【转载】THE CIRCLE专访-Ejoe Wilson“跳”出贫民窟，Dance Out Of The Ghetto！

 | 本文转载自KEYCO节调 | 

 | 原创作者DOLANCE | 

【KEYCO节调导语】

在9月的最后一天，一群对House音乐舞蹈痴狂的年轻人都聚集在潮流聚集地LOFAS,Party当晚有著名的Dancer、DJ、MPC以及Rapper们 ，他们疯狂、欢乐、自由，都饱含着对House音乐舞蹈的热爱，上海最Real的THE CIRCLE X HOUSE CITY Dance Party完美落幕!!!

▲ THE CIRCLE X HOUSE CITY精彩集锦

Ejoe Wilson带来了超级Fantasy的Judge Show，所谓台上一分钟，台下十年功，在Ejoe大师成功的背后可能有着你想想不到的艰幸。

▲ Ejoe Wilson Showcase

他是House舞蹈的祖师爷，与Voodoo Ray一起把House舞蹈文化传播至整个世界，是第一批教授House舞蹈的OG,他加入的传奇舞团Mop Top和Elite Force是玛丽亚凯莉（Mariah Carey）巅峰时期的御用舞者，他们一起合作超过整整10年的时间，他还是日本House第一人，与安室奈美惠、TRF的Sam、ZOO等众多艾回唱片公司的唱跳艺人们合作，也是他让House在整个亚洲大热起来，没有了他，Hip-Hop与House的伟大纪录片Wreckin Shop from Brooklyn也不会诞生，他就是在这个世界上独一无二的House祖师爷Ejoe Wilson！

在他成功的背后又有什么秘密呢？大家可以在节调君的这次专访里找寻各种线索，就让节调君为大家揭开这层神秘的面纱吧！

Q&A

Q1

How did you get started dancing? 

是什么样的契机令你开始跳舞的？

I started dancing when I was a Hip-Hop dancer，I started house dancing in 1986，I was still in high school.

我刚开始跳舞是跳Hip-Hop，在1986年我开始跳House，那个时候我还在上高中。

Q2

Could you describe dance scenes in Bronx when you just started dancing？

能描述一下你刚刚开始在布朗克斯跳舞时的画面吗？

As a Hip-Hop dancer in bronx，we are very poor，so when you are poor，you live in a ghetto. Dance is like something that you touched yourself to. If you become really good at it then you can dance your way out of the ghetto that’s what I did.

作为布朗克斯的Hip-Hop舞者，我们非常贫穷，所以当你贫穷时，你就住在贫民窟。舞蹈就像触动自己的东西。 如果你真的擅长跳舞，那么你就可以“跳”出贫民窟，我就是这么做的。

 I was a bad boy for a long time I was almost in the gang and I used to carry gun , I used to sell drugs, I used to do bad things when I was young and it was very easy to do it. Coz you have a lot of bad elements around you when you are young in New York.

我在过去的很长时间以来一直是个坏孩子，我差点加入帮派，我曾今常常持枪，我曾今贩卖毒品，我年轻的时候做过很多坏事，而且对我来说做坏事是轻而易举的，因为在那个时候的纽约充满着很多不好的因素。

If you really need to out of it, you need to do something that you are good at it, then people will give you praise. So in the late 70s around 77.  I was seven years old, it was the Hip-Hop explosion, so I used to be a roller skater.

For kids roller skating is the first kind of club, the first time we have  lights, loud music and girls. This is the first social gathering stuffs.

如果你真的想要远离这些不好的因素，你需要做一些你擅长的事情，然后人们会给你赞美。 所以在70年代末大约在77年左右，那个时候我7岁也是Hip-Hop诞生的年代，我曾经是一名轮滑选手。

对于那时候的童年轮滑就如同第一种俱乐部形式，我们第一次有灯光，嘈杂的音乐和女孩，这也是我们社交聚会去的地方。

Then I become a street dancer in the early 80s. It was very dangerous. This was the cracker years，it was really hard for a lot of people to escape of the ghetto.

然后我在80年代初成为街头舞者。 那个年代非常危险，发生了很多事件，很多人都很难逃离贫民窟。

A lot of my friends they  died，a lot of my friends  in jail，they come to bad elements and a lot of them were very proud of me because I started teaching the first house classes.  From there I was able to travel to places like japan.

