Anna Pierhurovica and Maija Tjurjapina

Hyper Weekend in February 2024, Riga, Latvia was a two-day event organized by Hyper Week ambassadors in the Baltic states – Anastasija Jasvina and Aleksandrs “Snickers” Ivanovs in association with the Latvian Contemporary and Hip-Hop Professional Dance Association. Hyper Weekend was in part made possible with the support of the Baltic American Freedom Foundation.

HYPER WEEKend is a component, the first of its kind, of the larger project, HYPER WEEK, an international dance camp organized by Project Just Dance (PJD). Established in 2008 in Sicily, Catania, the project originated from a deep passion for Hip Hop culture and dance. PJD aims to elevate the professional level of dancers and students by annually convening top teachers and dancers from around the world to share cultural perspectives and knowledge with the younger generation.

HYPER WEEKend featured dance workshops and lectures on Hip Hop culture and House dance with Caleaf (Big Leaf) Sellers and Michael (Niako) Lamarre. Aligned with the main mission of HYPER WEEK, the event aimed to reach Latvian dancers, providing education, motivation, and encouragement to foster their development within the Hip Hop culture. The goal was to guide Latvian dancers in following the proper direction and main ideas of the culture.

The event consisted of a one of a kind kids academy specifically dedicated to educating the younger dancers, as well as hiphop dance and house workshops and laboratories for dancers of all ages and skill levels, a jam session, lecture and Q&A session – all for an audience of 150+ attendees from Latvia, Estonia and Lithuania.

The Baltic American Freedom Foundation is a non-profit organization that aims to support and strengthen ties between the United States and the Baltic states (Estonia, Latvia, and Lithuania). It often focuses on educational and cultural exchange programs, fostering leadership, and promoting understanding and collaboration between the Baltic and American communities.

Caleaf is one of the pioneers, the so-called OG’s, from the New York dance movement of the late 80s, a member of the legendary Moptop Unit and one of the founders of Dance Fusion NYC Crew. A true Legend, who keeps actively working in the dance scene, traveling around the world and sharing his knowledge and experience. This was the first time a master of his degree had been in Latvia.

Niako is the artistic director and the face of Hyper Week, one of the world’s most renowned dancers and a member of the Legion X crew. He is an active performer on the battle scene, and has inspired so many dancers around the world. He was extremely excited to visit Latvia once more. He has previously collaborated with Caleaf on a number of dance events, and they have performed together on many tours around the world as well as keeping a very close friendship.

Education forms the essential foundation for a skilled dancer, offering crucial knowledge in dance techniques, cultural context, anatomy, and creative expression. It provides the necessary tools for mastering choreography, musicality, and stage presence, shaping dancers into well-rounded artists who can convey emotions through their performances. In essence, education is pivotal for transcending technical proficiency and unlocking the transformative potential of dance.

Events like Hyper Weekend are essential for a number of reasons like fostering cultural exchange and understanding through the language of dance, as well as discussing the unique techniques and styles that international dance artists bring, and how local dancers can benefit from learning and incorporating these elements into their own practice. Discussing the possibilities of collaborative performances between local and international dancers and showcasing a fusion of diverse dance styles can be contemplated for the future as well as hosting international dance artists in workshops and masterclasses enhance the skills and knowledge of local dancers. These events explore the creative possibilities of cross-cultural choreography and the artistic innovations that can arise from blending different dance traditions, let’s say Latvian, American and French – building global networks and friendships for dance communities. Last but not least – these events highlight the importance of cultural sensitivity when incorporating elements from international dance styles and ensure respectful engagement with diverse traditions.

The organizer Anastasija contemplated the topic of proper dance event arrangements and organisation as a whole. In her opinion the organization of an event requires immense courage and daring as it is closely tied to risk. Ideally Every event should primarily be created for people and the culture, and that should be respected and supported, as not everyone has the courage and motivation to take risks. There must also be personal motivation. The organization of an event carries a huge responsibility, both towards participants and invited guests. Anastasija makes sure that she invites guests who express sincereness, kindness and also are experienced in the art form and culture they represent. Both Niako and Caleaf are precisely that. She also emphasizes the importance of trust in the guests she invites to teach local dancers. It is essential to ensure that participants feel comfortable with all locations, facilities, dance floors, technical equipment, as well as atmosphere, and that invited guests feel cared for. Anastasija always pays special attention to first of all providing everything necessary based on personal requests, such as living conditions, dietary preferences; secondly, providing accurate information and an overall impression, a vision and overall impression of the Latvian dance scene. Both event participants and organizers contribute to the overall reputation of the Latvian dance community on the world stage. Anastasija expressed profound satisfaction with the event, deeming the information, inspiration, motivation, and support imparted by the instructors as invaluable to every participant. The comprehensive structure of the event, encompassing Workshops, Laboratories, Jam, and Q&A Sessions, exhibited a seamless integration, thereby providing clarity to relevant topics and illuminating perspectives for future development. The guests, Niako and Caleaf, both appreciated the hospitality, overall ambiance, and the level of the dancers, and indicated their contentment and expressed a willingness to revisit Latvia in the future. The numerous positive feedbacks received serve as a motivating force to persist in such endeavors.

