Please enjoy this genius classical parody of the ‘90s dance hit ‘I Like to Move It’
29 January 2020, 14:43
Last year, these classical musicians treated us to an amusing rendition of Aqua’s ‘Barbie Girl’ – and now they’re back with an unconventional cover of Reel 2 Real’s electro dance hit.
If you’re a die-hard classical music fan then brace yourself: this entirely ridiculous new cover of Reel 2 Real’s 1994 dance hit, ‘I Like to Move It’, has been designed to make you laugh out loud.
Originally written by DJ Erick Morillo and rapper Mark Quashie, the infectious song became instantly popular on the music scene, peaking at number 89 on Billboard’s Hot 100 chart and reaching number 5 on the UK Singles Chart.
It also featured on the soundtrack for the 2005 animated film, Madagascar, and has since been used in numerous adverts, TV shows and video games.
Now, Swiss mezzo-soprano Stephanie Szanto and pianist Simon Bucher, known together as The High Horse, have inspired the world with their humorous new take on the song – and quite frankly, it’s giving us all life.
In the video (watch above), we see Bucher introduce that famous riff on possibly the world’s tiniest keyboard, while Szanto sits beside him looking edgy.
Read more: Someone made a classical version of ‘Barbie Girl’ because the world is ending >
The High Horse perform a classical parody of ‘I Like to Move It’. Picture: The High Horse
A few bars in, she starts warbling the words, “I like to move it, move it” – but there’s no sign of gritty ragga vocals here, only an expertly executed aria.
Couple that with retro sunglasses, startling dissonance and some rather... interesting choreography, and we’re hooked.
While the original version of the song gave us drum loops and synths, this classical parody gives us vibrato and piercing high Gs.
After hearing The High Horse’s whacky version of Aqua’s ‘Barbie Girl’ last year (and loving it), we had high hopes for this latest collaboration, and we weren’t left disappointed.
If you’ve liked what you’ve heard so far then fear not, The High Horse have a whole album of ’90s parodies for you to enjoy, titled Best of Worst Vol. 1.
Speaking about their musical approach, Bucher has said: “Our professional education and training as classical musicians is somewhat comparable to that of a dressage horse.
“If we keep that image: what could happen when two highly trained dressage horses with all their skills bolt and jump over their fence?”
The result is a collection of unusual covers, including Eiffel 65’s ‘Blue (Da Ba Dee)’, Right Said Fred’s ‘I’m too sexy’, Village People’s ‘In the Navy’ and Rednex’s ‘Cotton Eye Joe’.
Listen to the album below. You’re welcome.
Hiplet Ballerinas offer a new spin on classic dance
Ballerinas dancing en pointe, plus modern hip-hop choreography and music, equals the phenomena that is Hiplet Ballerinas.
The Hiplet Ballerinas bring their unique blend of classical pointe technique, hop-hop and urban dance styles to the McAninch Arts Center at 7:30 p.m. Feb. 8. A free post-show discussion with members of the ensemble will take place immediately following the performance.
Based out of the Chicago Multi-Cultural Dance Center (formerly the Bryant Ballet School and Company), Hiplet Ballerinas was founded by Homer Hans Bryant, former principal dancer with the world-renowned Dance Theater of Harlem and former member of Prima Ballerina Maria Tallchief’s Chicago City Ballet.
Bryant created the technique in 2008.
“When people ask me about Hiplet, I always say, ‘Hiplet — evolution or revolution? You decide,’” he said. “However, Hiplet is an innovative form of dance that fuses classical pointe technique with African, jazz, Latin and hip-hop and also urban movements. Hiplet is sassy, hypnotic and exciting. It is entertaining and educational. It is mind-blowing and fabulous.”
If you like ballet, you will appreciate the grace and poise of classical movement, Bryant said. And if you are into other forms of dance, you will be mesmerized by the ebb and flow of the contemporary and urban movements, he said.
“These movements represent a very strong and powerful perspective, male and female,” he said. “Hiplet is all about empowerment.”
It started out as a way to relax and unwind on a Friday evening — he called it “rap ballet,” and some of it was literally street dances put en pointe, he said.
“It became so natural for them,” he said.
He was posting videos online and even choreographed some of it for Universal Circus. Shortly after that he trademarked the name “Hiplet,” “and the rest is history,” Bryant said.
It wasn’t immediately embraced. He took flak for those Instagram videos — people commented that he was ruining ballet and risking injury to his dancers.
“Somehow, Buzzfeed picked it up and it started to go viral,” he said. “We (went) to New York to dance on ‘Good Morning America.’ Then it went crazy.”
They traveled to Germany and shot a commercial for Mercedes Benz and went to Fashion Week in Paris. They’ve shot commercials for Old Navy and other brands.
“Little by little, we’re doing great things,” he said. “We’re traveling around and opening a lot of kids’ eyes — and grown-ups, too — to a different kind of dance.”
There are men in the company who are not en pointe but do partner work and hip-hop dancing, he said.
“We’re having a beautiful time right now,” he said.
They’re already booked into 2022, he said.
The program is comprised of several different dances and has costume changes as well.
People should expect pure entertainment, he said.
“And they will recognize a lot of the music,” Bryant said. “It is a fabulous, entertaining show. They will walk away and hopefully tell their friends.”
Where: McAninch Arts Center at the College of DuPage, 425 Fawell Blvd., Glen Ellyn
Annie Alleman is a freelance reporter for the Naperville Sun.
