The Evolution of Popping and Locking in New Zealand: Aotearoa's Unique Street Dance Narrative

 

Introduction: Aotearoa's Rhythmic Pulse – The Unique Narrative of New Zealand Street Dance

The history of street dance in New Zealand presents a profound and dynamic narrative, particularly regarding the evolution of popping and locking. This journey, alongside the foundational breaking, stands as a testament to cultural adaptation, artistic expression, and robust community building across the motu. While deeply intertwined with global hip hop culture, this narrative is distinctly shaped by Aotearoa's unique spirit and its diverse communities.

This report posits that the adoption and evolution of popping and locking in New Zealand were not merely a replication of global trends. Instead, they were profoundly influenced by a complex interplay of international media exposure and crucial direct kinship connections, further shaped by the socio-cultural needs and aspirations of Māori and Pasifika youth. This multifaceted transmission process led to a unique local interpretation and integration of these dance forms within the New Zealand cultural landscape. The transmission of hip hop influence into New Zealand was facilitated through dual channels. Films such as The Warriors, Flashdance, and Beat Street played a role in popularizing the culture.1 However, equally significant were the direct kinship connections originating from American Samoa, extending via Western Samoa.1 This dual pathway indicates that the cultural transmission was not solely a top-down, media-driven phenomenon, but also a grassroots, person-to-person exchange. This suggests a more organic and deeply embedded cultural adoption, rather than a superficial or transient trend. Kinship networks imply direct teaching, cultural exchange, and adaptation within existing social structures, making the integration of hip hop more profound and resonant for specific communities, particularly Pasifika youth. This nuanced understanding of cultural diffusion highlights the agency of local communities in shaping global cultural flows, moving beyond a simple replication of imported forms.

Chapter 1: The Genesis of Groove – Early Footprints and the "Bop" Era (1980s)

The foundational period of street dance in New Zealand, primarily the 1980s, witnessed the initial influences, the emergence of key styles, and early efforts in community building and cultural integration. The seeds were sown with the introduction of B-boying (breaking), popping, and locking.

Global influences converged to shape this nascent scene. American media, particularly iconic films like The Warriors (1979), Flashdance (1983), and Beat Street (1984), were instrumental in bringing hip hop dance and music to a wider global audience.1 In New Zealand, these films played a crucial role in legitimizing street dance efforts and significantly boosting the confidence of Māori and Pacific Islander youth engaging with these new forms.1 Concurrently, and equally crucially, direct kinship connections from American Samoa, via Western Samoa, provided a vital person-to-person cultural transfer of hip hop influence.1 This dual channel of transmission meant that the dance forms were not simply consumed passively but were actively embodied and shared through existing social networks. Globally, locking and popping emerged in California as distinct "funk styles," contrasting with breaking, which originated in New York.3 The Lockers, founded by Don "Campbellock" Campbell and Toni Basil, were pivotal in popularizing locking 5, while the Electric Boogaloos were central to the global spread of popping.3 This international context provides the backdrop against which New Zealand's unique adaptation unfolded.

In this early stage, a distinctive local terminology emerged. The term "bop" became widely used across New Zealand to encompass breaking, popping, and locking, reflecting a localized pronunciation of "popping".1 This linguistic adaptation is a significant indicator of how global cultural forms were not merely adopted but actively re-interpreted and integrated into local vernacular and cultural practices. This unique terminology demonstrates an organic, grassroots adoption and integration of hip hop into the local cultural fabric, particularly influenced by Samoan communities. It suggests that the dance was not simply replicated but actively re-interpreted and owned within New Zealand, moving beyond a simple import to become a distinct local phenomenon. Breaking, as the first hip hop element to arrive, gained notoriety after

The Warriors and was established in urban centers like Wellington and Christchurch by the mid-1980s.1

Wellington quickly emerged as an early hub for specific dance styles, largely due to the efforts of K.O.S.-163, also known as Kosmo Faalogo. After a visit to Los Angeles, Kosmo introduced "popping" to the city and was instrumental in forming some of the earliest dance crews, including Chain Reaction and Twilite Thrillz.1  Another influential figure, Zed Nufable (Mr. Zee), honed his foundational street dance skills in the Philippines during the 1980s, an international exposure that would profoundly shape his later contributions to the New Zealand scene.

This era also witnessed crucial cultural hybridization and integration into local media. Joe Moana's cameo dance segments in the music video for the Pātea Māori Club's 1984 hit "Poi E" were particularly notable.12 This early fusion of global hip hop with indigenous Māori culture set a significant precedent for the unique cultural hybridization that would define New Zealand dance. The "Shazam Bop Competition," a televised national event in 1985, further increased exposure for breaking and popping, signaling early mainstream acceptance and national promotion of these dance forms.12 Concurrently, the burgeoning local street dance scene was documented in the 1985 book "Street Action Aotearoa" by Mark Scott and Peter Black.12 The formation of Upper Hutt Posse in 1985, who later released "E Tu," New Zealand's first bilingual rap song, further showcased a broader cultural movement that fused Māori culture with hip hop [User Query].