我的很多朋友都死了，很多朋友都在监狱里，他们遇到了不好的因素，他们中的很多人都为我感到骄傲，因为我是在当地第一个教House舞蹈的人，正因为如此我才可以去到像日本这样的地方去授课。

Q3

When did you start to teach in Japan？

你是在什么时候去日本授课的？

The first time I went to japan was 1990, I was dancing with a group called ‘2 in a room’ they made a song called ‘wiggle it’ .

我第一次去日本是在1990年，我和一个叫做“2 in a room”的组合一起跳舞，他们制作了一首叫做“Wiggle it”的歌。

And from there, some guys went crowed from a group called ZOO, we did a video called Gorgeousthey  do the whole video. And then they show all of the New York dancers they were in the video, and they put on a name. This was the first video go viral before computers,everybody knew their names.

从2 in a room之后，有一个名为ZOO的组合在众多其他组合中脱颖而出，我们为ZOO拍了一个名为Gorgeous的音乐录像带。在这个这个音乐录像带中展示了当时所有纽约的舞者，并且在视频上标注了每一个舞者的名字。这是第一个在计算机时代来临之前大火的音乐录像带，每个人都知道这些舞者的名字。

▲ ZOO ‘Gorgeous’

A few years after that, a girl named YUKI she used to sing with ZOO, came to another group named TRF, Sam from TRF came to New York and he asked me to teach him.

几年之后，一个名叫YUKI的女孩，她曾经是ZOO的一员，加入到了TRF组合，TRF的另外一名成员Sam来到纽约，他让我教他跳舞。

▲ TRF

Then I came back to Japan in 1994 , I started dancing with Namie Amuro in the mid 1990S , at that time I have danced with TRF I was already a Mariah Carey dancer.

然后我于1994年回到日本，1990年代中期我和安室奈美惠合作，当时我还和TRF合作，我已经是玛丽亚凯莉的舞者。

▲ 安室奈美惠

So I was very popular at that time, I had very long hair. I started working for different groups in Avex I was a really TRF guy, so I taught with TRF and I did a video and commericail with Namie Amuro. And Namie Amuro and Sam got together. They kind got together in New York, that’s my part of Japanese history.

所以当时我非常受欢迎，我留着很长的头发，我开始为艾回唱片的不同偶像团体工作，我很喜欢TRF，所以我与TRF合作，我和安室奈美惠一起拍摄了一支音乐录像带和商业广告。 后来安室奈美惠和TRF的SAM结婚。 他们是在纽约结婚的，这就是我部分的在日本的合作经历。

▲ 安室奈美惠与TRF的Sam

And I started teaching overseas, that kind brought house dance in Japan. Then from there, China started to checking out，Korea started to checking out，and now i’m just getting over to China and Korea, before I was just always in Japan. I couldn’t get any contact with the people in China. Then I was invited to HongKong Wuhan Taiwan，ETC. That was the beginning of my love for Asia.

这之后我开始在海外教学，因为我把House舞蹈带入了日本，其他亚洲国家像中国和韩国都开始邀请我去授课，我现在经常去中国和韩国授课，在这之前只是在日本，因为我无法与中国的舞者取得直接的联系，在这之后我还被邀请到香港、武汉、台湾等地授课，这是我对亚洲热爱的开始。

Q4

Most people said Hip-Hop was originate from the Bronx, but with the interview of B-Fats (the woppit singer) said actually Hip-Hop done in Harlem first,what's your opinion?

大多数人说Hip-Hop起源于布朗克斯，但是在和另外一位Hip-Hop先驱B-Fats（Woppit歌曲演唱者）的采访中他说Hip-Hop实际上首先是在哈莱姆地区诞生的，你有什么看法？

▲ B-Fats

Well, I lived in Harlem at that time，I was born in the Bronx. I grew up my first kind ten years in the Bronx and then we moved downtown to manhattan.

我曾在哈莱姆住过一段时间，我在布朗克斯出生。 我在布朗克斯区度过了我的第一个十年，然后我们搬到了市区曼哈顿。

When I went to manhattan, I was in the middle of the Hip-Hop dance explosion, so that’s why I become a Hip-Hop dancer. Before that, everybody was poppin’ and breaking.