The organizer Snickers reflected on the inspirational strength of teamwork, especially alongside Anastasija. They both passionately stressed the importance of inviting guests who genuinely embody the hip-hop culture—a rare gem in Latvia, where numerous events claim to be hip-hop but often fall short. Approaching this event as a beacon for authentic hip-hop enthusiasts, Snickers sought to provide a golden opportunity for participants to engage in uplifting masterclasses led by renowned figures in the culture.

In Latvia, a prevalent challenge arises where events labeled as hip-hop often lack authenticity, a hurdle they are tirelessly working to overcome through their initiatives. Snickers observed a lower than anticipated interest from Latvian dance educators, choreographers and official dance schools, potentially stemming from fear or passivity—a disheartening revelation given the initial intention to cultivate participation, receive constructive feedback, and generate valuable video content. However, he acknowledges the immense amount of valuable information the attendees received in these two days of dance events. Snickers truly hopes this event will encourage and inspire those in positions of educating the future of our dance community, as it serves also as motivation for further event organization.

To foster the overall growth of dancers in Latvia, Snickers and Anastasija advocate for open collaboration among organizers. Motivated communication and coordination of event dates, avoiding overlaps, are crucial. Given the abundance of events in Latvia, dancers should consider evaluating not only the event’s offerings but also the personal values of the organizer, what they bring to the community, and their goals for participants. This approach ensures a more informed choice when selecting events, contributing to the growth and enrichment of the dance community in Latvia.

Feedback from different attendees:

Maija Tjurjapina, dancer, choreographer and teacher, writer for Dance.lv journal: “Attending the Jam Session, my focus centered on Latvia’s cultural expressions, particularly the role of jam as my personal preferred form of expression. The venue hosted around 20 individuals, mainly from Lithuania and Estonia. Notably, Niako and Caleaf seamlessly integrated, fostering a positive, unforced energy exchange on the dance floor. Spontaneously joining the dance, I experienced enchanting moments of connection without verbal communication, which I value so much.

Niako’s energy drew me into a joyful dance, disregarding reservations about inhibitions or strain. Their success in cultivating a social dance atmosphere, prioritizing positive energy over skill exhibition, is commendable and lacking in Latvia. Emphasizing organic immersion, proficiency as a dancer became secondary.

In the Q&A, openness and direct communication were highlighted. Reflecting on early dance experiences, patience, and tolerance were deemed essential, recognizing that each day may be someone’s introduction to the discipline. This reflection not only inspires personal endeavors but also motivates instructional roles. The content’s potential to engage children and support educators was suggested, emphasizing the universally appealing aspects of knowledge pursuit.

Diāna, dancer at Ghetto Dance Academy: “Niako’s masterclass gathered a diverse group, including dancers from Latvia, Estonia, and Lithuania, creating a pleasant meeting of like-minded individuals. The class, infused with Niako’s humor and charisma, provided an enjoyable and highly educational experience. We explored fundamental concepts intricately tied to music, offering a fresh perspective even for those familiar with the content. The interactive tasks and Niako’s personal assistance added motivation and inspiration. Transitioning to the laboratory, we engaged in a lively warm-up, followed by an in-depth exploration of a single basic step. Niako’s guidance on analyzing and enhancing dance moves with various elements was enlightening. The session unveiled the depth one can achieve with a single movement, emphasizing the quality over quantity philosophy.

The Q&A segment proved invaluable for dancers seeking longevity in the culture. Insights into Niako and Caleaf’s experiences, along with practical solutions to common challenges, enriched our understanding. The positive and collaborative atmosphere left me with much to contemplate, resonating with personal experiences. Hearing fellow dancers’ stories reinforced my commitment to evolving within the vibrant hip-hop culture. Gratitude to the team for this uplifting and enlightening opportunity!”