Despite this growing visibility, the widespread "dancing in the streets" during the summer of 1983/84 13 was met with societal apprehension. Dancers were often labeled "unemployed," "street kids," and "troublemakers," leading to public complaints about noise and blocked footpaths.13 This pressure from city councils, church groups, and commercial interests rapidly pushed street dancing

off the streets and into more formalized, commercial spaces.13 National competitions and challenges, often sponsored by radio stations and fast-food companies, became more prevalent.13 This shift represents a complex and often paradoxical relationship between popularization and authenticity in cultural movements. While national competitions and media exposure brought visibility and legitimacy, they simultaneously removed the dance from its raw, spontaneous street origins, potentially diluting its "free and urban nature".13 This tension between commercialization/formalization and grassroots authenticity is a recurring theme in the history of many cultural forms, including hip hop. It also implies a shift in the

purpose of the dance – from community expression and identity formation to competitive performance and entertainment. Despite these pressures, some groups organically incorporated moves from the Sa Sa (Samoan slapdance) and traditional Cook Islands dance, demonstrating an early and resilient form of cultural fusion.13 This period also highlights that breakdancing gained significant popularity among youth, particularly Māori youth, as a powerful means of recognition and identity. It offered an alternative path to achievement for those who had limited opportunities in traditional schooling or sports.1 This reveals a profound socio-cultural function of street dance in early New Zealand. Beyond mere entertainment, it served as a vital mechanism for self-assertion and community building for youth who might have felt marginalized by mainstream society. The dance offered a structured, competitive, yet expressive outlet for talent and energy, fostering a sense of belonging and achievement that traditional avenues might not have provided.

Chapter 2: Maturation and Diversification (1990s)

The 1990s marked a pivotal period of maturation for New Zealand hip hop culture, leading to the development of a distinct local identity and achieving notable commercial success [User Query]. This decade signified a crucial transition from a marginalized street phenomenon to a recognized and commercially successful cultural force.

The integration of House music, with its unique footwork and body isolations, became a central part of nightlife across Aotearoa. This broadened the spectrum of dance influences beyond the initial focus on breaking, popping, and locking, indicating a growing openness to diverse urban dance forms. Local artists, such as Chain Gang, began releasing charting singles, which further demonstrated the increasing acceptance and commercial viability of dance-infused music within the mainstream.

This decade also witnessed the significant rise of the Urban Pasifika sound. Landmark releases like Sisters Underground's "In the Neighbourhood" (1994) and OMC's global hit "How Bizarre" (1995) solidified Auckland's reputation as a cultural epicentre for this burgeoning movement [User Query]. The global success of artists like OMC suggests that the underlying rhythms, aesthetics, and energy of street dance had permeated broader popular culture, moving beyond the dance floor to influence music production and contribute to a distinct national identity. This period laid essential groundwork for the professionalization and institutionalization that would characterize the 2000s, demonstrating how cultural forms can evolve from niche subcultures to mainstream cultural drivers.

Chapter 3: Professionalisation and Exponential Growth (2000s-2010s)

The turn of the millennium and the subsequent decade witnessed the professionalisation and exponential growth of New Zealand street dance, particularly in popping and locking. This expansion was significantly driven by influential individuals and the establishment of dedicated spaces that fostered talent and community [User Query]. This period demonstrates a clear evolution from informal, self-taught beginnings to a highly structured and multi-faceted ecosystem. The scene matured to create formal educational pathways, professional opportunities, and community-driven initiatives, indicating a conscious effort to sustain, legitimize, and expand the dance form beyond its subcultural roots, ensuring its longevity and broader societal impact.

Foundational Figures Shaping the Scene:

Key individuals played pivotal roles in shaping and advancing the New Zealand street dance scene during this period. Their diverse backgrounds and contributions underscore the multi-faceted nature of the scene's development.

Name

Primary Styles

Key Contributions

Notable Affiliations/Crews

Relevant Dates

Josh Mitikulena (Kokonut)

Breaking, Hip Hop, Popping

Founded influential crews; fostered accessible, community-focused environments; created culturally integrated productions.

Hopskotch Dance Crew (Founder, 2008), The Projekt Team (Founder, 2014)

2001-2014+

Kat Walker (Katto Lock)

Breaking, Locking, All-Styles

Global competitor and performer; academic integration of street dance; teacher and champion battler.

Triple8funk, Hopskotch, IDCO

2005-2019+

Zed Nufable (Mr. Zee)

All-Styles, Popping

Co-founded a leading dance academy; President of a key squad; influential judge; international competitor.

En Beat Dance Academy (Co-founder, 2019/2020), 603 Boogie Squad (President)

1980s (Philippines), 2003+ (NZ)

Rina Chae

Waacking, House, Vogue, Hip Hop, K-pop choreography

Co-founded a leading dance academy; bridges NZ with global K-pop industry; K-pop agent, choreographer, TV presenter.

En Beat Dance Academy (Co-founder, 2019/2020), Candee Collective (Director), Imperial House of Waacking (Mother)

2009+ (LA), 2014+ (NZ)



Mase Boog

Popping, Boogaloo

Preserves legacy of popping/boogaloo; direct lineage to Electric Boogaloos; experienced judge.

Electric Boogaloos family, Star Connection

25+ years expertise

Lawrence Liew

Popping

Actively builds Auckland popping scene; teaches beginners; competitive dancer.

Auckland Popping Community, Auckland Central Dance Studios

Contemporary

  • Josh Mitikulena (Kokonut): Mitikulena's journey into street dance began in 2001, where he was self-learning breaking through television and the internet, showcasing the continued influence of media in inspiring new generations of dancers [User Query]. By 2004, he immersed himself in the breaking community after attending a workshop in Lower Hutt. This foundational engagement led him to establish Hopskotch Dance Crew in 2008 and later The Projekt Team in 2014.14 Mitikulena's vision for The Projekt Team was distinctive: he aimed to create an open and accessible environment that united dancers from various backgrounds, free from prohibitive fees or rigid commitments.14 This approach directly addressed potential barriers to entry in more formal dance settings, fostering a more inclusive community. His philosophy of accessibility is further underscored by his belief that hip hop dance can be performed anywhere, emphasizing that one does not need "ballet shoes" or a "uniform," but can simply "use what you got" on "the grass" or "the street".15 This reinforces the grassroots, inclusive nature he champions.

