Category Archives: Archives

Generations of Dancers

Three dancers from different generations, different parts of the world, all share in the same style of dance.

JUiCE creates a open setting that cultivate the teaching environment for breakdancers.  A truly unique place where knowledge and skill sets are shared every week from different generations. Hip Hop brings us together.

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JUiCE Hip-Hop Los Angeles

CULTIVA EL ARTE

Congratulations to Monica X. Delgado, J.U.i.C.E. Executive Director (2004-2010) for being selected and honored by La Opinión newspaper as a 2010 Mujer Destacada (Outstanding Woman)! She was one of a handful of women recognized for their outstanding contributions to Arts & Culture in Los Angeles, particularly her work with J.U.i.C.E. over the years. 


 

 

Mónica X. Delgado apoya el desarrollo artístico local
por Martha Sarabia |2010-03-24
La Opinión

http://www.impre.com/laopinion/vida-estilo/2010/3/24/cultiva-el-arte-179572-1.html#commentsBlock

Siempre se ha dedicado a las artes y a la cultura así que cuando se le presentó la oportunidad de continuar con estas actividades en Los Ángeles, Mónica Delgado no lo pensó dos veces.

Desde el 2003 ella es la directora ejecutiva de J.U.i.C.E., o Justicia a través de la unión de energía creativa. Esta organización no lucrativa ofrece clases gratuitas de hip-hop, grafiti artístico, DJ y producción musical a los angelinos.

“Ayudamos a los jóvenes a desarrollarse con el hip-hop, a expresarse de una manera libre en un ambiente seguro”, dijo Delgado.

El programa está disponible los domingos en Westlake y recientemente los jueves en Inglewood.

“Muchos de los jóvenes se meten en las pandillas porque no tienen un lugar al que consideren como su hogar. Queremos ayudar a los jóvenes antes de que lleguen al sistema juvenil de prisiones”, aseguró agregando que hacen falta más servicios como este en la ciudad.

Aunque su objetivo es ayudar a los adolescentes, Delgado ha tenido momentos complicados, en parte por su falta de experiencia, ya que inició en esta organización a los 26 años, además de la constante lucha por recaudar fondos.

Nacida en Nuevo México, enfatizó que el respeto es el valor que más le inculca a los jóvenes. De esta manera, espera que ellos crezcan siendo responsables socialmente y como buenos ciudadanos del mundo.

“Cada joven de Los Ángeles corre el riesgo de cometer un crimen. En este ambiente tan urbano, existen muchos desafíos con los que ellos tienen que lidiar todo los días”, aseguró la poseedora de maestrías en Planeación comunitaria y regional, y Estudios latinoamericanos.

También criticó al sistema escolar por no permitir la libertad artística en los estudiantes.

“En la escuela, a los niños que les gusta dibujar en sus libretas los miran como delincuentes. Nosotros tomamos sus talentos y los ayudamos a llegar al siguiente nivel”, afirmó la administradora de 32 años.

De madre puertorriqueña y padre boliviano, aseguró haber crecido “en una familia con una gran conciencia social. Mis padres me enseñaron a ayudar a los demás”. Para ella, lo más normal es seguir con ese legado.

Por su dedicación a J.U.i.C.E. y otros grupos comunitarios como el Movimiento para la reforma educativa en Los Ángeles y la iniciativa Hip-hop sin división, Delgado es considerada una Mujer Destacada.

JUiCE Los Angeles - Hip-Hop

J.U.i.C.E. para todos

J.U.i.C.E. para todos

Un programa en Pico Union ofrece a adolescentes un espacio para aprender música, baile y otras artes

por Patricia Prieto/ patricia.prieto@laopinion.com | La Opinión | 2009-10-03
http://www.impre.com/laopinion/vida-estilo/comunidad/2009/10/3/juice-para-todos-152073-1.html

En el centro, los chicos practican, además de baile, grafitti artístico, música y rapeo. (FOTO: Jeremie Prete)

En el área de Pico Union opera un programa no lucrativo que brinda a los jóvenes un espacio seguro donde pueden desarrollar su destreza en el baile urbano, la música DJ, la escritura rítmica y el arte del grafitti.

