As Brooke Milliner takes the stage at Breakin’ Convention, his journey through the vibrant tapestry of Popping and Hip Hop dance unfolds like a dynamic narrative. From his formative years, steeped in the diverse traditions of dance, to his meteoric rise as a six-time World Hip Hop Champion, Brooke’s evolution is a testament to his unwavering passion and relentless pursuit of excellence.
Rooted in the legacy of his father’s influence and fueled by the iconic performances of Michael Jackson, Brooke’s trajectory was set early on. Yet, it was his immersion in Street Dance styles, under the tutelage of mentors like Rob Pountney, that ignited his fervor for competition and innovation.
As the youngest member of Plague, Brooke’s ascent to the upper echelons of the international dance scene was propelled by a tenacious spirit and an insatiable hunger for victory. With each accolade and triumph, he carved out his own path, blending elements of tradition with his distinct flair.
But Brooke’s artistic odyssey didn’t stop there. With the establishment of Fiya House, he sought to nurture the next generation of dancers, fostering a community-driven ethos that celebrated individuality and collective growth. Through partnerships and initiatives like the Kingdom’s League, Fiya House became a beacon of inspiration, bridging the gap between seasoned veterans and emerging talent.
Now, as he prepares to grace the stage at Breakin’ Convention once again, Brooke’s performance promises to be a culmination of years of dedication and innovation. With PSYCHE, he invites audiences on a journey of self-discovery and introspection, weaving together spoken word, dance, and music into a tapestry of raw emotion and unbridled creativity. As he steps into the spotlight, Brooke embodies the spirit of Breakin’ Convention — a testament to the transformative power of Hip Hop culture and the boundless possibilities it holds for those who dare to dream.
Can you share with us your journey into the world of Popping and Hip Hop dance, and what inspired you to pursue it as a career?
My father was a dancer, so that influenced me to follow a similar path. I practiced many different dance styles from Ballet, Jazz, Contemporary & Tap at The Brit School followed by Bird College, but Street Dances were what I gravitated towards the most. I began practicing moves from Locking and Popping, even though I didn’t realise that’s what they were called at the time.
I’m sure this is what everyone says, but I grew up watching Michael Jackson – his performances and music videos had a big influence on me.
I started taking class with Rob Pountney where I expanded my knowledge of Street Dance styles. Eventually, I joined Plague as the youngest member of the crew. I became a student of the game and slowly began entering competitions, winning the second battle I’d ever entered as a soloist. Rob would organise prestigious battles like UK Champs. This motivated me further and I began to compete internationally.
I’m a very competitive person and don’t like to lose. I was out-practicing everyone, with the mentality of “you’ve just got to win” – I made sure I had new material in my arsenal every time I was seen, never resting on my laurels.
I didn’t need much to train, just a small space and a mirror. Drills over and over to make sure I Popped hard; constantly freestyling and working on concepts. Inspired by dancers like the Nicholas Brothers, I wanted to develop a trademark style that brought together all the elements of my dance and acrobatics training.
I wanted to follow in my Fathers footsteps but carve out my own lane. I knew this was what I wanted to do.
As a six-time World Hip Hop Champion, what do you believe sets your style apart from others in the international Popping circuit?
Five of those World Titles were with my crews: Plague (twice) and Prototype (three times). Plague entered what I would call Showcase Competitions. Led by Mukhtar O S Mukhtar, our first title win was in 2005, where we achieved firsts across the board. His creativity was unmatched and he really utilised everyone’s individual specialisms within the crew – everything from Breakin’ to Locking, Popping to House.
After Mukhtar’s move to the US, he passed the torch to me — which was a real honour. Our second win in 2011 was at Hip Hop International World Finals. We built on the creativity the crew was known for, but our technical maturity within the styles was much greater. We showed an authentic understanding of multiple styles, which was quite rare at the time. I would create a lot of the choreography before getting into the studio with the others, working to perfect the formula I’d developed from my own training and experiences on the international battle circuit. Plague was definitely a trendsetter, our win in 2011 sparked a big change in the sets that other crews would put together.
