Home > David Elsewhere: Looking Elsewhere > Looking Elsewhere: Beyond the impossible

Looking Elsewhere: Beyond the impossible

This represents the introductory entry in the Looking Elsewhere series. In each post, I will discuss David Elsewhere’s dancing, but more importantly, discuss how he trained and practiced to become such an unique dancer. To do this, I will analyse and comment on Elsewhere’s own writings about this subject. These insights are meant to help anyone who desires to truly express themselves in ways people haven’t even imagined possible.

I first saw David Elsewhere the same way millions of others saw him. His appearance on The Asian-American dance contest Kollaboration in the year 2001.

I saw it late, around 2006, after it had been posted on Youtube. My first reaction to this clip is interesting in hindsight. I was amazed at this form of dancing because I had never seen anything like it in my life. It was one of the first videos where I realized that the internet could present amazing talents who would have otherwise received very little mainstream attention.

But it was only a freak curiosity, something that vanished just as quickly as it appeared. The thought of me imitating this dance never entered my head. How could it? Traditional breakdance (I hadn’t even heard of popping by that point) was too outlandish and advanced. Elsewhere was a step beyond this, beyond the impossible. Rumours spread that that the dancer must have been born double-jointed or with some kind of rare physical abnormality that gave him superpowers. I never thought I could be a contortionist, so why would I try to imitate Elsewhere? You needed to be born with this flexibility, and practice every waking hour since you reached age five. With expert tutors.

It was only years later, after I had just started dancing as a hobby, that I found out the truth. It came from Elsewhere himself. “I’m not double-jointed at all. The only place where I am double-jointed is my thumbs, which doesn’t even matter. I would say I’m probably a little more flexible than most people in certain areas, mainly my shoulders and my ankles, but I wasn’t born that way. Those areas became flexible because of years of practicing.” And he didn’t start dancing seriously at the age of five like Michael Jackson. No, only seriously around age 17 (but then every day). Constant lessons and hours of professional tutorship? Nope. He mostly practiced alone, in his parents’ garage. There were a couple of dancers who influenced him (like Squid, Salty and Skywalker), but they were never his tutors and he only met them on a few occasions.

I reasoned that if my preconceptions about practicing and training were so wrong, then I must find out more about his methods and see if they could apply to me. I found a small blog post on Myspace written by David himself where he summarised his philosophies and practices on dancing.

These insights were so illuminating that I printed them out and posted them on my wall so that I can read them during a lull in my practice session. They deserve deeper discussion and analysis, so I will post regular features on this subject, focusing on a specific point at a time. For the next post, I will probably take on his principles of being yourself and trusting your own judgement.

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  1. July 25, 2010 at 7:47 am

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