Justicia a través de la unión de energía positiva (J.U.i.C.E.) fue creado en 2001 en el distrito de Rampart por la consejera Dawn Smith, quien trabajaba en los centros de detención de Los Ángeles. Ella notó que la mayoría de los adolescentes que trataba se involucraban en las pandillas por no tener en su comunidad un lugar donde pudieran canalizar su energía e inquietudes.

“El programa comenzó con 80 adolescentes y las clases de break dance y DJ”, dijo Mónica Delgado, actual directora de J.U.i.C.E. “Y hoy tenemos 200 participantes, varios programas de arte y música y a nuestros MC [raperos] que crean su música con computadoras”.

Para recaudar fondos para el programa, hoy los bailarines de J.U.i.C.E. se presentarán en el II Festival de hip-hop en el Ford Theatres de Los Ángeles.

“Nuestros muchachos tienen un estilo muy singular de bailar hip-hop”, explicó Delgado. “Ellos mezclan pasos tradicionales de los bailes movidos latinos, como por ejemplo la salsa, con los estilos quebrados de las danzas urbanas, como el popping, locking, breaking, house dance, krumping y otros”.

De acuerdo con la entrevistada, todas las coreografías fueron creadas por los mismos jóvenes, bajo la guía y supervisión de profesores, ya que la idea del programa no es imponer, sino sacar a flote la creatividad y puntos de vista de los adolescentes.

“Nuestro objetivo principal es la de ofrecerle a los muchachos una pequeña comunidad o una pequeña familia, donde se sienten cómodos y confiados en expresar sus ideas sin tener que vestir de cierta manera para ser aceptados, escuchados y respetados”, denotó la directora.

Con ayuda de profesionales, los niños aprenden la técnica de DJ. (FOTO: suministrada)

Las clases, diseñadas con una estructura no tradicional, son impartidas los jueves de 4:00 a 10:00 p.m. Y, de acuerdo con Delgado, estas están abiertas a muchachos y muchachas entre los 14 y 21 años.

“He bautizado este grupo poblacional como ‘los olvidados’”, denotó la entrevistada. “Porque si tú ves, hay muchos programas para los niños y adultos, pero casi nada para este grupo que tanto lo necesita, por estar en las edades donde se meten en graves problemas, especialmente cuando no se estudia ni trabaja”.

Delgado aseguró que al facilitarle a los jóvenes desocupados un espacio propio para bailar, crear música y grafitti artístico, varios terminan matriculándose en un colegio o academia de música y artes visuales.

“El festival de danza que vamos presentar en el Ford Theatres es un simple ejemplo de la seguridad que adquieren estos muchachos en su vida personal y en su desarrollo artístico”, apuntó la directora.

Informó que desde marzo, J.U.i.C.E. encontró un nuevo hogar en el Centro de Recursos Centroamericanos (CARECEN), donde sus participantes tienen hoy un tablado amplio para practicar sus bailes, una sala de computadoras para crear su música y un patio cuyos muros son pintados y repintados por los grafiteros artísticos.

“El cambio [a CARECEN] fue un movimiento positivo de identidad”, dijo Delgado. “La mayoría de los muchachos y muchachas son hijos de inmigrantes centroamericanos y mexicanos que residen alrededor de sus instalaciones”.

Comentó que J.U.i.C.E. ha servido como un puente generacional, ya que los adolescentes llevan a las clases a sus abuelos, padres y hermanos menores, quienes también pueden involucrarse en el programa.

“Pienso que es favorable que los adolescentes participen en un programa con adultos y los niños”, dijo Delgado. “Porque los jóvenes, al verse rodeado de sus familiares, toman más responsabilidad de su comportamiento y respeto hacia los demás. Algo que no sucede cuando los adolescentes se encuentran solos y con pocos ojos adultos para su supervisión”.