50 FORWARD: Dance Theatre Of Harlem Announces Annual NYC Season
The celebration continues this spring for the illustrious Dance Theatre of Harlem, following over a year of performances that both commemorated its 50th anniversary and paid tribute to its late, legendary co-founder, Arthur Mitchell. A former New York City Ballet dancer and the first black dancer to be elevated to Principal, Mr. Mitchell's extraordinary, trailblazing vision for ballet thrives well into the 21st century through DTH's performances across the country and around the world. Along with master teacher Karel Shook, Arthur Mitchell challenged perceptions of what classical ballet could be and created new opportunities for artists to join him in changing the landscape of the arts. Dance Theatre of Harlem's 2020 season builds on this monumental legacy while looking to the future of ballet.
Dance Theatre of Harlem will kick off its New York City Center homecoming season with its annual Vision Gala on April 15 with an evening titled 50 Forward, setting a vision for DTH's next 50 years. Bringing together the company's past and future, the evening will feature the New York premieres of both a richly expanded version of Annabelle Lopez Ochoa's recent hit Balamouk, featuring a live performance by Grammy-winning klezmer band The Klezmatics, and excerpts from Resident Choreographer Robert Garland's soon-to-be-titled new ballet. Company member Dylan Santos stages Odalisques Variations from Petipa's Le Corsaire, and the company pays tribute to late Grammy-winning operatic star and DTH Board of Directors member Jessye Norman with Arthur Mitchell's Balm in Gilead.
Future Forward, two evenings of repertoire performances, will follow the annual Vision Gala with a bill comprised completely of New York premieres. A new work from Robert Garland will receive its full-length debut on an exhilarating mixed bill with three female choreographers who move the company and the dance world as a whole. Lopez Ochoa's Balamouk (Extended) continues on the bill with Claudia Schreier's Passage, created in recognition of the 400th anniversary of the arrival of the first enslaved Africans to the United States in 1619 with live music by composer Jessie Montgomery. Rounding out the evening is Pam Tanowitz's Gustave Le Gray No. 1, danced in a moving collaboration by DTH dancers Stephanie Rae Williams and Anthony Santos and New York City Ballet's Ashley Bouder and Anthony Huxley accompanied on-stage by pianist Sylvia Jiang.
Dance Theatre of Harlem's 50 Forward New York City Center Programming
WEDNESDAY, APRIL 15 at 7PM 50 Forward: 2020 Vision Gala
Untitled New Work (Excerpts) Robert Garland
Odalisques Variations from Le Corsaire Dylan Santos after Marius Petipa
Balm in Gilead Tribute to Jessye Norman Arthur Mitchell
Featuring Alicia Graf Mack, Lindsey Donnell and Chloe Edwards
Piéce d' Occasion featuring students from the Dance Theatre of Harlem School
Balamouk (Extended) NY Premiere Annabelle Lopez Ochoa
With live accompaniment by The Klezmatics
2020 Vision Gala Dinner and Dancing at the Ziegfeld Ballroom follow the performance. Tickets start at $1500. For more information or to purchase tickets, info@dwightjohnsondesign.com
or (212) 889-4694.
FRIDAY, APRIL 17 at 8PM Future Forward
Untitled New Work - NY Premiere Robert Garland
Gustave Le Grey No. 1 - NY Premiere Pam Tanowitz
With New York City Ballet's Ashley Bouder and Anthony Huxley
Passage - NY Premiere Claudia Schreier
Balamouk (Extended) - NY Premiere Annabelle Lopez Ochoa
With live accompaniment by The Klezmatics
50 Forward: Post Performance Talk
Stay after the Friday night performance for a provocative conversation as we map the future of Dance Theatre of Harlem and Women Who Move Us, the DTH initiative established to develop and support the creative work of female choreographers, with guest moderator WQXR's Terrance McKnight.
SATURDAY, APRIL 18 at 12:45PM Pre-Show Family Dance Class
Share a joyful dance experience with your little ones prior to the performance, from 12:45-1:30pm.
Ages 5-8; 10 each, including accompanying adult(s). Pre-registration required.
SATURDAY, APRIL 18 at 2PM Family Matinée
Untitled New Work - NY Premiere Robert Garland
Odalisques Variations from Le Corsaire Dylan Santos after Marius Petipa
A Special Performance by the Dance Theatre of Harlem School
Balamouk (Extended) - NY Premiere Annabelle Lopez Ochoa
With live accompaniment by The Klezmatics
Meet the Ballerina Event Immediately Following the Performance
SATURDAY, APRIL 18 at 8PM Future Forward
Untitled New Work - NY Premiere Robert Garland
Gustave Le Grey No. 1 - NY Premiere Pam Tanowitz
With New York City Ballet's Ashley Bouder and Anthony Huxley
Passage - NY Premiere Claudia Schreier
Balamouk (Extended) - NY Premiere Annabelle Lopez Ochoa
With live accompaniment by The Klezmatics
Closing Night Party
For Saturday Evening ticket holders 21 years of age and older. Space is limited.
Pre-registration is required after ticket purchase.
Dance Theatre of Harlem closes out its year-long 50th anniversary celebration with a program looking forward to its next 50 years. From April 15-18, the company will perform four shows in New York City, opening with its annual Vision Gala, at New York City Center (131 West 55th Street). For more information about Dance Theatre of Harlem, please visit www.DanceTheatreOfHarlem.org.
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