Body Language of Music w/ King Art

Author: Erika Netzer

Body Language of Music w/ King Art

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It is well known within the writing community that you must read in order write. Meaning, the more you read, the more improved your writing becomes.

Are the same principles and techniques applicable within different creative industries? Perhaps the music industry? Are there individuals who possess the skills to not only perceive this but to act on it? Is it order to writer better, you must read more? In order to sing better, you must listen more? Or maybe, in order to produce music, you must dance more?


I have found this to be true in regards when it comes to Chicago-based music producer King Art. The industry needs more King Arts, no, every industry needs more King Arts. Meaning, individuals who truly understand their craft not only inside and out but, backwards and forwards. Getting King Art’s perspective on his history in dance and how his experiences have made him the superlative and collaborative professional he is today.

Is it that one must be a fully an established skill set (dance) in order to see the creative process of music in reverse? There isn’t a specific or quantifiable science behind this, however, professionals like King Art raise awareness that the culmination of his work is multitude of concurrent skills being assessed at once.


Has your practice of dance deepened your understanding in the craft of producing music? Do you think this, among many of your other talents you, has deepened your genius level of crafting an experience?

Bboying established my understanding of hip hop and all the elements it had. Dancing definitely taught me rhythm and also let me understand the importance of drums within hip hop since we would dance to mainly the hit of the kick and snare which allowed me to transition from dancing into music. Dancing also established the work ethic for me, I used to practice 4 to 5 hours a day drilling in certain techniques and moves, and I knew I had to bring that same work ethic towards music and anything else I did.

When did you start with your dance crew?

I started bboying (break dancing) at the age of 10, and created a crew called Sacred Grounds crew when I was thirteen, in 2002. Then our group merged with 360 crew and Stick ‘n Move crew in 2006.

Your crew went on to compete on America’s Best Dance Crew, is that correct?  

America's Best Dance Crew, season one. We went under Stick ‘n Move 360 crew. I was on the first promo commercial.

I may be wrong but I feel you possess a talent where you can see the process in reverse or are so in tune to how it will be experienced.   

I think possessing skills in multiple fields or practices keeps me on my toes, and it allows me to find the relativity in different forms of expressions and I think it keeps me in tune. Also having multiple things to turn allows me to refresh my creative mind and start fresh.

Do you have advice to anyone trying to start in music?

Music is a tool of expression, it is therapy, and it is life. Go out there and find your identity, be efficient in the way you create, and don't be scared to fail. The more you keep going and learning new techniques and tricks, the faster the process will be and you'll be knocking out songs in no time. Don't overthink things. 2 pac has an abundance of songs because he didn't waste time in the studio he would write one song in an hour or so, record it, then go on to the next. Music is a numbers game. Eventually you'll come up with something special after many tries and the cool thing is you can have many versions of essentially the same song and just pick the best version and release that one.

Interviewee: King Art

Interviewer: Erika Netzer

Erika NetzerComment