JUiCE Los Angeles Hip-Hop

J.U.i.C.E. it Up: With Gisella Ferreira

Campus Circle, Culture: LA Faces

Article posted on 9/28/2009

J.U.I.C.E. it Up: With Gisella Ferreira

By Jessica Stern

As the fierce rhythms of the live congas infuse the beats of samba in Brazil Brazil Cultural Center’s open space, Gisella Ferreira proves the mantra, “bodies never lie.” Combining hip-hop and Afro-Brazilian dance, Ferreira invokes the vivacity, rawness and soul into her dancing that stays true to her Brazilian-American roots.

Ferreira has been moving to the sounds of samba and hip-hop since she was a child, and soon after recognized that these forms not only spoke to her, but as Ferreira says, they became “the two dominant loves of [her] life.” As an ArtsBridge Scholar, she taught hip-hop and samba workshops to various Los Angeles high schools and later embarked on what would be one of her most formative experiences: teaching hip-hop and English classes in Brazil.

Inspired by samba’s diverse forms and women’s roles in Brazilian society, Ferreira converged her passions and developed a style that connects the uninhibited improvisation of hip-hop with the feminine spirituality of the orishas (goddesses) of Candomblé. This dialogue of cultures has manifested into a piece that will be featured as part of the upcoming J.U.i.C.E. Hip Hop Dance Festival on Oct. 3rd at the Ford Amphitheatre.

With all female live drumming, orisha role-play and moves that guarantee endless fascination, Ferreira promises a show that is “energetic, creative and powerful.” Come see the goddesses interact through a fusion of hip-hop and Afro-Brazilian full-body expressions for a performance that exudes female empowerment and an energy that’s bound to get your ass shaking.

The Second Annual J.U.i.C.E. Hip Hop Dance Festival will take place Oct. 3rd at the Ford Amphitheatre. For more information, visit fordamphitheater.org.

JUiCE Los Angeles Hip-Hop

‘J.U.I.CE Hip Hop Dance Festival’: The Best of L.A.’s Street Dance Styles

Campus Circle, Aug 2008

By Jessica Koslow

Standing onstage at the Ford Amphitheatre on the evening of Sept. 15 for J.U.i.C.E.’s “Hip Hop Ya Don’t Stop!” Jam Session, I was overcome with awe, emotion and inspiration. To my left were Amy “Catfox” Campion of Antics Performance and Marissa Labog of One Step Ahead demonstrating breaking moves to several enthusiastic kids. Scatterbrain, J.U.i.C.E.’s music production coordinator and Nameless, its MC coordinator, were holding the mic, spitting while encouraging a handful of bashful bystanders to rhyme, too. B-girl Peppa and b-boy Barafuco of Outer Circle were stretching on the side, in attendance to show their support. Graffiti writers and turntablists were also on hand to impart their knowledge.

This night was just one event in a string of weeklies sponsored by J.U.i.C.E. (Justice Uniting in Creative Energy), a community organization focused on youth empowerment and education through the hip-hop arts.

Executive director Monica Delgado explains the mission of the seven-year-old non-profit. “We want to create a safe space for young people to come and engage in [hip-hop] arts. We encourage peer mentorships. The only rule is respect.”

On Oct. 4, J.U.i.C.E. and Amy “Catfox” Campion’s Antics Performance present “JUiCE Hip Hop Dance Festival,” a showcase of the best in L.A. hip-hop choreography of all street dance styles. A whirlwind of breaking, popping, locking, krumping, fusions of breaking and modern, hip-hop and jazz, the performances will be all across the board.

For Peppa and Barafuco, this is an opportunity to step outside of the box.

“We are hip-hop dancers,” starts Peppa, “but we’re going to be doing other forms of dance: salsa, swing, partner, popping, locking, breaking, top rocking.

