USC Assistant Professor Tiffany Bong Uses a DJ in Hip-Hop Class to “Create Art in Real Time”

Two years after hip-hop professor Tiffany Bong arrived at the USC Glorya Kaufman School of Dance, she asked to bring a DJ into the studio. “That’s a huge part of hip-hop culture,” she says. Just like most university-level ballet classes have a pianist and contemporary classes might have a percussionist, Bong’s classes rely on a DJ to give dancers a complete experience. “When I teach pedagogically, I want to recreate a club in the classroom. And the DJ is such an essential part of this practice,” she says. 

Some days she’ll have a particular lesson plan in mind and guide the DJ toward what she’s looking for—like, say, something from a specific chapter in the history of punking (also known as waacking). But frequently, the DJ sets the vibe, she says, and she and the dancers respond to the DJ’s choices. “The music gave birth to the movement,” Bong explains. “In hip-hop and street-dance culture, the DJ and dancer are in constant dialogue.”   

One of the things Bong teaches her students is how each street-dance style relates to the music. For instance, in Campbellocking, the dancer responds to the music by making it visible, whereas in punking, dancers often have a character and narrative in mind, and use the music to bring them to life. Having a DJ in the studio gives students firsthand experience with these different kinds of approaches. “They’re seeing this kind of intersection of different art forms, and how we create art in real time with hip-hop and street dance,” Bong says.

This kind of responsive relationship—and the general primacy of music—is something that’s often an eye-opener to students who are new to hip hop. Bong sees this lesson as part of what she’s tasked with teaching. “There’s this reciprocity that’s just understood when it comes to hip-hop and street dance and club dance,” she says. “I try to educate them in terms of where this music came from culturally, politically, socially, and how that is the root of the actual dance.” Sometimes, the DJ will lecture about how the music is connected to certain dance forms or social movements, or demonstrate DJ-ing techniques so the dancers gain a better understanding of the artistry involved. 

Connecting to the cultural roots and context of the music—rather than simply replicating the movements she gives them—is one of the things Bong finds students struggle with most. Many students overperform to the music, rather than treating it like a partnership, she finds. “So if we were having a conversation, it’s like talking over someone,” she says. Instead, she tries to teach students how to respect the song as a partner, honor what it’s trying to say, and “make the unseen seen” through their movements. “The music should be accentuating, drawing out things in us, and we should be drawing out certain things in the music,” Bong says. 

It comes down to having respect for every single track the DJ plays. She likes to remind students that the original hip-hop DJs didn’t have access to an endless library of music on Spotify. “You would have to go to the record store, and sort through hundreds of songs to find the one,” she says. “I remember listening to one song over and over because it took so long to even get that song. How you treasure that one song and the repetition of going deeper and deeper was so different.”

As much as she reveres the roots of hip hop, she’s also careful to stay connected to the current state of the art form. She admits she’s always learning from her students when it comes to new musicians and songs in the zeitgeist. “Especially with hip-hop and street dance being this youth-generated culture that is constantly evolving with every generation adding to it,” she says, “I have to keep up with the times.” Yet even though the music might sound different today, its relationship to hip-hop dance remains as vital and significant as ever. 

Her Go-To Song List

Although the playlist in class is always a collaboration with the DJ, when Bong does get to the studio with particular tracks in mind, these are typically her top requests.

“Rock Steady,” by Aretha Franklin

“Rocking is a foundational groove in Campbellocking, and this classic track helps to introduce and reinforce this element to students. Many are already somewhat familiar with the song, and the lyrics themselves highlight the essence of ‘rocking steady.’ The consistent groove helps dancers sit in the pocket of the song, while Aretha’s soulful vocals open the door for personal expression—which can range from playful and social, to smooth and cool, to gritty and grounded. When the break hits, the syncopated instrumentation adds an exciting challenge to listen closely and respond with new movement to match the music’s dynamic change.”

“100% Pure Love,” by Crystal Waters

“This track is a favorite in punking/waacking class, especially during an exercise where students travel down a pathway and strike poses—an element deeply rooted in the punking tradition. I encourage them to create a character and narrative, embodying it fully as they strut down their imaginary runway and the space becomes a canvas to tell their story. This track is recognizable for students, and the driving beat and lyrics empower students to boldly own who they are and what they offer to the world.”

“I Wanna Dance with Somebody,” by Whitney Houston

“This is what I call my ‘punking anthem.’ Every time I play it in class, the vibe shifts into a full-on dance party. Students naturally move away from the mirrors and start dancing with one another. It creates a communal and joyful energy that embodies the playful spirit of punking.”

“Beyond the Clouds,” by Quartz

“A classic in the punking world, this song brings students into the original sound and era the dance was born from. Punking asks dancers to move as if the song is their personal soundtrack—like the music is flowing through them. The layered instrumentation of this track requires deep listening and attention to nuance. It’s a powerful tool for building musicality, storytelling, and emotional range.”

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