walk' and 'come to bed eyes'.

Can I walk? Yes. Can I wiggle my bum when I walk? Yes. Would men like to see both in tandem? Yes, probably. Does this constitute as gainful employment I should feel proud of? No. I have nothing against a good bum. By all means be proud you have it, but do I want to be a walking wiggling bum girl on the internet? No. However this is an example of how women are encouraged and invited to be involved in an industry where we are capable of so much more.

My Twitter timeline is flooded with girls (my peers) desperate to break the industry with nothing but a backside for a face. These women want to be taken seriously as presenters, singers, models (I use the word loosely) and journalists.

It saddens me even more when I look at these same young women online allowing themselves to be the butt (no pun intended) of every mediocre barley entertaining sexual joke known to mankind when actually behind this misguided mistake and misjudgment lies a wealth of ambition and passion to succeed.

Many have talent beyond a bum like JLo but they are not being encouraged to use it.

I am not yet one of the many who think 'they are talentless girls trying to get attention.'

I believe they are making a mistake and playing a role that is far easier to play in a male centered sexually charged industry.
*THE 'HEAD TO HEAD''COLUMN IS BY THE LONDON 360 REPORTERS
To find out more about what our reporters are up to go towww.communitychannel.org/london360
-WE ARE LONDON!
Posted on: 26/01/2012 11:55 AM

# data[].attributes.attachment_link.title
Do women in the music industry have to sell sex over talent?

# data[].attributes.attachment_link.description
WE ARE all familiar with the term sex sells, so why are we still debating the inevitable? Sex has been used to sell everything. In music, starting way back with Elvis gyrating his hips, and The Beatles attracting fans because of their sex appeal.

# data[].attributes.headline
I will consider the influence of the media in sexualising dance

# data[].attributes.subject
I will consider the influence of the media in sexualising dance

# data[].attributes.attachment_link.title
Sage The Gemini - Red Nose (Official Video)

# data[].attributes.body
nickiminajatvevo, 19th August 2014, Nick Minaj- Anaconda, (video file), https://www.youtube.com/watch?v=LDZX4ooRsWs accessed 19th May 2016  cU>%�+'

# data[].attributes.body
Danielle Hall (2013) The underground origins of twerking. http://www.culturalfront.org/2013/05/the-underground-origins-of-twerking.html

# data[].attributes.attachment_link.readable_text
By Danielle Hall

Dance has been around since the beginning of time. However, it is the polyrhythmic nature of twerk dances that indicates its African retention, which range from the social/secular dances to aspects of religious/ritual ceremonies evidenced in Africa, the Caribbean, Latin America, the United States and other regions.

Similarities can be seen in dances like the Mapouka dance in the Dabou region of Ivory Coast, West Africa or the Bel Congo dance, Afro-Caribbean in style. Taken together, these dances and movements embody everyday village life from harvest to hunting as well as life stages like coming of age, courtship, marriage, sexuality, fertility, and funeral; to invoke spirit(s); or carnival celebrations.

Twerking is said to have originated in New Orleans during the hip hop bounce music era in the early 1990s, but African dance in New Orleans also points to its historic Congo Square, a public locale where 18th century slaves would gather on Sundays to sing, dance and play music.

Twerking, then, is indeed a modern social/secular dance rooted in Southern rap/hip hop culture. It likely received mainstream media attention by Miami artist, Luke and the 2 Live Crew's 1990 album debut, Banned in the U.S.A. further emphasized receiving attention in lyrics and video footage of the Atlanta Freaknik, a large spring break gathering held in Atlanta, GA. Even Kim and Freddie from the TV sitcom A Different World made plans to attend Freaknik in a 1989 episode (although the location was changed to D.C.).

Twerking was further popularized during the hip hop crunk era with Atlanta based artist Lil Jon and the East Side Boyz's Get Crunk, Who Ya Wit? album debut in 1996. Twerk has been used by artists like Master P and Houston's Underground Kingz's (UGK) " Take It Off" in 1999. In 2003, the word twerk was used in Lil Jon's " Get Low" featuring the Ying Yang Twins. It has promoted and made alternative economies like strip clubs more widely acceptable. There is an official Twerk Team, two sisters based in Atlanta, who have been referenced in songs like Waka Flocka's " Round of Applause," which was filmed on location at the Diamonds of Atlanta Premiere Gentleman's Club.