当我去曼哈顿的期间，我正处于Hip-Hop舞蹈爆发的年代，所以这就是为什么我会成为一名Hip-Hop舞者的原因。在此之前，每个人都是跳poppin'和breaking。

If you listened to Mr Wiggles, you will remember in the late 70s, early 80s when kind of rockers and funk dancers. Before we have Hip-Hop dancers. Wiggles went to popping at early 80s, like around 82. At that time i started roller skating when i become a street dancer.

如果你听过Wiggles先生的话，你会记得在70年代末，80年代早期的时候，那里有Rockers和Funk舞者。 在我们有Hip-Hop舞者之前， Wiggles在80年代早期，大约82年左右开始跳Poppin’。当时的我开始轮滑，成为了一名街头舞者。

▲ Mr Wiggles

In 1985, I met Marjory Smarth. Me and marjory used to always dance together on 125 street, and it used to have famous place called the Apollo Theater. I went four times at Apollo with my dance groups. And then I started doing videos and then I started going downtown. That‘s lates 80s, it was the house explosion, so every explosion I was there.

1985年我遇到了Marjory Smarth，我和Marjory曾经在125街上一起跳舞，125街曾经有著名的阿波罗剧院。 我和我的舞蹈团一起去了阿波罗剧院四次。 然后我开始制作舞蹈视频，80年代晚期我去了市区，那也是House舞蹈爆发的时期，所以每一次街舞的“爆发”时期我都在现场!

▲ Marjory Smarth

Q5

House is from Chicago or New York?

House是诞生在纽约还是芝加哥？

House music is in Chicago but dance is from New York. New York like Harlem, New York had so many different kinds of people and all of those people bring the different cultures. So you go to the club everybody dance in very different ways.

House音乐诞生在芝加哥，但是舞蹈来自纽约。 像纽约哈莱姆这样的地方汇聚着很多不同类型的人，所有这些人都带来了不同的文化，所以在俱乐部人们跳舞的方式也是千姿百态的。

Voodoo Ray my good friend that past away last October, Voodoo Ray and I decide try to teach classes. It's way to make money because we are making money from the videos but it wasn’t consistant. 

Voodoo Ray在去年十月去世了，他是我的好朋友。 在当时Voodoo Ray和我决定尝试教授House课程。 这是我们赚钱的方式，我们之前都是靠拍舞蹈视频赚钱，但这份收入是不稳定的。

▲ Voodoo Ray

So we started to do house classes and then started to get very popular. A lot of people did house classes after they found out Ejoe is making so much money. All the Japanese kids were coming to my class, and then we have a lot of Japanese kids dance like me. A lot of the older dancers said why to see all the Ejoes. So that’s how we kind of started. I been doing that ever since I had a real job, when i was 19 and i haven‘t had a real job since i’m a dancer for life. That’s how I make my money. If I can’t make money in New York then I travel to make money. I been doing that for about 30 years now.

所以我们开始教授House课程，然后house舞蹈在美国开始变得非常受欢迎。很多人发现Ejoe靠教授House课程赚了很多钱，所有的日本孩子都来上我的课，然后就能看到许许多多像我一样跳舞的日本孩子。 许多年长的舞者总是说为什么会看到那么多像Ejoe一样跳舞的孩子。 这就是我赚钱的开始，也是从19岁后开始做的第一份真正的工作，在19岁之前我没做过正经的工作，在此之后我终生成为了一位舞者。这就是我赚钱的方式，如果我不能在纽约赚钱，那我就到其他国家去赚钱，我一直这样维持了将近30年！

Q6

Could you tell me the first dance crew that you joined in？

你能告诉我你第一个加入的舞蹈团体吗？

Me and Marjory used to dance together, we met at 1985 and then I strated to going downtown, that’s where I join in Mop Top.

我和Marjory曾经一起跳舞，我们在1985年相遇，然后我开始去市中心那里，我加入了Mop Top。

Mop Top is like an umbrella group, it like a lot of other Mop Top came to Elite Force, Dance Fusion and Misfitss. We were Hip-Hop dancers and then some dancers trying to be rappers as well, everybody were rapping in the early 1990S.

Mop Top就像一个联盟组织，后来Mop Top成员加入了Elite Force再之后又加入了Dance Fusion和Misfitss，我们都是Hip-Hop舞者，然后一些舞者也试图成为为说唱歌手，每个人都在1990年代早期玩说唱。

For then we went to the ganster Hip-Hop came so it wasn’t need for dancers. Everbody like do your guns in the air, we can’t dance like that, so we are trying to keep Hip-Hop alive. Elite Force did that, I did that with Elite Force.