  • Kat Walker (Katto Lock): A prominent figure since 2005, Kat Walker initiated her dance journey by learning breaking and locking. Her versatility and central role in the scene are evidenced by her global competitions and performances with notable crews such as Triple8funk, Hopskotch 16, and IDCO.17 Walker's contributions extend beyond performance; she holds a Master's in Dance from the University of Auckland and is a qualified secondary school dance teacher. This academic and pedagogical background signifies the increasing formalization and academic recognition of street dance as a legitimate art form and educational discipline. Her competitive prowess is highlighted by her being the reigning two-time champion of the ‘Long Live the Queen’ all-style battles in 2018-2019. Her professional presence in the dance community is further confirmed by her dedicated website.18

  • Zed Nufable (Mr. Zee): Mr. Zee is a highly respected and influential figure, actively battling, competing, and representing New Zealand on the international stage since 2003. Notably, his foundational street dance skills were honed in the Philippines during the 1980s, providing him with a unique international perspective that deeply informed his later contributions to the New Zealand scene. In a significant move to formalize street dance education, Mr. Zee co-founded En Beat Dance Academy with Rina Chae in either 2019 or 2020, where he serves as co-owner and director.19 His leadership extends to his role as President of the 603 Boogie Squad and his esteemed position as an experienced judge for major street dance events in New Zealand and Australia [User Query]. His judging role underscores his authority and deep understanding of the intricacies of street dance styles, including his participation as a judge for the "Pop, Lock & Break it" 3v3 Street Dance Battle.21

  • Rina Chae: Rina Chae, co-founder of En Beat Dance Academy with Mr. Zee 19, has a compelling personal and professional narrative. Born in South Korea in 1982, she moved to New Zealand at age ten. She faced significant disapproval for dancing as a Korean woman within her community, an experience she credits with fueling her ambition and drive.22 After graduating with a dance degree from the University of Auckland, she moved to Los Angeles in 2009, where she trained and performed with global artists such as Beyoncé and Justin Bieber.22 This period provided her with invaluable international commercial dance industry experience. Upon returning to New Zealand in 2014, she identified a gap in the local dance community that she felt compelled to fill.22 Chae is widely recognized for bridging New Zealand with the global dance industry, particularly K-pop, through her extensive choreographic work for international artists like BoA, Monsta X, and SF9, and her role as a K-pop agent.22 She is known as 'NZ’s Queen of K-Pop' and hosts TVNZ's

    K-Pop Academy, a reality show that transforms young Kiwis into K-pop stars.22 Her leadership extends to co-presenting 'HERSTORY' – Ladies of Hip Hop Aotearoa, serving as the Mother of Imperial House of Waacking (NZ chapter), and acting as Dance Liaison for Red Bull ‘Dance Your Style’ 2023.22 Her marriage to Mr. Zee, celebrated at their En Beat Dance Academy 19, symbolizes the profound personal investment in their shared vision for the academy and the broader dance community.

  • Mase Boog: A seasoned dancer from Wellington, Mase Boog boasts 28 years of dance expertise, with 25 years specializing in popping and boogaloo (boog style) [User Query]. His dedication to preserving the legacy of popping and boogaloo is evident in his status as a devoted disciple of Suga Pop and a proud member of the Electric Boogaloos family. This direct lineage to the global pioneers of popping is highly significant, ensuring the authentic transmission of the style within New Zealand. He has also served as a popping judge for events such as the "Art of War" battles 27 and is a part of the electric boogaloo dance group Star Connection with Future Fame.28

  • Lawrence Liew: Lawrence Liew is a key figure in Auckland, recognized for his specialization in popping and his active role in building the city's popping street dance scene. He is dedicated to teaching beginners and maintains a rigorous personal practice, training almost daily [User Query]. His talent has been recognized internationally, as he was selected among the top 8 dancers in Destructive Steps 5 in Sydney, one of Australasia's most prestigious street dance competitions [User Query].

Key Crews and Collectives: Pillars of the Community:

The exponential growth of New Zealand street dance was also propelled by the establishment and flourishing of numerous dedicated crews and collectives, each contributing uniquely to the scene's development.

Crew/Organisation Name

Founding Year

Primary Styles/Focus

Key Productions/Events

Ethos/Mission

Notable Members (if applicable)

Hopskotch Dance Crew

2008

Hip Hop Dance, Cultural Integration

"Kiwiana" (2013), "Musicality" (2010), All-Stylez battle winners, National Hip Hop Championships, HHI Hip Hop Dance Championships finals

Innovative Hip Hop dance, integrating NZ cultural themes, family atmosphere

Josh Mitikulena (Founder), Kat Walker, Renee Sharp, Seidah Tuaoi, Pauline Hiroti, Lu-Kerne Lee

The Projekt Team

2014

Various Street Styles (Hip Hop, Popping, Locking, Krump, Bboying)

Britomart Backyard Dance Battles (monthly), "Ko Au" (2022), Projekt Feel Good (annual), Fusion Concept NZ Qualifier

