The moves: Flavor'd Flow Studio puts spotlight on break dancing and cultural history

Once a recreation center turned furniture store on Columbus' South Side, the formerly desolate building was robbed of its essence until James Alexander, owner of Flavor'd Flow Studio, stepped in to establish the city's first hip-hop dance studio. 

Alexander, who learned to break dance at age 18 under the name "Bboy Osuga," saw the worn gymnasium as a place of solace for youth in need of a creative outlet and those engraved in hip-hop dance culture. 

From there, Flavor'd Flow Studio was born and the business has grown just as Alexander, 41, envisioned when he first opened the studio's doors in 2016. After working at five other dance spaces, including BalletMet, the North Columbus resident was finally able to open his own at 379 E. Barthman Ave.

"It's been a good process of fun and a challenging experience, but worthwhile," Alexander said. "I've learned a lot. When I first started dancing, this was my plan A. And I knew if I focused on plan B, then I wouldn't have done this."

After Alexander purchased the studio, Leon Lozinskiy, who has learned from the instructor since he was 6, said it was a long-fought pursuit that came after years of dedication.

"That was really dope," said Lozinskiy, 19. "(Alexander) wanted to get to his own studio for a long time. He used to work at other dance studios, and it was mostly ballet they did, and he had his own room there, and eventually, he had enough money to buy his own. And this place is pretty cool."

With the studio's establishment, Lozinskiy said it's magnified an art form that's become more of a niche in the decades since the height of its popularity in the 1980s. And, on some level, the Clintonville resident said it's broadened Columbus' culture. 

"I feel like it's a pillar for the city," he said.

Teaching students values that stick with them outside the dance studio

Along with teaching both adults and children as young as 5 the different variations of break dancing and popping, Alexander said it's important to pass along his knowledge and love for hip-hop culture to each of his students. 

When new students first walk in, Alexander teaches them the history of the genre and the origins of breaking and popping, a street dance adapted from the earlier Boogaloo cultural movement in Oakland, California. And as they continue to grasp the art form's principles, each lesson, both about respect and discipline, carries on with his students outside the studio space. 

"There's a lot of main focus, but I just want them to become young professionals and help them become amazing human beings," Alexander said. 

For Thai Leftwich, 15, who's been breaking for nearly a year, learning about the art form's history is vital, especially with it being an essential part of her heritage.

"It's important to me as an African American because we got scrambled in a bunch of places, so we don't have some of our original heritage," the Linden resident said. "With break dancing helping us through those struggles, I feel like it's very important to be doing this stuff and take pride in something we built here when we couldn't have anything."

Having learned under Alexander for years, Kaz Woodworth-Kunimoto, 9, and Brynn Christy, 9, said Alexander's diligence as an instructor has led to their development as performers as well as their personal growth. And over time, they have grown to love breaking and the freedom that comes with every aspect of it. 

"I get to dance a lot," said Christy of Worthington. "And I feel happy that I did it." 

Woodworth-Kunimoto, of Clintonville, added, "I love break dancing because it's a big part of my life and I think it's just super-fun and I like doing it a lot. It just feels nice and I think I'm good at musicality and I'm super-competitive, too."

Parent Desmon Martin, 50, who was once a b-boy himself in the 1980s, said he's proud of the strides his daughter, Aaliyah Martin, has made the past four years under Alexander's tutelage. 

The Far East Side resident said his 9-year-old daughter has begun to spread her wings as a dancer and broaden her personality. 

"I feel like every kid who comes in there is shy about dancing in front of the group, but once that music comes on, my daughter is one of the first people to jump out there," he said. "It's done wonders for her. She believes in herself and she's confident in her skills to the point she wants to show them off to the world."

Enduring struggles that have come with the effects of COVID-19

Alexander said the success of the studio is rooted in his passion for hip-hop and teaching, with both elements keeping him level-headed when faced with challenges. 

At the start of the COVID-19 pandemic, which forced Alexander to close the studio and take on virtual classes last year, he continued to press forward and remained in contact with his students.

