Influences
My beatboxing journey is deeply rooted in the influences of the vibrant French and United States beatbox scenes. Infused with a love for hip-hop, drum and bass, groovy tunes, and EDM, my style is all about technicality, hard-hitting beats, complex rhythms, and loose flows. I take pride in my abilities to quickly switch up grooves and execute complex patterns that bring out raw emotion out of my audience.
Achievements and Performances
In April 2021, I clinched my first competition victory at the Beatbox House Party in NYC, and since then, I’ve consistently made within the top 8 in various competitions across the United States. From the iconic Judson Memorial Church to the stage of the Mark Morris Dance Company, I’ve collaborated with dancers, rappers, and diverse musicians, creating unforgettable sonic experiences. I’ve also had the privilege of sharing the stage with the legendary jazz drummer and director, Ronnie Burrage, in performances with the Brooklyn College Jazz ensemble which allowed me to push the boundaries of jazz beatbox.
Brooklyn College:
Creative Process and Stage Presence:
My creative process involves a blend of freestyling until I find the perfect rhythm and occasionally turning a cover into a unique beatbox routine. On stage, I’m not just about the beats—I use movements to express the emotions behind the sounds, providing the audience with a visual representation of the energy and passion I pour into my performance. Before every showcase, I always encourage the audience to let loose, understanding that hip-hop is all about channeling organic and raw energy.
Aspirations and Vision:
Beyond the beats, I aspire to elevate the recognition of beatboxing as it is currently an underappreciated art form. I see endless possibilities for innovation in a field that is still rapidly growing. My mission is to spread the word about beatboxing and contribute to its evolution, one rhythm at a time.
Join me on this sonic adventure, and let’s explore the limitless potential of beatboxing together!
Bibliography:
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“HISTORY OF BEATBOX: OLD SCHOOL.” HUMAN BEATBOX, Apr. 2005. https://www.humanbeatbox.com/articles/history-of-beatboxing-part-2/
Ibbett, David Roger. Towards an Integrated Art Music. 2015. University of Birmingham, PhD Thesis.
Kruse, Adam J. “‘Hip-Hop Wasn’t Something a Teacher Ever Gave Me’: Exploring Hip-Hop Musical Learning.” Music Education Research, vol. 20, no. 3, 2018, pp. 317–29. https://doi.org/10.1080/14613808.2018.1445210
Kuhns, Christopher. Beatboxing and the Flute: Its History, Repertoire, and Pedagogical Importance. 2014. https://diginole.lib.fsu.edu/islandora/object/fsu:274047/datastream/PDF/view
Malone, Christopher, and George Martinez. “The Organic Globalizer: The Political Development of Hip-Hop and the Prospects for Global Transformation.” New Political Science, vol. 32, no. 4, 2010, pp. 531–45.
Morris, R. Winston, et al. Guide to the Euphonium Repertoire: The Euphonium Source Book. Indiana University Press, 2007.
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Thompson, Tok. “Beatboxing, Mashups, and Cyborg Identity: Folk Music for the Twenty-First Century.” Western Folklore, 2011, pp. 171–93. https://www.jstor.org/stable/23124179
TyTe. “Part 3: The New Skool | Human Beatbox.” HUMAN BEATBOX, 2005, www.humanbeatbox.com/articles/history-of-beatboxing-part-3/.