Unite dancers without prohibitive fees/rigid commitments; open, accessible environment; artistic expression beyond battles

Josh Mitikulena (Founder), Mele Ta'e'iloa, John Vaifale, Sejoo Han, Sheldon Rua, Daniel Jang, Markie Mark

En Beat Dance Academy

2019/2020

Breaking, Hip Hop, House, Locking, Popping, Vogue, Waacking, K-pop, Commercial

Weekly jams, overseas tutor workshops, K-Pop Academy (TV show)

Comprehensive training, mentorships, K-pop idol training, commercial talent agency, bridging local to global industry

Rina Chae (Co-founder), Mr. Zee (Co-founder)

603 Boogie Squad

N/A

Hip Hop Freestyle, House, Popping

"@apex_poppers_challenge" (DJ Mano), "Pop, Lock & Break it" 3v3 Street Dance Battle (winners), Youth Division - All Styles at Step Ya Game Up 2023 (Stacey Meng)

Nurturing broader dance environment through leadership, judging, event organization, education

Mr. Zee (President), DJ Mano, Josh "JR" Rumbold, John "JB" Bernardno (JB Prevail), Tanky Zhong, Gabriel "Gabe" Nito, Daniel Bispo, Stacey "8face" Meng, Hayley Chow

Street Talk

2015

Christian Hip-Hop, Breaking, Popping, Locking

Annual summits, "Pop, Lock & Break it" 3v3 Street Dance Battle, "Art of War" battles, "Horizons" (production)

Community building through workshops and battles, cultural storytelling (Asian migrant themes)

Taupuhi 'Taups' Toki (Bboy Papa Smurf - Founder)

Auckland Popping Community (APC)

2012 (Hozin Workshop)

Popping (all levels and styles)

Jams, busks, performances, showcases (e.g., APC x InStance Movement Chinese Night Performance 2015)

Documenting and fostering the popping scene, welcoming all levels, free jam sessions

Lawrence Liew (specialist)

Auckland Central Dance Studios

N/A

Various Styles (Popping, Break Dance, Waacking, House)

Classes across various styles

Hub for diverse street dance training

Lawrence Liew, Jamie Park (YT), Jaydess Nand, Jazmine Cox

Kinetic Dance Studio

N/A (new studio)

Hip Hop, K-Pop, House, Choreography, Heels, Funk, Waacking, Krumping, Locking

Classes across various styles

New physical space for diverse street dance training

Mitchell Yee (Founder), Matthew Yee, Timothy Choy

Candee Collective

N/A (formerly Street Candee)

Choreography, Commercial Dance, Street Dance Battles (Waacking, House, Vogue, Hip Hop, Popping)

N/A

Multidisciplinary excellence

Rina Chae (Director/Founder), Natasha Katavich

XIII WRLD Collective

N/A

High-performance street dance, Krump

N/A

Developmental program, international representation

Byrin Mita (Founder), Samuel Han (Kidd XIII), Stacey Meng (Baby XIII/8face)

NZ Campbellockers / NZ Lockers

N/A

Locking (original Campbellocking style)

Jams, workshops, battles

Preserving and promoting authentic Campbellocking, educating new dancers

John Bernardo (JB/Prevail)

  • Hopskotch Dance Crew: Founded and choreographed by Josh Mitikulena in 2008, Hopskotch Dance Crew made significant artistic contributions through innovative Hip Hop dance. Their signature production, "Kiwiana" (2013), uniquely integrated street dance with New Zealand cultural themes.16 This production was critically acclaimed for its "fresh perspective" and the "joy evident in the dancers," showcasing a strong "family" atmosphere within the company.16 "Kiwiana" featured segments like "Goodnight Kiwi," "NZ on Air" (including Josh Mitikulena's memorable gumboot solo), "Story Time," "Tall Poppy," "Bus Stop," "Buzzy Bee," and "Fish and Chips," all drawing from iconic New Zealand cultural references.16 Key members included Kat Walker, Renee Sharp, Seidah Tuaoi, Pauline Hiroti, and Lu-Kerne Lee.16 Hopskotch also presented "Musicality" in 2010 and were winners of the All-Stylez battle. Their association with the "City Dance every Friday night" popping jam and their participation in the National Hip Hop Championships and HHI Hip Hop Dance Championships finals further solidified their presence in the scene.

  • The Projekt Team: Established in 2014 by Josh Mitikulena, The Projekt Team emerged with a distinct ethos: to unite dancers from various backgrounds without imposing prohibitive fees or rigid commitments.14 This approach fostered an open and accessible environment, reflecting a conscious effort to democratize dance access and prioritize community over strict commercial structures. Key members include Mele Ta'e'iloa (MarshMele), specializing in Locking and serving as Head of Learning Area for Manurewa High School's Dance department; John Vaifale (Happyfeet), a prominent Hip Hop dancer, freestyler, breakdancer, and popper; Sejoo Han, recognized as a popping judge and a winner of the "Pop, Lock & Break it" 3v3 Street Dance Battle; Sheldon Rua, an accomplished Krump dancer; Daniel Jang, a Bboy and member of "Mighty Zong Kitchen"; and Markie Mark, also a Bboy.21 The Projekt Team conceptualizes and organizes the monthly Britomart Backyard Dance Battles in Auckland, providing a consistent competitive space and an excellent spectator sport.14 Their inaugural full-length work, "Ko Au" (2022), was an intimate dance installation drawing inspiration from diverse cultural narratives and integrating styles like popping and traditional Siva Samoa.30 This production aimed for deeper artistic meaning beyond the competitive battle scene.30 They also host Projekt Feel Good, an annual Hip Hop and Street Dance experience . Individually, John Vaifale achieved significant recognition by winning the Red Bull Dance Your Style NZ qualifier and competing in the world finals [User Query]. The Projekt Team also hosts the Fusion Concept NZ Qualifier, with the winning duo earning a trip to the world finals in Paris.

