This page contains a Flash digital edition of a book.

Canada has an international reputation for innovative street dance, from Toronto’s Bag of Trix crew setting the benchmark for tandem routines in the 1990s to the Boogie Brats and Supernaturalz crews’ footwork complexities.

When I think of the history of Canadian b-boying, I’m struck by the legacy of partnering in hip- hop dance. Bag of Trix’s 1993 performance on Rap City showcased routines where crew members linked hands to create elaborate physical threads through the spaces created with their bodies.

Post-legacy, meet Canada’s Yvon Soglo, known as “Crazy Smooth.” He’s the founder of Bboyizm dance company.

Since emerging on the b-boy scene, he has become known for his skyrocketing energy, swiftness and accuracy. His immaculate mastery of technique marked him out early on as a dancer. His journey as a choreographer in the theatre proves equally raw and emblematic.

“Fuelled by original b-boy values, Crazy Smooth makes work that is curious and compelling,” according to Jonzi D, the artistic director of Breakin’ Convention.

Bboyizm’s first work, IZM, introduced audiences to b-boying as a cultural practice. In Music Creates Opportunity, Smooth deals with some hard questions: “How do we as b-boys express certain emotions that don’t come naturally in terms of the dance? How can we express love in our street dances?”

Explorations for the cast of Music Creates Opportunity involved workshops with Sylvain Lafortune in partnering. Smooth discovered that: “All these different types of love and emotion are [already] there in our culture. Most of them are expressed in us coming together as a community. We have the opportunity to express us being together in a group.”


It’s precisely these intentions that resonate with the wider dance community. Choreographer Tedd Robinson finds that “the company’s infectious enthusiasm and their complete and utter love of dancing, always leaves me with a genuine respect and admiration for their talent.”

What do you get when you mix the raw aesthetics found in street dance techniques with contact improvisation?

“Rhythmic Contact” according to Smooth. His work negotiates a prenuptial agreement between contact improvisation and the centrality of music for street dance practitioners. The marriage of these forms seems imminent and exciting.

Both emerged as American dance styles in the 1970s. Although they share a historical trajectory, the distinctions between the approaches provided the inspiration for Music Creates Opportunity.

In rehearsal, Smooth paid attention to the dancers’ hesitations and resistances as new techniques were introduced. To find resolution, he returned to the moments of love and connection expressed by street dancers in the unifying power of music.

This will no doubt be a relief for audience goers who want to connect not only through dance, but through the power of music to make meaning.

- Dr. Mary Fogarty Dept. of Dance, York University

Bboyizm Music Creates Opportunity Partridge Hall MEMBERS: $29.75 CHILDREN (13 + UNDER): $25 REGULAR: $35

7:30PM Sat 6 Feb

“The performers are accomplished street dancers and the energy is high! The audience leapt to their feet.” – Live Art Production


This project was made possible in part by funding received through the Ontario Arts Council’s Ontario Dances Program.


Page 1  |  Page 2  |  Page 3  |  Page 4  |  Page 5  |  Page 6  |  Page 7  |  Page 8  |  Page 9  |  Page 10  |  Page 11  |  Page 12  |  Page 13  |  Page 14  |  Page 15  |  Page 16  |  Page 17  |  Page 18  |  Page 19  |  Page 20  |  Page 21  |  Page 22  |  Page 23  |  Page 24  |  Page 25  |  Page 26  |  Page 27  |  Page 28  |  Page 29  |  Page 30  |  Page 31  |  Page 32  |  Page 33  |  Page 34  |  Page 35  |  Page 36  |  Page 37  |  Page 38  |  Page 39  |  Page 40  |  Page 41  |  Page 42  |  Page 43  |  Page 44  |  Page 45  |  Page 46  |  Page 47  |  Page 48  |  Page 49  |  Page 50  |  Page 51  |  Page 52  |  Page 53  |  Page 54  |  Page 55  |  Page 56