在这之后匪帮说唱出现了， 所以不是很需要舞者，所有人都像朝天空开枪一般“匪”，所以我们试图让Hip-Hop舞蹈在90年代存活，Elite Force做到了，我和Elite Force一起做到了！

Then we started to working for Mariah Carey. Mariah loved it so much, we worked for ten years for Mariah. No other dance group work for any artisit for ten years. Even Michael Jackson changed dancers, Madonna changed dancers. But Mariah didn’t change dancers. I danced for Mariah from 1992 - 2003. 

然后我们开始为玛丽亚凯莉工作，Mariah非常喜欢我们，我们为Mariah工作了十年，没有其他舞蹈团体会为任何艺人工作整整十年。 即使迈克尔杰克逊也会换舞者，麦当娜也会换舞者。 但Mariah并没有改变舞者。 我从1992年到2003年期间一直都和Mariah合作。

Q7

Which song of Mariah Carey you like best? 

你最喜欢玛丽亚凯莉的哪一首歌？

For me is the video, because remember this is before internet, so you had to fight just get seconds in the video. I like the ODB version of Fantasy, when Mariah sang ‘I was in heaven’, that was a big shot of me, you can see my face very clear. That was one of the best video for me.

对我来说我最喜欢的是音乐录像带，因为记住这是在互联网之前，所以你必须在音乐录像带中获得几秒而奋斗。 ODB版本的Fantasy，当Mariah唱道“I was in heaven”这是我的一个重要镜头，你可以很清楚的看到我的脸， 对我来说这是Mariah最好的音乐录像带之一。

Before, that was Dreamlover, we all dancing in the fields. So for me I loved Mariah, but the videos where you can see me, I was really happy with that. We all behind Mariah over the shoulders.

在那之前，我最喜欢的是Dreamlover，我们都在场地上跳舞，所以对我来说，我喜欢Mariah，但是我更为我能出现在Mariah的音乐录像带里自豪，我们都曾在玛丽亚凯莉的背后付出。

So it’s like that we love Mariah but it was pop music, we are hip-hop dancers and I was really house dancers. So we all brought elements and stuffs like that.

所以我们都喜欢Mariah，但她做的是流行音乐，我们是Hip-Hop舞者，而我是House舞者，所以我们都为Mariah带入了很多不同的舞蹈元素.

For me, I started dancing Hip-Hop when it’s started get very violent and remember because I was already had the violent years in the ghetto and I was dancing to escape that, and then went out of the ghetto to go over Hip-Hop music. I kind of transfer to the house music. Coz it was more free and you know Hip-Hop is like a horse has a blinder. So they can’t look outside, they just go straight.

一开始我是跳Hip-Hop的, 但是当时Hip-Hop变得越来越暴力了，我在年轻的时候已经在贫民窟做了很多不好的事情，在那个时候我试图通过舞蹈来救赎自己，让自己离开贫民窟，所以我开始转变成一名House舞者。因为House能让我更自由，Hip-Hop就像一匹马戴了一个眼罩，所以它看不到外面，它只是一味地往前跑.

But house's vision is vey wide, you can touch everything in the room, it’s not just one way. So for house i was able to be more free. 

但是House舞蹈的视野很宽，他能让你触摸到房间里的一切，所以对于我来说House舞蹈能够让我更自由。

Before, I brought a lot of Gymnastics, Capoeira stuff like that. Ten years later, I changed. I’m doing more footworks. I do more hips and shoulders. I know I'm not gay I’m not afraid to dance sexy or do gay moves. When I do gay moves, more feminine moves, the girls like that！

在过去我会在我的舞蹈里加入很多类似于体操，卡波耶拉之类的元素，十年后我改变了，我在我的舞蹈中加入了很多脚步。 我加入了更多的臀部和肩部元素。 我知道我不是Gay，但我不介意非常性感的跳舞或做一些很Gay的动作，当我做这些很Gay的动作或女性化的动作时，女孩们都很喜欢！

After a while, I danced for girls. I danced for money. Remember first you dance for girls, then you dance for money, and then you dance for fame. And after that I had the money, I had the girl, I had the fame. So I started dancing for me. Once I started dancing for me, that’s real Ejoe.