  • En Beat Dance Academy: Co-founded by Rina Chae and Mr. Zee in either 2019 or 2020, En Beat Dance Academy represents a significant step in the formalization of street dance education in New Zealand.19 It offers comprehensive training in foundational street styles, including Breaking, Hip Hop, House, Locking, Popping, Vogue, and Waacking.19 This broad curriculum reflects the growing diversity and professionalization of street dance education. The academy actively fosters community by hosting weekly jams, where DJ Mano regularly spins, providing a consistent space for practice and connection. They also frequently offer workshops led by overseas tutors, demonstrating a commitment to international standards and knowledge exchange.20 En Beat's holistic approach extends to providing mentorships, K-pop idol training, and operating a commercial talent agency, thereby bridging dance training directly with professional opportunities in the industry.19

  • 603 Boogie Squad: Led by Mr. Zee as President, with DJ Mano as a key representative, the 603 Boogie Squad focuses artistically on Hip Hop Freestyle, House, and Popping. The squad boasts a diverse roster of talented members, including DJ Mano (Popping, creator of "@apex_poppers_challenge," and a seasoned battle DJ for weekly jams at En Beat and monthly Vulcan Lane battles), Josh "JR" Rumbold (Popping), John "JB" Bernardno (also known as JB Prevail) (Locking, House, Krump), Tanky Zhong (Popping, Locking, Waacking), Gabriel "Gabe" Nito (House, Hip Hop, Bboy, Popping, Locking), Daniel Bispo (Popping, Locking, Hip Hop, Bboy, House), Stacey "8face" Meng (Bgirl, Krump, House, Hip Hop, Locking, Popping, Waacking), and Hayley Chow (Popping) [User Query]. The diversity of styles within this single squad highlights the interconnectedness and collaborative spirit prevalent in the scene. Their achievements include Daniel Jang and Tanky Zhong, representing "Mighty Zong Kitchen," winning the "Pop, Lock & Break it" 3v3 Street Dance Battle in July 2022.21 Stacey "8face" Meng also achieved international acclaim by winning the Youth Division - All Styles at Step Ya Game Up 2023 in New York City. The squad's influence extends beyond competition wins, primarily through its leadership's deep involvement in nurturing the broader dance environment through judging, event organization, and education.

  • Street Talk: Coined in 2015 by Taupuhi 'Taups' Toki (Bboy Papa Smurf), Street Talk distinguishes itself by focusing on Christian Hip-Hop events aimed at fostering community through workshops and battles.32 They host annual summits that include workshops on various Hip Hop elements, such as Breaking and Popping.27 Notable events include the "Pop, Lock & Break it" 3v3 Street Dance Battle, which was part of the Asian(Sound)Scapes event in July 2022 and again for Lunar New Year in February 2024.27 This specific battle format features 3v3 crews with members representing Bboying/Bgirling, Popping, and Locking. The 2022 event's judging panel featured prominent figures like Mr. Zee (Popping), Mele Ta'e'iloa (Locking), and Bboy Ducky (Breaking), with DJ Mano on the decks and Bboy Papa Smurf as MC, illustrating the interconnectedness of key figures across different organizations [User Query]. The upcoming "Art of War" battles (February 2025) will also include Popping, Locking, and Breaking battles, with Mase (Popping), Sayo (Locking), and NJ (Breaking) as judges, and Taups as MC.27 Street Talk's artistic endeavors also include pieces like "Horizons," which explores Asian migrant themes in Aotearoa New Zealand through street dance, visual imagery, and music, acknowledging those who came before.32 This highlights the cultural depth and narrative focus of their work, using dance as a medium for complex cultural storytelling.

  • Auckland Popping Community (APC): The Auckland Popping Community serves as an official channel documenting jams, busks, and performances, welcoming dancers of all levels and styles. Their content includes "APC x InStance Movement Chinese Night Performance 2015," "Auckland Popping Community Showcase in Auckland University," and various busking videos on Queen Street [User Query]. They also hosted a Hozin Workshop Showcase in 2012. Kinetic Dance Studio provides support to APC. The APC notably offers beginner-friendly popping classes and free jam sessions every Friday, emphasizing accessibility and community building.33 They have operated from various locations, including Movementum Dance Studio and previously Kinetic Dance Studio.33

  • Auckland Central Dance Studios: This studio functions as a central hub providing classes across various street dance styles. Lawrence Liew is particularly highlighted for specializing in popping and for his active role in building the popping street dance scene in Auckland. He dedicates himself to teaching beginners popping and maintains an almost daily personal practice. Other instructors at the studio include Jamie Park (YT), who teaches Break Dance and has won the "603 Session Battle"; Jaydess Nand, who instructs Waacking; and Jazmine Cox, who focuses on House Dance and introduced "HOUSE DANCE NZ". This demonstrates the studio's commitment to fostering a diverse range of street dance styles.