Since its reopening in May 2020, Alexander has remained cautious, even turning away potential students to ensure he keeps his classes tight-knit, about seven to 11 kids. And although he's lost nearly 20% of the students he had pre-pandemic, ensuring their health and safety is a top priority.

"Nothing is more important than the safety of the kids and the students; my business isn't more important than that," he said. 

Despite the drop in enrollment, Flavor'd Flow Studio has been operating as it was pre-pandemic. 

And in light of the sacrifices and accommodations that were made, Alexander and his students have been graciously rewarded with opportunities to perform this summer, with many of them being first-time events. 

Upcoming performances include Urban Scrawl on Aug. 28-29 in Franklinton, 400 W. Rich St., and performance on Sept. 4 during Art on Broadway at Art 43023 in Granville. 

As Alexander looks ahead, he's not certain what's to come, but like he's done the past year, he said he's keeping his students' safety and development in mind.

– The Columbus Dispatch

Unity and community at the center of Saturday's Poindexter Village Drum Circle

At the center of Poindexter Village, the historical housing quarter was filled with the reverberating sounds of African drums and the harmonic voices of community members who came together for Saturday's drum circle. 

In partnership with the James Preston Poindexter Foundation and Ohio History Connection, elder drummers, past residents and community leaders shared stories, songs and dances around the Poindexter Legacy Tree to celebrate the rich history of the site.

Since its opening in 1940, Poindexter Village, named after the Rev. James Poindexter, a minister and civil rights activist, has long been recognized as the heart of the Black community and a source for shared unity. 

And programs like the Poindexter Village Drum Circle, Project Manager Shelbi Harris-Roseboro said, ensure that kinship remains an integral part of the community, even with the past year affected by COVID-19. 

"Everybody's feeling like they miss their community, and this is the first time we can come together again," she said. "And with us being masked up and distanced, we can come out and enjoy this community. This is ultimately what it's about."

And with Poindexter Village's official mark as a State of Ohio Historic Site, the drum circle was an ideal event for a celebration. Saturday's itinerary also featured a drum call-and-response, artists, food vendors, puppet storytellers and drum-making craft tables.

Attendee Lethichia Banks, 38, said more events like these need to take place, as it encourages the support and linkage between members of the Black community.

"We need to have this on a regular basis, whether it's indoors or outdoors," the Reynoldsburg resident said. "This helps create the opportunity to get to know each other, to interact and network and to continue to encourage each other on their entrepreneurial endeavors."

Tom Dillard, president of the James Preston Poindexter Foundation, said the Poindexter Village Drum Circle also serves as an opportunity to educate younger generations about the historical context surrounding the area, which is recognized as one of the country's first housing projects.

With understanding this history, Dillard said it will maintain and continue building a system of values among younger residents.

"The purpose is to bring the community together to recognize and honor our ancestors upon whose shoulders we stand," he said. "It's like talking to your great-grandmother and grandfather again."

As a historian, Charles Wash, director of the National Afro American Museum and Cultural Center, said his goal is to ensure every resident understands the significance of sites like Poindexter Village and works to preserve its history.

Wash said this comes with melding younger and older generations together so this historical context is transferred between the two groups to ensure the history of Poindexter Village remains intact. 

"That's my motivation," Wash said. "One thing I noticed over the years is oftentimes we either talk over people or at them instead of to them. It's like we've ignored them in a sense. The gatekeepers of the culture are older and have their own language, and I think programs like this can speak to everybody."

North Columbus resident Natalie James, 44, said people need to be more intentional about attending programs centered on African American tradition. 

"I think we as a people, we have to want to come out and support and want to learn about our history," she said. "It's going to impact generations. Knowledge is power and if you don't know about your history you're likely to repeat it."

While there have been two drum circle events in the past, Harris-Roseboro said this event will become an annual one. And going forward, she and others will continue developing activities along the same vein, with both unity and community as the focus.

– The Columbus Dispatch

Black dance creators' strike on TikTok sparks online appropriation conversation

Frustrated by a lack of sponsorship dollars and branding opportunities, Black Tik Tok creators are "striking" to gain recognition for dance trends often hijacked by white creators, a move that's sparked conversations around online appropriation. 