Prototype was founded by Malcom Mbombo. It was a battle crew in the more traditional sense, for example Crew A throws down then Crew B responds and so on. Our wins on the World Stage were down to our level of preparation, we had choreography for almost every round (up to 15 rounds in a battle). This was really uncommon at the time. Our approach was different to Plague, in that we would all work in the studio together to come up with the material. We didn’t rehearse until we got it right, we rehearsed until we couldn’t get it wrong. It took a lot of dedication from all of us to prepare like that. I was commissioned in 2022 by BBC Dance Passion to produce documentary film ‘A Decade Later’ which follows the reunion of the crew, ten years since our last battle together.
I’m really proud of the impact both crews had in the scene, both in the UK and internationally.
My solo World Title win was at UK B‑Boy Champs. My approach to every battle is to believe I’m going to win before I even get there. Backed up by my dedication to training, I would say that I just try to be myself whenever I step out. I stay true to the foundation of the style – I respect the roots but push its boundaries.
How has your experience as a performer in stage shows, TV projects, films, and commercials influenced your approach to choreography and storytelling within your dance?
My experiences as a performer have made it possible to learn from a wide range of choreographers and directors. Some of which have been greatly influential to me and my methods of creating. However, I’d say I see the two aspects of my career as quite separate.
When I’m booked as a performer, I’m hired because of my look, technique, and to fulfil a brief. I have lots of experience doing it, but it’s not satisfying creatively.
I have so many ideas — I’ve been lucky enough to get some incredible commissions and opportunities to make those ideas come to life. Having my own vision for something, then selecting the dancers not only based on their skills, but also based on their ability to connect with the message of the piece. I encourage the dancers I work with to bring their own personal stories to the choreography; this feels entirely different to my experiences in the commercial sector.
Fiya House has been a pivotal platform for emerging dance talent. What motivated you to establish it, and what impact do you hope it continues to have on the UK Hip Hop community?
Back in 2012, not a lot of dancers in the UK were travelling internationally to train and compete. Later that year, my long-standing dance partner Dickson Mbi came back to London after a trip to Korea. He saw how dancers were training over there, and wanted to create a space where the UK scene could train to the same intensity. Together, we gathered our community and formed Fiya House.
Over the past 12 years, we’ve been working hard to give Street Dancers in the UK a place to go to sharpen their skills. Through weekly classes, annual international events, bi-annual training intensives and countless international competitions, Fiya House brings together phenomenal dance talent from across the UK and around the world. We provide a space to network with other like-minded artists, and promote growth for the UK Hip Hop scene.
One of the primary aims of establishing Fiya House was to build and maintain connections between older and younger/newer members of the community. We support dancers to find out who they really are and where they belong, not just as artists – but as well-rounded individuals.
We also develop partnerships and devise programmes that invite non-dancers to experience the culture. Our flagship outdoor event Hip Hop Weekender takes over The Scoop for two days each summer and welcomes people from all walks of life to learn from and engage with the scene.
In 2022 we joined forces with other leaders of the community, including In Da House and West Country Clash, to create the Kingdom’s League — a battle league for the UK where dancers are rewarded for their commitment to the scene.
Through all of this work, we hope Fiya House will continue to inspire new generations and be a space where the community can level up together.
Your creative practice has expanded to include dance, music, and technology, leading to the formation of When Time Was New. Could you elaborate on the vision behind this company and how it’s pushing the boundaries of Street Dance styles?
Through live theatre shows and screendance films, When Time Was New tells stories, asks questions and celebrates our community – placing underground Street Dance culture front and centre.
From Popping to Breakin’, Krump to Locking, the artists we work with are some of the best in the country. Through their incredible skill, we can shift perceptions of Hip Hop and create work that sparks joy, invites reflection and inspires the next generation.
The company was formed in 2020 after attending a session with Producer Emily Labhart. Emily has worked with Fiya House since 2017 and has 10+ years experience working with artists, festivals and venues. At the time, she spoke about establishing infrastructure to deliver creative ideas, how to build partnerships and secure funding for projects. This opened my eyes to new possibilities, and showed me that there could be a way to have my artistic ideas realised. Emily is now Company Producer for When Time Was New.
I strive to push creative boundaries. From being the first to use branching technology in a Hip Hop screendance film; to working with internationally renowned collaborators such as poet Casey Bailey; to producing my own original music for each production, even receiving Honourable Mention for Best Music/Soundtrack at Exeter Dance International Film Festival.
Through the company, I want to show that Street Dance is artistic, innovative and worthy of taking up space. To date, our work has been presented at prestigious venues including Hip Hop Cinefest (Italy); Denton Black Film Festival (USA); Cine Dans Fest (Amsterdam), Birmingham International Dance Festival (UK) and now Breakin’ Convention (UK).