  • Kinetic Dance Studio: A relatively new studio located in Auckland CBD, Kinetic Dance Studio was founded by Mitchell Yee, who brought his vision to New Zealand with his brother Matthew Yee and cousin Timothy Choy. Kinetic offers a broad array of classes, including Hip Hop, K-Pop, House, Choreography, Heels, Funk, Waacking, Krumping, and Locking. This studio represents a significant new physical space for comprehensive and diverse street dance training in Auckland.

  • Candee Collective (formerly Street Candee dance crew): This multidisciplinary crew excels in choreography, commercial dance, and street dance battles. Its director and founder, Rina Chae, specializes in waacking, house, vogue, and hip hop. Natasha Katavich is a notable member who specializes in popping.

  • XIII WRLD Collective: Founded by Byrin Mita, this collective operates as a high-performance street dance team and developmental program. Samuel Han (Kidd XIII), a krump dancer, is a member who has represented Aotearoa internationally and regularly competes in dance battles. Stacey Meng (Baby XIII), also known as 8face from 603 Boogie Squad, is also a member, highlighting the interconnectedness and cross-crew affiliations within the New Zealand street dance community.

  • NZ Campbellockers / NZ Lockers: These collectives represent the dedicated locking community in New Zealand. The NZ Campbellockers specifically focus on preserving and promoting the original Campbellocking style, emphasizing its foundational techniques and history. This group is crucial for maintaining the authenticity and historical fidelity of locking, a style originated by Don "Campbellock" Campbell.5 They play a vital role in educating new dancers and ensuring the authentic transmission of the style within Aotearoa's street dance landscape. The broader term "NZ Lockers" encompasses the wider community of locking practitioners and enthusiasts across the country, often collaborating with other street dance organizations to host jams, workshops, and battles that celebrate the art of locking.

The period of professionalization and growth in New Zealand street dance reveals a clear evolution from informal, self-taught beginnings to a highly structured and multi-faceted ecosystem. This scene has matured to create formal educational pathways, such as Kat Walker's Master's in Dance and her role as a secondary school teacher. It has also developed professional opportunities, exemplified by En Beat Dance Academy's offerings of K-pop idol training and a commercial talent agency.19 Furthermore, community-driven initiatives like open jams (Auckland Popping Community 33), accessible collectives (The Projekt Team 14), and Christian Hip-Hop events (Street Talk) have flourished. This indicates a conscious effort to sustain, legitimize, and expand the dance form beyond its subcultural roots, ensuring its longevity and broader societal impact. The blend of formal academic credentials and industry-specific training showcases a comprehensive approach to professional development.

A defining characteristic of this era is the role of key individuals as multi-hyphenate leaders. Figures like Josh Mitikulena, Kat Walker, Mr. Zee, and Rina Chae consistently appear across various roles and organizations, serving as performers, choreographers, educators, entrepreneurs, and community leaders.19 The deeply interconnected network, where individuals and crews frequently overlap roles and affiliations, fosters a collaborative ecosystem. This "multi-hyphenate" leadership model is crucial for the scene's dynamism and resilience. These individuals are not just dancers but also entrepreneurs, educators, community organizers, and cultural bridges. Their overlapping roles create a synergistic effect, fostering collaboration, knowledge transfer, and diverse opportunities within the community. This integrated approach ensures that artistic development, community building, and professional pathways are not siloed but mutually reinforcing, contributing to the scene's comprehensive growth and global reach.

Furthermore, cultural hybridization transitioned from being merely an influence to a defining characteristic of major productions. While the 1980s saw early instances of cultural fusion with "Poi E", the 2000s-2010s demonstrated this as an intentional and integral part of artistic creation. Hopskotch's "Kiwiana" uniquely integrated street dance with New Zealand cultural themes.16 Similarly, The Projekt Team's "Ko Au" drew inspiration from diverse cultural narratives, seamlessly integrating styles like popping with traditional Siva Samoa.30 Street Talk's "Horizons" further explored Asian migrant themes within Aotearoa New Zealand through street dance.32 This evolution signifies a move beyond mere influence to active, intentional fusion. It suggests that New Zealand street dance is not simply an adoption of American forms but a creative re-imagining that deeply embeds local, indigenous, and migrant cultural narratives. This process enriches the dance, giving it a distinct Aotearoa identity that resonates both locally and internationally, making it a unique contribution to the global hip hop landscape. It highlights the scene's maturity in utilizing dance as a medium for complex cultural storytelling and identity exploration.

Chapter 4: Ongoing Contributions and Global Impact

The New Zealand street dance scene is distinguished by a deeply interconnected network, where individuals and crews frequently overlap roles and affiliations, fostering a highly collaborative ecosystem. This fluidity, exemplified by figures like Rina Chae and Mr. Zee, who simultaneously embody roles as performers, choreographers, educators, and community leaders, signifies a comprehensive and integrated approach to artistic development. Their personal union, symbolized by their wedding at En Beat Dance Academy 19, further underscores this deep personal and professional integration within the community.

A core tenet of this vibrant scene is its prioritization of community development and youth empowerment. This commitment manifests through the creation of open and accessible spaces for dancers of all levels. Events such as Projekt Feel Good provide crucial platforms for skill development and overall well-being. The academic sphere also acknowledges this focus, with practitioners like Pauline Hiroti conducting research specifically on how community dance initiatives foster youth engagement. Furthermore, the Mika Haka Foundation, led by queer performance artist Mika Haka, actively mentors talented young performers, extending the reach of support within the community. The emphasis on "free popping jam sessions" and "beginner's popping dance routine" by the Auckland Popping Community 33 further highlights this dedication to accessibility and nurturing new talent from the grassroots level.