在这之后，我为女人们和金钱跳舞，记住，首先你跳舞为了得到心爱的女人，然后你跳舞为了得到金钱，再之你跳舞为了名声。 在这之后，我得到了金钱、女人和名声，所以我开始为自己跳舞，一旦我为自己跳舞，那才是真正的Ejoe！

Q8

Wreckin Shop from Brooklyn is a very important dance documentary in Hip-Hop and House Dance History，why to shoot this video？

Wreckin Shop from Brooklyn 是Hip-Hop和House Dance历史中非常重要的舞蹈纪录片，为什么要拍这个视频？

▲ Wreckin Shop from Brooklyn 纪录片片段

The director Diane Martel, she had met me in a club, she was like i wanna film you, and I was like you can’t just film me, you need to film the whole group. After she met the group, that's she decide to do the wrecking shop.

导演Diane Martel她在一个俱乐部遇见我，她说想要拍我，我说你不能只是拍摄我你需要拍摄我的整个舞团，在她见到了舞团的所有成员之后她准备拍摄我们。

If I didn't meet the director, the wrecking shop will never happen. That’s a little secret, and a lot people don't know. I felt my group were great dancers, so if you wanna make a video, you gotta get all of us, I gonna introduce Mop Top people to her and then Mop Top  introduce the Misfitss.

如果我没有见到导演那么Wrecking Shop将永远不会诞生，这是一个很多人不知道的秘密。 我觉得我的舞团都是些伟大的舞者，所以我和导演说如果你想制作一个很好的舞蹈视频，你必须得拍摄我们舞团所有的人，我把Mop Top的成员介绍给了她，Mop Top又介绍了Misfitss舞团的成员。

Q9

Q：What was the most embarassing onstage moment?

你在舞台上最糗的经历是啥？

Kilimanjaro’s contest, at this time I thought I was the best dancer，and I decide  to do the stage time, this is the first time anybody saw a stage time. That wasn't punk rocking anything like that, and i decide to jump out the crowd. The stage is really high and I jumped over like 5 - 6 rows of people. Mop Top they caught me in the middle of the room. I thought I would win and I lost and after I lost the contest I decide to be a better dancer. I never let it happen again. I didn’t lose for maybe 20 years after that.

在Kilimanjaro的比赛，在那个时候我认为我是最好的舞者，我决定表演Stage Time，这是第一次有人看到Stage Time表演。 那并不是像朋克摇滚这样的表演，我决定要跳出人群。 舞台真的很高，我跳到了五六排人当中。 Mop Top他们在人群的中间抓住了我。 我以为我会胜利但是我输了，在我输掉比赛后我决定成为一名更好的舞者。 我再也不会让自己失败，在那之后的差不多20年里我没有输过。

Q10

You collaborated with so   many pop sensation including Mariah Carey and Will Smith, so did you collaborate with your idol before？

你和许多流行巨星合作过，包括玛丽亚凯莉和威尔史密斯，所以你曾今和你的偶像合作过吗？

For me I was already dancing with my idols, I was with my groups. I was really like Stretch. Stretch  believed me, he and Caleaf brought me into Mop Top, we even made records together.

对我来说，我已经和我的偶像一起跳舞了。 我非常喜欢Stretch，他十分相信我，是Stretch和Caleaf带我进入了Mop Top舞团，我们曾一起制作过唱片。

▲Buddha Stretch

Buddha Stretch is my mentor I met Stretch in 1986. I met Voodoo Ray and  Stretch at the same day. Those are my mentors, those are people that really believe me. Because I was just a dirty Hip-Hop dancer  with dirty shirts and I was go home with wet shirts.

Buddha Stretch是我的导师，我在1986年遇到了Stretch。我在同一天遇到了Voodoo Ray和Stretch。 他们都是我的导师，是那些真正相信我的人。 因为当时我只是一个穿着脏衣服的Hip-Hop舞者，我每天都是带着湿衬衫回家。

My idols were people like Michael Jackson, I missed the video I had the chance to be in the video of Remember The Time but I don’t have 400 dollars to go to California so I missed my chance.

我的偶像是像迈克尔·杰克逊这样的艺人，我错过了Remember The Time音乐录像带的拍摄机会，因为我没有400美元去加利福尼亚拍摄。

▲Remember The Time

A couple of years later Michael asked Mariah if she want to do a performance and give money to like the Feed The World organization. That’s was the time that I was on stage with Michael Jackson. I was so happy to be stage with Michael Jackson.