While many may argue that twerking is misogynistic, and I don't deny that it is problematic, for many African American women and women of color, the dance is viewed as a form of self-expression and empowerment, and for some, a form of economic security. Twerking has come a long way and is in the process of acculturation. It's no longer just a thing that's done in the underground. It has even surpassed the infamous rap video. It's on reality TV and YouTube. There has been an emergence of pole dancing and pole fitness classes across the country. Women and men even have poles installed in their homes.

In California, some 33 high school seniors were suspended for their " Awesome Twerk" video and just last week Stevie Ryan of VH1's Stevie TV declared in comedic form that she's "addicted to twerking...I'm really just a social twerker." It appears that twerking is not going anywhere anytime soon.

# data[].attributes.attachment_link.description
By Danielle Hall Dance has been around since the beginning of time. However, it is the polyrhythmic nature of twerk dances that indicates its African retention, which range from the social/secular dances to aspects of religious/ritual ceremonies evidenced in Africa, the Caribbean, Latin America, the United States and other regions.

# data[].attributes.headline
The rise of the dance move 'Grinding' in young adults source 6

# data[].attributes.subject
The rise of the dance move 'Grinding' in young adults source 6

# data[].attributes.body
Lin (2009) The Sexualisation of Children and Adolescents Epidemic. Page 1. http://www.tellinitlikeitis.net/2009/03/the-sexualization-of-children-and-adolescents-epidemic.html accessed 5th January 2016  +>[�+'

# data[].attributes.attachment_link.readable_text
Chris Record, principal of Gorham High School, lambastes 'grinding'

He describes the dance style in detail and explains it is 'plaguing dances'

Efforts to stop grinding - by changing lighting and music - were futile

All dances canceled except prom because that is a 'classier event'

The principal of a Maine high school has banned school dances because modern dance culture is too 'sexualized'.

Writing to students and parents, Chris Record lambastes the phenomenon of 'grinding' which has 'plagued' the traditional events at Gorham High School.

And for any readers left confused, he gives a detailed account of what grinding involves.

'Grinding basically involves a girl having her back and buttocks pushed up/pulled up against the boy's groin with the boy's hands on her hips and other places,' writes Record.

'There is a spectrum of this dancing that includes some space between the partners to absolutely no space and even the girl bending over in front of the boy.'

Teachers patrol the dance floor to intervene, and DJs are 'careful with their music choices'.

But alas, their efforts have proved futile, he explained.

At a homecoming dance last year, two-thirds of the students walked out in protest after being told not to grind.

Grinding, he said, 'is very difficult to monitor/control with a giant mass of students, low lighting, and very provocative music (just listen to 97.9 or 93.1 on the radio).

'GHS administrators do walk through this mass of people and chaperones are present, but it is still very difficult to monitor/control, even with increasing the lighting and asking DJs to be careful with music choices.'

Finally, after forming a panel of 10 students and 10 teachers to tackle the issue, Record has announced all dances, except prom, will be cancelled.

Prom, he explains, is a 'classier event' for which students pay a significant amount of money and therefore have an incentive to act appropriately.

Other dance events will be replaced with alternative evening activities such as a Homecoming bonfire.

'The hope, starting with the bonfire, is to create more inclusive, safe, and fun activities for GHS students,' Record concludes.

# data[].attributes.attachment_link.title
Maine high school principle puts an end to ALL dances

# data[].attributes.attachment_link.description
Chris Record, principal of Gorham High School, lambastes 'grinding' He describes the dance style in detail and explains it is 'plaguing dances' Efforts to stop grinding - by changing lighting and music - were futile All dances canceled except prom because that is a 'classier event' The principal of a Maine high school has banned school dances because modern dance culture is too 'sexualized'.

# data[].attributes.headline
Petiton to stop young girls learning choreography that's distasteful to there age source 5

# data[].attributes.subject
Petiton to stop young girls learning choreography that's distasteful to there age source 5

# data[].attributes.body
ECAPTUSA (2012) Dance studios: stop adult, sexual choreography and costumes for girls under 12. Page 1 http://www.ecpatusa.org/news/story/dance-studios-stop-adult-sexual-choreography-and-costumes-for-girls-under-12 accessed 5th January 2016