“[Our piece] is going to be magical, imaginative,” she continues. “We’re going to let the audience use its imagination of where we come from and what’s really going on onstage and who we are.”

Some of the other companies featured will be Lux Aeterna and the Get Down Dolls.

This is the second year in a row that the Ford is presenting the J.U.i.C.E. festival. Last year, their debut, was an incredible success.

“Last year the Ford took a gamble on us,” states Campion. “Ford had never had hip-hop before and they were searching for younger audiences.”

With a second CD in the works and hopes to open its own 24-7 community center, J.U.i.C.E.is squeezing societal ills into an inspirational cypher and pouring out kids with hopeful, creative futures within their grasp.

“It’s great to see the metamorphosis of young people,” relays Nameless, “not just the skill level but it’s an organic form of mentorship by your peer. Healthy habits are encouraged.”

“JUiCE Hip Hop Dance Festival” will take place Oct. 4 at the Ford Amphitheatre, 2580 Cahuenga Blvd. East, Hollywood. 8 p.m. Tickets $25, students $5. For more information, visit fordamphitheater.org.

http://www.campuscircle.com/review.cfm?r=6844

JUiCE Los Angeles Hip-Hop

J.U.i.C.E. Reaches Out to At-Risk Youth

Pasadena City College Courier, June 6, 2008

J.U.i.C.E. Reaches Out to At-Risk Youth
Quenching a thirst for hip-hop
by Stacey Wang

Los Angeles — On the outskirts of MacArthur Park and Koreatown, beats can be heard in the distance, luring bystanders to the infectious collective gathered at a Los Angeles church.

Nestled in the confines of an 8th Street hum on a warm Thursday, the walls of First Unitarian Church have an air about them that does not sound off as a religious gathering. Instead, Thursday nights belong to the at-risk youth of L.A. As the uplifting vibe seeps through from the entranceway of the stone building, hip-hop enthusiasts gather in part of a non-profit culture program known as Justice by Uniting in Creative Energy.

“Real hip-hop digs into it. It’s about artists inspiring each other in a positive attitude,” said Artistic Director, Dance and DJ Coordinator Marcus Anthony.

B-boying, also known as break dancing, is one of the four elements of hip-hop practiced at the JUICE program on the Thursday sessions. Anthony, who is the most senior staff member of the program with about six years under his belt, has seen a change in the program as well as himself.

“JUICE kept me grounded. It was an instant community,” he added. “It was one of the best things that happened to me.” Formerly a sponsored aggressive inline skater, Anthony tore up his knee and was unable to continue skating. Anthony, who turned to partying and recreational drugs for two years after, straightened up by getting involved in JUICE.

As a PCC student and self-employed repairman, Anthony’s responsibility outside of the program is vital for his duty as a role model. While those around him look for his enthusiasm, Anthony relies on them to continue doing even the most tedious jobs, such as carrying equipment up and down three flights of stairs every week.

“It’s the community, it’s the people. That’s what keeps me going,” Anthony said. “These people, their energy inspires me.”

Founded by Dawn Smith in 2001, JUICE has been a weekly event that young and old can turn as a safe haven to develop their passion for the hip-hop culture. Among other things, the program was developed to deter juvenile crime in the L.A. community.

Walking into the church, several wooden boards are set up for participants to show their artistry. Graffiti art is one of the four elements of hip-hop practiced at the JUICE program on the Thursday sessions.

“The kids who come here have artistic energy. We take the creativity and turn it into a marketable job skill,” said Director Monica X. Delgado. “In school, they may be looked [at] as trouble makers, but when they’re here, they’re star students.”

With the lack of complete social acceptance for the hip-hop culture in today’s society, some may find the program as a deviance itself. However, Delgado and her staff use their 4 to 9 p.m. program as an opportunity to teach participants the four elements of emceeing, b-boying, DJing and graffiti art to refine their respectability.