几年后，迈克尔杰克逊问玛丽亚凯莉她是否想要表演并捐钱给像Feed the World的一样的慈善机构，就是在这场表演我与迈克尔杰克逊同台，我非常高兴能与自己的偶像同台。

I didn’t get chance dance for Janet Jackson and Micheal Jackson anything like that, but I still have time. I missed a lot of opportunities, but it give me the insanity and power to work on myself .

我没有得到与珍妮特·杰克逊和迈克尔·杰克逊这样的合作机会，但是我还有时间，我错过了很多机会，但它给了我疯狂和力量来鞭策自己。

Sometimes your vision get crowded, you don’t know what direction you really gonna going, and something usually  happens to you. you have to get more serious about dancing, I think I’m the best now. I think what make me the best is what I did for house, not winning contest or stuff like that I wanna win but that’s just a game.

有时候你的视野会变得拥挤，你不知道你真正要走向哪个方向，而你经常会遇到一些事情，你必须更加认真地对待舞蹈，我想我现在是最好的状态。 我认为最让我感到骄傲的是我为House舞蹈发展所作的一切，并不是我赢得的那些比赛，的确我想赢得比赛，但这仅仅是一场比赛而已。

If you ask what did Ejoe for house, like house dance is all over the world now in every school, I did it. Even like people don’t know that maybe they will know when I dead, but I helped to carry on the house culture. My name is on the world, my name is written in the stones, like you talk about house dance, you had to talk about Ejoe. 

我为House舞蹈的的传播做了很多贡献，现在在全世界各地都在教授House舞蹈课程，是我帮助做到了这件事情。人们可能会在我死去之后记住我，记住我传播了House舞蹈文化，我的名字会被载入史册，当你说道House舞蹈，你不得不谈论Ejoe。

That’s my claim for the fame, not I brought house to Japan or I first started doing house classes, not any history I told you，the best thing for me is teaching and giving my knowledge and my energy to like kids and people like don’t know about me and when they find it and when they really find it and dance it. It’s beautiful for them, its beautiful for me because I helped them to find it find the feeling this is in all of us but a lot of people they go nine to five, they don’t dance, they are not able to release and be free, so I can show people how to be free.

我对名声的定义是这样的，不是我把House舞蹈带入了日本，或者我是第一个开始教授House舞蹈的人，更不是我告诉过你的一些历史，对我来说最美好的事情就是我把知识传授给了那些以前不知道我的人和孩子身上。 当他们知道了我并爱上了House舞蹈，这对他们来说是很美好的，对我来说也是美好的，因为我帮助他们发现了心之所向，但现在很多人他们做着朝九晚五的工作，他们不跳舞他们无法释怀和自由，我希望能帮助这些人们获得自由！

Q11

Could you tell me some dance steps name that you created it？

你能告诉一些是你创造的舞步吗？

No，because we just copy and copy people before.

不能，因为我们之前只是不断复制以前的舞者创造的舞步。

Dance is an energy, it’s something in all of us, so I can’t claim anything. I can say I open some doors, but I can’t claim that dance is my own, it was something that touched me and it touching other people.

舞蹈是一种能量，它是我们所有人的东西，所以我不能声称哪个舞步是由我一个人创造的。 我可以说我为House舞蹈到来了很多元素，但我不能说舞蹈是我自己的，House是触动我的东西，它同样也触动了其他人。

A lot of people try to put their names on house, that’s my step, that’s my move, you biding my move.

很多人试图在House舞蹈上留下他们的名字，这是我创造的舞步，这是我创造的动作，你抢了我的舞步。

I remember those days Crazy Legs made windmills, that’s a big deal! But that’s break dancing, it’s not so much freestyle, It's not real way to do house, you do what you feel. 

我记得是Crazy Legs创造出了Windmills这个舞步，这是载入里程碑的一个时刻！ 但那是Breaking，那不够freestyle，与House不同。 House并不是那样的，House是做你想做的事情！

▲Crazy Legs

Now what we teach our basic theory in order for students to learn, it’s like learning music, you learned music first, then you can create you own music.

现在我们教的基本理论，以便学生们学习，就像学习音乐你先学习音乐，然后你才可以创造自己的音乐。

Me and Ray wanna make a basic way that people can have a good foundation. A lot people try to become teachers, but I think they need to learn more, teacher still need to be student, I’m still a student of house, I found deep part of me I think I can go deeper like swimming.