How did you get involved with this year’s Breakin’ Convention?
I have performed at Breakin’ Convention since it’s very first edition back in 2004, so I’ve had a long relationship with Jonzi and the team. Hard to believe it’s been 20 years!
Jonzi came in as a mentor for PSYCHE when it was first in development back in 2022, working closely with our spoken word artist TJ. We’ve kept in touch about the piece since then, and he invited me to present it as part of the festival this year.
It feels like a full circle moment, having the opportunity for my own company to perform on Sadler’s Wells mainstage, 20 years after I first performed on it.
How do you approach creating soundtracks for your choreographic works, and how does music influence your dance compositions?
I always start with the concept for the piece. Once I have a rough skeleton of the idea, I begin to work on the music. The instrumentation sets the tone of my work, I tell the same story through the composition and the choreography.
I usually have a rough edit of the track before I enter the studio to work with the dancers, but I create the piece and the music at the same time as the concept is constantly evolving. I find having too much information, or too many fixed ideas in my head before I enter the rehearsal space can stifle creativity. I give myself the freedom to adapt the sound right up until the first performance. Working in this way gives a more complete vision of the work.
With Breakin’ Convention approaching in May, how are you preparing for your upcoming performance at Sadler’s Wells? Are there any nerves, excitement, or specific goals you have for the event?
Preparations are well underway: rehearsals are in full flow, tweaks to the soundtracks are being made, costumes are being tested and the dancers are giving it their all.
I don’t tend to get nervous. For me, the goal is for the company to walk out on stage and give the incredible performance I know we’re capable of. Bringing in that winning mindset and enjoying the journey.
It’s a privilege to be showcased at the festival alongside some big names with international reputations. Ultimately, I see the event as an opportunity to introduce to the public the live work of When Time Was New, on a bigger scale than we have before. I hope people will want to stay connected with us and be excited about what we do.
Considering the anticipation building up to Breakin’ Convention, what can audiences expect from your performance?
Audiences should expect to see what When Time Was New is all about. We’ve got some of the UK’s leading Street Dance artists working together to tackle complex subject matter, through powerful and engaging choreography.
You are what you repeatedly do. Can you break the cycle? As patterns of behaviour are uncovered and circumstances force their hand, two characters must make tough choices and confront who they see looking back in their reflection.
I hope PSYCHE sparks conversation, and leaves the audience feeling reflective and uplifted.
Breakin’ Convention often serves as a platform for innovation and pushing artistic boundaries. How do you plan to showcase your unique style and creative vision during your performance?
PSYCHE is a representation of why When Time Was New was created. It showcases Popping, Hip Hop, Krump and Breaking at the highest level, performed by dancers at the top of their game. The piece also features bespoke spoken word, in addition to a unique music composition that I have produced.
The dancers have been an active part of the creative process, and have tapped into their personal stories to deliver the strongest performance.
I plan to show how all of these elements; from the dance styles to the poetry to the beats; can be brought together to create something artistic with an authentic purpose, that resonates with us and our audience. The same as in my battle days, I’ve stayed true to myself, honoured the foundations of the styles, and tested the boundaries of what Street Dance can do.
Looking ahead to after Breakin’ Convention, how do you envision this experience shaping your future projects and collaborations within the Hip-Hop dance community?
After Breakin’ Convention, I will be getting straight back into the studio to work on new projects for When Time Was New. This includes what will be my fourth screendance film to date, as well as the creation of a brand new children’s show that will première in 2025⁄6.
In August, Fiya House will be running our fourth Hip Hop Weekender event as part of Summer By The River Festival. Plus there will be more battle events throughout the year as part of the Kingdom’s League. More details on all these plans will be announced soon.
I hope that our presence at Breakin’ Convention will be a springboard for the future work of When Time Was New. No matter what, I will always stay connected to the scene, keep making opportunities for dancers, and try my best to be a role model for the next generation.
Follow Brooke Milliner Here:
Brooke Milliner // When Time Was New // Fiya House // Kingdom’s League
Breakin’ Convention 2024 takes place Saturday 4th and Sunday 5th May at Sadler’s Wells Theatre
Get your Tickets for this year’s Breakin’ Convention HERE
Rishma
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