“There’s a value placed on the way the system was created. There is a value placed on fitting the mold. These kids don’t fit the mold,” explained Delgado, who’s students range from elementary schoolers to middle aged adults.

Being a smaller community coming together for the love of hip-hop, JUICE members share a similar enthusiasm for their craft and engage in each other’s spirit.

“The cool thing about the program is it’s a place to get together and do what they love. It really becomes a community,” said Music Production Coordinator Daniel “Silence” Rizik-Baer.

“JUICE is really diverse and very representative of L.A.” Reaching up to the second level of the church, Rizik-Baer and a group of rhyme-spitters and music-makers reside in a small room that pulses with inspiration.

In a small space upstairs, music enthusiasts gather to practice emceeing or music production. Emceeing is one of the four elements of hip-hop practiced at the JUICE program on the Thursday sessions.

Even with young producers and emcees cramming in this modest all-in-one office, studio and storage space, the creative JUICE flow permeated into their first album “The Danger Room Files: Volume One” and a second album in the works.

“From 4 to 9 on Thursdays, this is our space. We’re making music in here and there’s just a magnetic pull to express,” said Rizik-Baer.

Among some of the frequent participants making their way upstairs, El Camino College student Christopher “L.C.” Givens has found confidence while getting cozy with others in the lab.

“People get together from all walks of life from a hip-hop level. We all relate to that creative expression,” said the 19-year-old Givens.

At JUICE, the general attitude is for staff and participants to mentor each other, trading their creative viewpoints to improve their craft.

“When I first came here, I went straight to the dance floor,” said West L.A. College student Emmanuel Thomas. “When I come and break, it’s like a natural high.”

Thomas, a 20-year-old who has benefited from the give-and-take to satiate his hip-hop endeavors, first visited JUICE on a field trip with the Boys and Girls Club three years ago. He is often found in the main hall where b-boys and turntablists set up shop.

DJ Facilitator and PCC student Joshua “Kenzo” Aldrete spins on the 1s and 2s. DJing is one of the four elements of hip-hop practiced at the JUICE program on the Thursday sessions.

Given the chance to mentor high-spirited individuals like Thomas, DJ Facilitator and PCC student Joshua “Kenzo” Aldrete sees JUICE as a way to build a collective understanding for hip-hop and character.

“Everyone has an idea of culture and their best self. This program helps cultivate that at no cost,” said Aldrete.

Aldrete, a high school dropout and a “knucklehead” growing up, has matured into someone with an instinctive passion for serving his community.

Contributing to the same mentality, JUICE shared the underground art of graffiti in the L.A. area on legal murals, marking the city as its canvas to expose the culture of hip-hop to the uneducated.

Artists from JUICE also competed in the “L.A. versus the Bay Graf Battle” at the Malcolm X Jazz Festival in Oakland on May 17, capturing the title for the third annual. The program has kept active beyond its walls, also hosting the JUICE Hip-Hop Dance Festival at the Ford Amphitheatre on Oct. 4.

Even as the sun set and it passed 9 p.m., it was difficult for participants to break the vibe found in each of the rooms during hours as they continue their exchange of ideas. Only when they are asked to leave do JUICE attendees disperse back to their lives outside of the church.

ARCHIVED LINK:http://media.www.pcccourier.com/media/storage/paper1346/news/2008/06/05/LancerLife/Juice.Reaches.Out.To.AtRisk.Youth-3389998.shtml

Breaking the Cypher video

BREAKING THE CYPHER, presented by Antics Performance and J.U.i.C.E., originally performed Oct 5th, 2007 at the Ford Amphitheatre in Los Angeles. Artistic directors: Amy “Catfox” Campion and Jacob “Kujo” Lyons Continue reading

KABC CHANNEL 7 EYEWITNESS NEWS - JUiCE Los Angeles

KABC Channel 7 Eyewitness News

Aired May 9, 2007

JUiCE Los Angeles Hip-Hop

Rap Thrives in Los Angeles’ Koreatown (Associated Press)