Dārta, dancer, choreographer and teacher at Veizāna dance school and Space dance studio: “We started with mirror dancing, swiftly transitioning to a circle. This served as a warm-up for the laboratory, exploring dancing in cube like space. Partners changed continuously, and we gradually restricted space. As space diminished, more joined, creating a sort of “club awareness”—focusing on individual space area and eye contact. The well-thought-out structure connected tasks seamlessly, preparing dancers for Jam Session emotionally and fostering security. Occasionally, different knowledge levels of attendants posed challenges, hindering complete enjoyment. Tasks, like the “silent phones” exercise with more than 60 participants, proved cohesive and enjoyable. I was amazed. The Jam Session continued on seamlessly, with both Niako and Caleaf actively participating, creating a sense of unity. They set an example, fostering a communal spirit rather than individual performances. It felt like a living organism—a collective effort to sustain life while interacting with each other. Throughout both days, minimal dancing occurred in front of mirrors, primarily in circles or pairs. Inspiration flowed between participants, easing fears of dancing in a circle. Q&A was amazing, offering insights into American culture, jams, and history firsthand. Hearing their experiences, presented with simplicity and respect, left a lasting impression.

Thanks to the organizers for this opportunity. I thoroughly enjoyed and gained immense insight from the experience.”

Agnes Ihoma, dancer and choreographer at Free Flow Dance studio: “ I liked Niako’s ability to show the path from beginner to advanced level with one move and demonstrating one move down to the finest detail. Caleaf showed me full body groove. His style is so unique. The exchange is important. Not only moves and talking. Its about what’s behind the words as well the movements. The essence of experience and knowledge can only be passed down person to person – eye to eye.”

Berrit, dancer at Bertram Dance studio: “In Estonia the hiphop community isn’t that big, but I think that hiphop is crazy, and I feel like everyone should get a taste of this amazing dance style. When you watch hiphop dances or choreographies its like something else, like a special kind of joy. I enjoy everything about hiphop, all that history behind it makes it so special. Coming back to hiphop dances and choreographies I would say that it’s so amazing that everybody has this kind of different point of view on hiphop, but like we all know the same basics. In Estonia we actually have many studios that teach hiphop, but I feel like there should be more. Anyone can make hiphop look a little bit different, but it’s not that different at the same time at the end of the day.”

Kaisa Maria Kostabi, dancer at Bertram dance studio: “I learned to do better isolations and other movements as well and now I can also listen and catch different musical sounds in music. I have been dancing hip hop for years and I really like doing it and I also really like to watch others and get inspiration from other dancers. In my opinion, hip-hop could be taught more thoroughly in Estonia.”

Brenda, dancer from Estonia: “Some new ideas I gained – breaking down a simple move, as well as different ways you can use those broken down moves. Before the classes I wouldn’t have been able to explain what a musical beat is. Estonia is really small, and we don’t have the knowledge of basic hiphop. We have teachers who know a lot about it, but are not exactly qualified to teach it. We have a lot of really talented dancers, but they lack the foundations of hiphop dance – the groove, the bounce, the rock. In my opinion we need workshops in Estonia for teachers from somebody who is actually qualified and knows these basics, so that the younger dancers actually get the correct information. I definitely got clear information at Hyper Weekend and I became smarter after it.”

Kit Evans, dancer at Snick Dance company and dancer for the band Bermudu Divsturis: “I attended all classes, laboratories, the jam and the QA session on both days except for the ones that were for kids. I immediately noticed some differences, for example, Caleaf did not speak a lot, he just showed moves to us, that we joined in a sequence and at the end he gave us some comments. It was a challenge to keep up, since I’m not the best house dancer and I tend to feel like a stick-man, but I really enjoyed it. Niako on the other hand really liked to talk to us more, he taught us a lot of things that we tried to repeat for ourselves, I really enjoyed that too. In the laboratory Caleaf played around with a lot of different sounds, he was teaching us the ins and outs of a song, how to listen to it and how to deconstruct – the beat, the piano, the drums etc. Niako led an experiment with the Bart Simpson move, where we did it backwards and many different variations of the same move. That blew my mind. I saw many dancers from Estonia and Lithuania, as well as local Latvians. I know that there were teachers attending the kid’s classes just to see, how they teach. I think the most valuable knowledge I gained was about sound – so much time has passed since Hyper Weekend and I still use the skills I obtained from the classes, especially while listening to music and deconstructing it. Niako also taught us basic hiphop moves – bounce, rock, skate, roll, bounce – by isolating different body parts and moving to different tempos. That was so difficult to do and I felt like a wooden plank. I felt like crying, but now I know what exactly I need to practice each day. Niako’s and Caleaf’s classes made me understand that there is so much more that I have yet to learn about hiphop culture and dance, and Hyper Weekend opened my eyes to how much I want to know about the history of house and hiphop dance. ”

All photos by Dimitrijs Jasvins