Numerous rural at-risk youth share similar family and drug related challenges as contemporaries in urban settings (Osgood, & Chambers, 2000). Research indicates positive peer/mentor relationships and physical activity can dramatically decrease at-risk behaviors (Fahs, et al, 1999; Hellison, & Walsh, 2002). The dance form KRUMP demonstrates positive effects on urban at-risk youth but has not been observed in rural environments. The purpose of this study was to investigate South Central Los Angeles (L.A.) origins of KRUMP; identify impact and applications assisting area youth - avoiding gang affiliation/violence. It also aims to discover/create practical tools; allowing for transference of key principles into diverse regions of the United States.
Method:
An ethnographical/case study blended design, included semi-structured interviews and informal debriefings that described the lived experience of five dancers, immersed for nine days in the environment of the KRUMP culture. A convenience sample (n=4) was derived of college-age dancers (age 19-30), willing to travel to L.A. The ethnography involved the researcher/dance professor, age 48. All subjects participated in a variety of KRUMP activities; birthday parties, at-risk youth outreach, studio classes, liturgical settings and a “Battlezone” KRUMP event. Data collection involved pre-test/post-test questionnaires, individual journals, researcher journal notes, audio/video recording, focus group debriefing and informal conservations concluding each day. Follow-up interviews occurred three months and six months post-trip. Grounded theory methods were used for data collection and analysis. Open, axial and selective coding was utilized to identify themes. A cross check within and across persons offered triangulation, ensured substantiation of specifics - interpreted, confirmed or discounted.
Analysis/Results:
Three themes emerged: family background, dance experience, cultural nuances. Participants experienced clearly defined stages: surprise, enlightenment, acceptance, and transference. Each dancer struggled to embody the new movement, for different reasons based on background, self-confidence, and perceived-competence. Age and familial experiences also influenced the rate in which involvement became comfortable and perceived achievable. Follow-up interviews revealed insightful ideas on future implementation - ways to reach marginalized youth in the Northwest.
Conclusions:
Findings demonstrate strong support for the use of KRUMP as an effective cultural awareness tool and adds to the body of research exploring the multi-dimensional use of dance in emotional healing, healthy exercise, and attainment of life-skills for healthy active living. Further development is merited to discover practical means to transfer knowledge into programming for rural at-risk youth – promote important pedagogic advances, nurture Common Core, and battle against obesity in today’s youth.