ASSOCIATED PRESS, April-May 2007

By PETER PRENGAMAN

Korean rapper Jonathan Park, 21, aka DumbFounDead, raps during a freestyle rap session at the Justice by Uniting in Creative Energy – JUiCE Hip Hop Jam held at the First Unitarian Church in Los Angeles, April 12, 2007. (AP Photo/Matt Sayles)

LOS ANGELES — Crammed into a room on the third floor of a church, rapper DumbFounDead spits freestyle rhymes with six other emcees as a small group of 20-somethings bob their heads to the music.

It’s not the music that makes the scene notable; it’s the rappers. DumbFounDead, whose real name is Jonathan Park, is one of two Korean-Americans present. The others include three blacks and two Hispanics.

Park is part of a thriving Korean rap scene in the city’s vast Koreatown, where concerts and impromptu rap battle sessions are held in churches and cafes, and aspiring lyricists swap songs and jabs on MySpace.

The music is allowing young Korean rappers to build bridges with blacks half a generation after thousands of Korean businesses were torched in one of the country’s worst race riots. In doing so, these young Koreans with hip-hop style are defining their own Korean-American experience in a way their parents couldn’t.

The 21-year-old DumbFounDead said blacks used to snicker “Bruce Lee” or “Jackie Chan” references when he began rapping at 14. But he’s earned acceptance with his talent and by reaching out.

“It comes down to relations between blacks and Korean people,” said Park, considered one of Los Angeles’ best young rappers of any race. “I couldn’t even be an emcee without having good relations with black people. They started hip-hop.”

RAP UNITY—Korean rapper Jonathan Park, 21, aka DumbFounDead, left, laughs as he listens to another rapper, Lamar Glover, 25, aka Nameless, rap during a freestyle rap session at the Justice by Uniting In Creative Energy Hip Hop Jam held at the First Unitarian Church in Los Angeles, April 12. (AP Photo/Matt Sayles)

Los Angeles County has nearly 200,000 Koreans, more than anywhere else in the country, most of whom live in Koreatown. While most Korean rappers are too young to remember much from the race riot, they feel its effects.

“The riots definitely have a big impact on the K-town rap scene,” said Brian Kim, or Oddsequence, a 26-year-old who is part of the group Yello Belly Bastids. “Those race relations still affect how I’m seen when I’m chilling in South Central.”

The violence that exploded April 29, 1992, left 55 dead, more than 2,300 injured and about 2,500 Korean businesses destroyed, mostly in South Central and Koreatown. The acquittal of several white police officers in the beating of black motorist Rodney King lit the fuse.

Under the surface, however, were years of cultural clashes and misunderstandings between blacks and Korean shop owners. Many blacks saw Korean grocers, many of whom spoke little English, as opportunists who took money out of poor neighborhoods but disrespected customers by not talking much to them or looking them in the eye — cultural norms for Korean business owners.

Such frustrations reached a boiling point a year before the riot when black teen Latasha Harlins was shot and killed by a Korean grocer in a dispute over a bottle of orange juice. Ice Cube’s 1991 song “Black Korea” expressed the frustration many blacks felt.

“So pay respect to the black fist / Or we’ll burn your store right down to a crisp,” goes the song, which turned out to be tragically prophetic.

The riot was so traumatic for the Korean community that even today many parents don’t allow their children to listen to rap, or “black music.”

But there was no keeping the vibes away from young Koreans’ ears, especially in a city that has produced many of the country’s best rappers.

“Many friends were like `forget rap music’ after the riots,” said Sonny Kang, 31, a Korean actor who stood guard outside Korean stores during the rioting. “Then when Dr. Dre dropped ‘The Chronic’ album in the summer of ’92 it was like ‘Wow, this album is so good we can forgive anybody.’”