Following the release of Megan Thee Stallion's new song "Thot S---," a creator named Erick Louis (@theericklouis) posted a video saying that he made a dance to "Thot S---" But toward the end of the video, the text reads, "Sike. This app would be nothing without (Black) people."

Louis' message encouraged other Black creators to refrain from posting choreographed videos and to fight for further recognition, which has left little inspiration on the video-sharing app.

But even with the original boycott video, white Tik Tok creators attempted to copy Louis, appearing to believe it was actually a new dance trend.

The most widely shared videos, which were choreographed by white creators, have been criticized by other TikTok users, who claim they lack energy and creativity.

Near East Side artist Katerina Fuller, who serves as program manager for Transit Arts, said she's encouraged by the online movement, as young people are confronting an issue that's plagued generations of Black and Brown influencers. 

"I absolutely love it. I think historically, Black creators' work has been stolen and repackaged for a white audience without getting their due diligence," Fuller, 28, said. "I love that the young people make sure you recognize them and are fighting to show them we are the culture."

While she doesn't think the boycott will stop white creators from co-opting Black trends long-term, Johnae Spain, 23, an AmeriCorps VISTA for Transit Arts, said she's also encouraged by the added awareness.

"It's a step in the right direction," the downtown resident said. "I don't think it will stop White creators, but at least people know and people can't deny the fact that Black culture influences the world."

Where the online appropriation conversation started

Despite the strike's emergence, the online appropriation conversation has taken place years before the start of the boycott. 

Since 2019, the video-sharing platform, owned by Chinese company ByteDance, has continued to gain popularity. But the app's biggest stars have been accused of appropriating Black culture for the purposes of monetization. 

Back in March, TikTok star Addison Rae Easterling appeared on "The Tonight Show with Jimmy Fallon" and performed multiple TikTok dances, most of which were created by Black dancers, without crediting them. 

Fallon attempted to set things straight by inviting the original creators on the show via Zoom. But for many, the damage was already done. 

Issues with TikTok algorithm

Users also questioned TikTok's algorithm in the moments following the killing of George Floyd, as videos using the hashtags #BlackLivesMatter and #GeorgeFloyd appeared to receive 0 views. 

In a written statement last June, TikTok US General Manager Vanessa Pappas and Director of Creator Community Kudzi Chikumbu cited the issue as a "technical glitch" that altered the display of the videos.

Nearly a year later, NBC News reported that little had changed since the statement's release. Black creators' content was still appearing below that of white creators, and some users complained that videos they posted addressing racism were flagged as hate speech.

A need for more support, recognition

Since the start of the boycott, even non-TikTok users have shown their support in the fight for creative equity. But with the strike inevitably coming to an end, Spain said it's up to other groups to step in and show solidarity. 

"We can do all the work we want to do, but if they're not giving us the opportunity or paychecks, what can we do?," she said.

Without this support, Spain said she and others will be pushed even further to create their own platforms, ones that will recognize the impact Black creators have on pop culture and magnify it. 

"If these apps or companies don't get it together, we'll start doing it ourselves," Spain said. "That's how we empower our people. We make our own standards and we go by those."

Along with added acknowledgment and financial compensation, Fuller said Black creators have to readopt the "mixtape era" mentality. 

With each of their creations, Fuller said there needs to be a verbal or visible stamp so people are aware of the source. And while placing a dance creator's name in the caption of a post has been on the rise, there need to be further strides, she said. 

On the same note, Transit Arts Program Associate Andre Barrept Jr, 26, said Black creators need to empower themselves through knowledge and research. In looking through history, the Whitehall resident said a lot of opportunities have been missed due to a lack of information on monetization. 

"If you come to the table with enough knowledge and backing, they really can't do much," he said. "That's what we need to do in other avenues of culture, to keep improving knowledge and savviness so when businesses comes to the table, we're ready.

"If we continue increasing our knowledge as a community, we'll have the power ..."They can't ignore us."

– The Columbus Dispatch