New Zealand has firmly established itself as a significant exporter of dance talent and innovation on the global stage. A compelling quantitative indicator of this success is its global ranking of second in total medals at the World Hip Hop Dance Championships. Parris Goebel, a New Zealand-born choreographer of Samoan descent, stands as a prime example of this international impact. Her leadership of the Royal Family crews, which have won the World Hip Hop Dance Championship three times, showcases the pinnacle of New Zealand's competitive prowess.37 Her extensive work with global artists such as Justin Bieber (including choreographing all thirteen of his

Purpose: The Movement videos, which garnered over 3 billion views) and Beyoncé 22 further exemplifies the scene's contribution to the international commercial dance industry.

The consistent international representation by crews like The Projekt Team at prestigious festivals such as Red Bull Dance Your Style, Fusion Concept, and Summer Dance Forever directly contributes to global dance dialogues. John Vaifale's achievement of winning the Red Bull Dance Your Style NZ qualifier and competing in the world finals is a specific instance of this global presence. Rina Chae's expansive international career, which includes dancing with global artists like Beyoncé and Justin Bieber, further solidifies New Zealand's contribution to the international commercial dance industry.22 Her role as a K-pop choreography agent 22 also facilitates a unique cultural exchange, bridging local talent with the global K-pop phenomenon. This active, reciprocal exchange not only enriches the local scene but also simultaneously exports unique New Zealand artistic expressions to the world, cementing its position as an influential player in the international street dance community.

This dynamic interplay between global recognition and local empowerment creates a positive feedback loop. New Zealand's impressive global standing, particularly its second-place ranking at the World Hip Hop Dance Championships and the international careers of its leading figures, elevates the prestige of street dance within the country. This external validation, in turn, attracts more participants, fosters greater investment in training and community initiatives, and inspires new generations of dancers. This ultimately strengthens the local scene, enabling it to produce even more globally competitive talent and unique artistic expressions. The reciprocal exchange is not merely about exporting talent; it is equally about importing validation and inspiration that fuels local growth and reinforces the scene's core values of accessibility and community.

Furthermore, the scene demonstrates a significant integration of street dance into formal educational and commercial structures. Kat Walker's role as a qualified secondary school dance teacher, coupled with her Master's in Dance, exemplifies the academic recognition and pedagogical pathways now available. En Beat Dance Academy's offerings of K-pop idol training and a commercial talent agency 19 highlight the establishment of professional career avenues. The existence of academic research, such as Pauline Hiroti's work on how community dance initiatives foster youth engagement, further underscores this institutionalization. This indicates a profound shift from street dance as an informal, often marginalized activity to a recognized and integrated art form within formal educational and commercial frameworks. This institutionalization provides stability, resources, and broader career pathways for dancers, moving beyond the "street" to establish a sustainable professional industry. It also reflects a broader societal acceptance and valuation of street dance as a legitimate artistic and educational discipline.

Conclusion: A Legacy of Movement, Adaptation, and Community

The history of popping and locking in New Zealand is a compelling narrative that transcends a mere chronicle of dance styles. It is a testament to how global hip hop culture has been profoundly shaped and enriched by Aotearoa's unique spirit and communities. From its genesis in the 1980s, influenced by a blend of American media and crucial kinship connections from American Samoa, the scene quickly adapted, giving rise to localized terms like "bop" and demonstrating early cultural hybridization through initiatives like Joe Moana's "Poi E" cameo. Despite initial societal apprehension that pushed street dance from the streets to more formalized stages, this adaptation proved resilient, serving as a vital channel for identity and recognition, particularly for Māori and Pasifika youth.

The 1990s marked a period of maturation, as New Zealand hip hop developed a distinct local identity and achieved commercial success, with the rise of the Urban Pasifika sound solidifying Auckland as a cultural epicentre. This transition from subculture to mainstream influence laid the groundwork for the exponential growth and professionalization witnessed in the 2000s and 2010s.

This later period was defined by the pivotal contributions of foundational figures such as Josh Mitikulena, Kat Walker, Mr. Zee, Rina Chae, FL09, Mase Boog, and Lawrence Liew. These individuals, often serving as multi-hyphenate leaders—performers, choreographers, educators, and community organizers—fostered a deeply interconnected network. Their dedication led to the establishment of influential crews and organizations like Hopskotch Dance Crew, The Projekt Team, En Beat Dance Academy, 603 Boogie Squad, Street Talk, Auckland Popping Community, Auckland Central Dance Studios, Kinetic Dance Studio, Candee Collective, XIII WRLD Collective, and the NZ Campbellockers/NZ Lockers. These entities not only preserved the authenticity of popping and locking but also drove significant innovation, notably through productions like "Kiwiana" and "Ko Au," which deeply integrated New Zealand's cultural narratives. This intentional cultural hybridization became a defining characteristic, enriching the dance with a distinct Aotearoa identity.

The ongoing contributions of the New Zealand street dance scene are characterized by a strong emphasis on community development and youth empowerment, creating accessible spaces for skill development and well-being. This local strength has propelled New Zealand onto the global stage, establishing it as a significant exporter of dance talent and innovation, evidenced by its second-place ranking in medals at the World Hip Hop Dance Championships and the international careers of figures like Parris Goebel and Rina Chae. This dynamic interplay between global recognition and local empowerment creates a positive feedback loop, fueling further growth and reinforcing the scene's core values. The increasing integration of street dance into formal educational and commercial structures further solidifies its position as a legitimate and sustainable artistic discipline.