我和Ray想要制定一个简单的让学生打扎实基本功的方法。 很多人都想试图成为老师，但我认为他们需要学习更多的知识，老师仍然需要成为学生，至今为止，我仍然是一名House学生，我只是深入了解了自己，就像游泳一样我觉得我还可以游得更深。

Q12

What’s the difference between Japanese students and Chinese students?

日本学生和中国学生有什么区别？

We been teaching Japan since the 90s，we haven't been teach China at that time.

自90年代以来我们一直在教日本人House，当时我们还没有教过中国。

So Japan has more vocabularies, but if you look at the Korean dancers, the Taiwanese dancers, the Chinese dancers, they have hunger and a lot of Japanese kids don’t have that hunger anymore, they already know house dance, they already teachers.

所以日本人有更多的舞蹈词汇，但如果你看看韩国舞者，台湾舞者，中国舞者他们对舞蹈都充满着饥饿感。但是很多日本孩子不再有这种饥饿感了，因为他们已经知道什么是House，他们已经成为老师。

They need to come to the class, they need to dance more with everybody so they don’t look so robotic. I don’t think that Japanese is better than Chinese or Chinese is better than Japanese.

他们需要来上课，他们需要和每个人一起跳舞，这样他们跳舞看起来才不会那么机械化。我不认为日本人比中国人跳的好，也不认为中国人比日本人跳的好。

That’s not the way I looked at it, dance is universal, it doesn’t belong to a country or a state.

这不是我看待舞蹈的方式。舞蹈属于大家，它不属于一个国家或者一个洲。

Q13

What‘s your best advice for young performers？

你对年轻的舞者有什么建议？

Take it time, there are a lot of microwave dancers nowadays. They just make microwave popcorns, they just take one or two classes, real popcorns take like ten minutes, microwave popcorns take two times.

花点时间，现在圈子里有很多微波炉舞者。 他们就像微波炉爆米花，他们只上一俩节课，真正的爆米花需要花费10分钟时间，微波炉爆米花仅需2分钟。

This is how the dance community now, they took like two or three classes or they win two or three contests and now they think they are teachers that’s was not doing anything for dance.

这就是现在舞蹈圈所面临的情况，他们只上俩到三节课，或者他们赢得了两到三场比赛，他们就认为自己能做老师了，这其实对跳舞一点帮助都没用。

Dance is like myself, dance is like Wiggles Poppin’Pete Stretch we been doing like 20,30,40 years. I think it's important to learn the original steps for original dancers. I supposed to over copy and copy and copy.

舞蹈就像我，就像Wiggles，Poppin’Pete和Stretch我们一直坚持跳舞,花费了将近20年、30年甚至40年，我觉得从那些OG身上学习最原始的舞步是非常重要的，我过去也是一遍遍的复制不停地复制OG们的舞步。

▲Poppin’Pete

We have like so many generations of dancing now, if I was showing you my technique and then that teacher take my technique and then the student started to teach and their students become teacher. After a while, a lot of dancers started look very robotic.

如果我向你展示我的舞技然后某位老师学了我的舞技然后开始教课并且他们的学生在一段时间后也成为了老师，日积月累下来他们的舞蹈会看起来非常机械化。

And then they forgot that feeling, it's very important part of dance, robots don’t have hearts and you have to dance with your heart, you have to use the human part of it and it's not about competitions or using dance as a weapon, it's about dance being an art and using your artistry and also to create art. If i can  give people incentive to be artisit themselves, then my job is done.

然后他们忘记了感知是舞蹈中非常重要的一部分，机器人没有心脏，你必须用你的心去跳舞，你必须使用你作为人类的一部分来跳舞，这不是关于比赛或把舞蹈作为武器，它是关于舞蹈作为一门艺术，学会使用你的艺术并且去创作艺术，如果我能激励人们成为艺术家，那我的使命就完成了！

正如Ejoe所说House Music诞生在芝加哥，但是House Dance是诞生在纽约的，无论是Hip-Hop爆发的年代还是House爆发的年代，他都身处其中，更喜欢House的原因则是因为House能给自己带来更多的自由，所以大家在这次The Circle Party上感受到自由了吗?Do You Remember House?再次感谢此次活动的所有赞助商和前来玩乐的观众与选手们。

另外Hiro Suzuki的专访稿也即将释出

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