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Clowning vs. Krumping
Clowning vs. Krumping
Krumping (not Krunk-ing) is often confused with Clowning, but while the two are related by form and origin (and vaguely by style), differences are visible. They share the same basic speed, and a similar movement pattern: a rapid rhythmic bobbling and jerking of the body, as well as the intermittent flex of the spine and thrust-out chest, which may be called “the krump” or a “bobble bounce”. Krumping, however, is a more sinister and aggressive dance form and is intended as an expression of anger or a release of pent-up emotion through violent, exaggerated, and dramatic moves. High variation, individuality, and movement are the foundations of the Krump or bobble bounce. It must be said that the current focal point of the dance as of 2006 and its differentiation from Clowning is becoming centralized around the elimination of sexual or erotic movement, particularly by males (such as twerking, booty popping, freaking, snaking and winding). This is currently considered the taboo when Krumping, and is called “popping cakes” (cakes being the buttocks). It may also be referred to as “poppin bakes”, the difference being due to the gang culture pervasive in California. In a Crip hood, “b” words (words beginning with, or often containing, the letter b) may not be said, or must be altered; and in a Blood hood, “c” words are similarly taboo. So cakes becomes bakes, and boulevard becomes coulevard (pronounced soulevard).
The belief that Krump dancers regularly engage in face-painting is also a misconception: this is a Clown practice, and as Clowning and Krumping have been mixed and misrepresented in their introduction to the public (through music videos of artists such as Missy Elliott), it has been misinterpreted as a regular Krumping practice. Face-painting is a matter of choice and is practiced only occasionally by a small percentage of the Krump community. The confusion may be a result of the movie Rize which documented the founders and other initial practitioners during the infancy of Krump as an art form; thus, the footage was from a time when the Krump kings were actually evolving from Clowners into the Krumpers of today. The Krumpers’ modified use of face paint served as a visual indication of this split. The style and cultural symbolism of this painting (used mostly during the early Krump movement, but now adopted by Clowners) has evolved from the circus clown image into ceremonial indigenous (ie tribal), war, or dance paint. This could signify the development of a third school of a darker or more aggressive nature within Clowning, but still remaining Clown-oriented. In Clowning, there are older Clowners who have styles similar to Krumping but still associate themselves with (and are loyal to) the Clown school of dance.
Source: Wiki Krump