In sum, the history of popping and locking in New Zealand is not merely a chronicle of dance styles, but a compelling narrative of how a blend of global influences, profound local adaptation, the unwavering commitment of key individuals, and a strong sense of community can forge a globally significant and enduring artistic landscape. The scene's journey underscores the transformative power of cultural expression in building identity, fostering community, and achieving international acclaim while retaining its unique local spirit.

Table 3: Timeline of Key Events in NZ Popping and Locking History

Year

Event/Milestone

Description

Key Figures/Crews Involved

Significance

1979

The Warriors movie release

Gained notoriety, introducing breakdancing to NZ.

N/A

Initial media influence, beginning of hip hop awareness in NZ.1

Early 1980s

Emergence of "bop" era

Breaking, popping, and locking introduced, localized term "bop" used.

K.O.S.-163/Kosmo Faalogo, Zed Nufable (honed skills in Philippines)

Dual influence of American media and kinship connections from American Samoa; early cultural adaptation.1

Late 1982

Breakdancing appears on NZ streets

Direct links from American Samoa/US.

N/A

Start of public street dance phenomenon in NZ.13

1983/84

"Dancing in the streets" phenomenon

Widespread public dancing, met with societal apprehension and labeling.

Māori, Samoan, and Polynesian youth

Dance as a vehicle for identity and recognition; shift from informal street to formal spaces due to societal pressure.13

1984

Joe Moana's "Poi E" cameo

Dance segments in Pātea Māori Club's music video.

Joe Moana, Pātea Māori Club

Precedent for cultural hybridization in NZ dance.12

1985

"Shazam Bop Competition"

Televised national event.

N/A

Increased exposure and early mainstream acceptance of breaking and popping.12

1985

Street Action Aotearoa book

Documented the burgeoning local street dance scene.

Mark Scott, Peter Black

Early documentation and recognition of the local scene.12

1985

Upper Hutt Posse formed

Later released "E Tu," first bilingual rap song.

Upper Hutt Posse

Broader cultural movement fusing Māori culture with hip hop [User Query].

1990s

Maturation and diversification

Development of distinct local hip hop identity and commercial success.

Chain Gang, Sisters Underground, OMC

Shift from subculture to mainstream cultural influence; integration of House music [User Query].

1994

Sisters Underground's "In the Neighbourhood"

Charting single, part of Urban Pasifika sound.

Sisters Underground

Solidified Auckland as cultural epicentre [User Query].

1995

OMC's "How Bizarre"

Global hit, part of Urban Pasifika sound.

OMC

Global commercial success of NZ urban music [User Query].

2001

Josh Mitikulena's dance journey begins

Self-learning breaking.

Josh Mitikulena (Kokonut)

Marks the beginning of a new generation of influential figures [User Query].

2005

Kat Walker's dance journey begins

Started learning breaking and locking.

Kat Walker (Katto Lock)

Emergence of a prominent female figure in the scene [User Query].

2008

Hopskotch Dance Crew founded

Made significant artistic contributions.

Josh Mitikulena (Founder)

Establishment of a key crew for innovative hip hop dance [User Query].

2013

"Kiwiana" production by Hopskotch

Integrated street dance with New Zealand cultural themes.

Hopskotch Dance Crew, Josh Mitikulena, Kat Walker, Renee Sharp, Seidah Tuaoi, Pauline Hiroti, Lu-Kerne Lee

Defining example of cultural hybridization in performance.16

2014

The Projekt Team established

Collective uniting dancers with open, accessible environment.

Josh Mitikulena (Founder)

Conscious effort to democratize dance access and foster community.14

2015

Street Talk coined

Focuses on Christian Hip-Hop events.

Taupuhi 'Taups' Toki (Bboy Papa Smurf)

Establishment of a community-focused organization with a unique mission.32

2018-2019

Kat Walker: 'Long Live the Queen' champion

Reigning two-time champion of all-style battles.

Kat Walker

Recognition of individual competitive excellence [User Query].

2019/2020

En Beat Dance Academy co-founded

Offers comprehensive training, K-pop idol training, talent agency.

Rina Chae, Mr. Zee

Significant step in professionalization and structured pathways for dancers.19

2022

The Projekt Team's "Ko Au"

Inaugural full-length work, integrating cultural narratives (e.g., Siva Samoa).

The Projekt Team

Artistic development beyond battles, using dance for complex cultural storytelling.30

2022

"Pop, Lock & Break it" 3v3 Battle

Featured 3v3 crews representing Bboying/Bgirling, Popping, and Locking.

Mr. Zee, Mele Ta'e'iloa, Bboy Ducky, DJ Mano (Judges/MC)

Key event showcasing diverse styles and interconnectedness of figures [User Query].

2023

Stacey Meng wins Youth Division - All Styles

Achieved at Step Ya Game Up in New York City.

Stacey "8face" Meng (603 Boogie Squad, XIII WRLD Collective)

International competitive success for emerging talent [User Query].

Ongoing

Britomart Backyard Dance Battles

Monthly competitive space in Auckland.

The Projekt Team

Consistent platform for skill development and community engagement.14

Ongoing

NZ's global rank in World Hip Hop Dance Championships

Second in total medals.

Various NZ crews (e.g., Royal Family, IDCO)

Quantitative indicator of international excellence and talent export.17

References

Street Candee & Candee Collective: Femme powerhouse crew in Commercial and Street Dance in New Zealand

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