By the late 1990s, a handful of Korean-American rappers had achieved commercial success, but mostly rapping in Korean and selling their music in Korea.

The first annual Asian Hip Hop Summit, inaugurated on the 10th anniversary of the riot, was created as a way for Koreans to reach out to blacks and Hispanics and solidify the growing Korean rap movement.

Black and Korean rappers are cautious when reflecting about how much rap music can improve race relations in Los Angeles. Rap music, they say, is a world of its own.

“Open Mike Eagle,” 26, is a member of the group Thirsty Fish, which includes DumbFounDead. “When we leave here, we go back to our own families,” Eagle, who is black, said during the recent church session. Pausing and reflecting, he added, “But we do take this experience with us into the world.”

The riots and race relations are among many themes Korean rappers explore. Like artists the world over, they make music to recount personal experience.

For some, that means broken homes or pressure from their parents to be a doctor or engineer, acceptable careers in a community where education is paramount. For others, it means violence, gang life or illegal immigration, also very much a part of Koreatown.

DumbFounDead is an example. He dropped out of high school in 10th grade and moved out on his own by 18 because his parents had separated.

Mixed into Korean rap lyrics is vocabulary to express questions of identity felt by many young Koreans living in America.

“FOBs” are Koreans “fresh off the boat,” while children born here to Korean parents are called “bananas” because they are “yellow on the outside and white on the inside.”

In one song, American-born Doc Whisperer, who is 26-year-old Peter Yoo, and Korea-born Viruss44, or Sean Rhee, 26, who moved here when he was 14, rap about feeling alienated.

“I’ve been through a whole lot of insecure years / Cause I’m the first in my family to be born here / Raised in California, I crawled in Eight Zero (’80) / And when growing up I couldn’t recall an Asian hero,” Yoo rapped at a recent “Ghetto Musik” concert, which included dozens of Korean rappers and dancers.

In the crowd was 15-year-old Keith Smith and three of his friends, all of whom are black.

“I just came to check out my Korean homies,” said Smith, who would later lose a freestyle contest against DumbFounDead. “This is some good stuff

JUiCE Los Angeles Hip-Hop

Hip Hop in Germany

LAist.com, August 3, 2006

Photo by Bichito via flickr.com

Posted by Deanna Adams in Music

JUiCE Los Angeles Hip-HopL.A.’s youth have all the fun these days. Set aside sex, drugs, and violence, there are several organizations that allow them to have a blast. The Boys and Girls Club may be nice and all, but one program stands aside as one of the most unique.

The local organization Justice by Uniting In Creative Energy (J.U.I.C.E.) formed in 2001, with a mission to help fight juvenile crime through the hip hop culture – word, music, dance, and art. J.U.I.C.E is opened to anyone, of any age, and free of charge every Thursday from 4pm to 9pm, and offers open turntables, DJ sessions, Emcee workshops, Graffiti and Mural Art classes, Music Recording classes, and a dance floor.

That is not even the best part. J.U.I.C.E. was selected to be a part of the Youth Urban Arts Exchange in Stuttgart, Germany from August 15-28. This program enables some of L.A.’s youth to visit Germany and explore how the hip hop culture lives abroad, by way of joint workshops, performances and roundtable discussions facilitated by local scholars and artists.

“The main premise of the exchange goes beyond sharing our two cities. We will be creating and documenting an international dialogue around Hip Hop, Youth, Media and Violence as it is perceived and experienced in our distinct countries and communities”, said Monica X. Delgado, Executive Director of J.U.I.C.E. “We are proud to celebrate and share the diverse talents of Los Angeles’ Bboys and Bgirls, Graffiti Artists, Deejays and Emcees with like minded youth in Germany.”

This entire experience will be documented and presented in a live forum both here and in Stuttgart. To learn more about J.U.I.C.E. and the Youth Urban Arts Exchange, visit http://www.rampartjuice.com

http://www.laist.com/archives/2006/08/03/hip_hop_in_germany.php