'Do the Don': The Essence of Locking Dance - A discussion with Chunky

What makes Locking, Locking? Is it the sharp stops, the signature moves, or something less visible - an energy, an intention? According to Singapore dance pioneer Chunky, the true essence of Locking lies not just in what you do, but how and why you do it.

Origins of the Dance: Don, the Moves, and the Mindset

“Locking started in 1970 - late ‘69, early 1970, those were the formative years,” Chunky begins. “To understand the Campbellock, the first three people that are very crucial are Don [Campbell], [Jimmy] ‘Scoo B Doo’ [Foster], and Damita Jo Freeman.”

“Don created the first few moves and then he taught Scoo B. Scoo B was the first person to learn after Don… and Damita Jo Freeman, who was Don’s first partner - she was the one that gave a name to everything.”

These pioneers laid the groundwork for what became known as Locking. As the style evolved, Scoo B Doo introduced more vocabulary. “He was kind of like the first guy to introduce vocabulary after Don,” says Chunky.

By 1973, Locking had become a stage-worthy performance art. A group called The Lockers - assembled by choreographer Toni Basil - took the style to national TV via Soul Train. “Toni Basil… assembled the group together,” he recounts. “She and Greg [Campbellock Jr.] - she was the one who taught them how to count. Greg was the one that put everything together into sequences.”

This shift from street freestyle to choreographed performance would shape what most of the world now thinks of as ‘Locking’.

“That version of Locking is what the world references right now… we are referencing the showcase and performance part of the dance, which kind of evolved a little bit differently from how Don used to start his dance. Or how Don perceived it to be.”

Don’s style

Even as Locking entered the mainstream, Don Campbell himself stayed rooted in freestyle and individuality.

“Don doesn’t do other people’s signature moves,” Chunky emphasizes. “He only does his own moves. His flavour at that time was throwing hats, the dives, the kisses, stomping the ground. That was his thing.”

His essence? “Improvisation, adding your own flavour, doing the Lock… he was all about that.”

Locking Across Cultures

As Locking spread globally, different countries developed unique takes. “Greg Campbellock Jr came to Korea, Taiwan. Tony Gogo eventually spread the dance to Japan. [They] spread the dance in their perspective,” Chunky elaborates.

“So mainly everyone around the world [did] this Campbellock style. They really gave value to yes, the stop, which is essential, the power and the vocabulary. Very strictly adhering to the vocabulary of what was seen in [Greg and Tony].”

Chunky reflects on Japan’s early adoption: “Their dance was very centered around the groove instead of the power, the exterior power… They coined this thing called ‘Soul Dance.’”

Initially, he struggled with this variation: “There was a phase where people started to ostracize different styles that did not fit in this category… too groovy and all that… Locking has the power.” But with time and reflection, he reconsidered.

“I used to love their style. Then I realised, hey, maybe it’s not so authentic. After that, go one more round and think - what if Don were to see this? Don would have loved it.”

“When we talk about when Nobby did the showcase in Singapore it was very abstract. Yeah, some would argue that, you know, it’s not really very pure looking. Which rightfully is a valid position.”

Chunky continues, “But then again, if Don was here to see what Nobby did, he would have been very excited about the flavour he brings. He might have probably told Nobby, ‘You gotta do stops, you gotta do me first before you do a little bit of you.’ But he would have been excited.”

A Balancing Act: Power, Vocabulary, and Flavour

For Chunky, the debate around what constitutes “real” Locking often misses the point. “There must be a good balance,” he says. “You must be able to master all the 8 Campbellock foundation moves, all the signature moves. But you must also be able to have your own flavour.”

He applauds dancers in India and China who blend Locking with their own cultural styles. “In India, they infused their ethnic dance into the Locking, and I think that’s the spirit of Don. I’ve seen in China, some of the kids infusing Chinese dance into Locking - I think that’s in the spirit of Campbellocking.”

Power is also not to be dismissed. “Power moves are also very important,” he notes. “Everything that Alpha did - the kicks, the splits - those are equally important as well. That also pays homage to the jazz roots… the Nicholas Brothers. That inspired Don and his friends.”

Still, he cautions on over-focusing on vocabulary. “When you see battles of the ‘Not For Lockers’ category, dancers’ technique, know-how and vocabulary of Locking is very limited, so they fall back on their genre. But actually, that is closer to the spirit of Campbellocking than if you are so serious on the vocabulary and only do the vocabulary.”

The Heart of Locking: Character and Connection

So what is the essence of Locking? Chunky answers with clarity and conviction: “Yes, do the Don. The Don is the stop, but it’s more than just the stop. The Don is also the character.”

“Locking is a performance dance, an entertainment dance. Interactive? Yes - because last time, there were no battles. They were just young boys trying to dance with the girls… trying to make connections.”

And that idea of connection is key. “Don, was always dancing with somebody. He was projecting to somebody… His idea is just dance, have fun and put his character inside.”

“If you look at Don’s solos… he’s pleasing the audience. You can tell that he was not just showing you a bunch of things. He’s really taking charge of your space over there.”

How does one connect like Don did? “You must have the power, the intent. In a way where I would interpret it as a connection with the audience or whoever you dance with,” Chunky explains. “What are you putting on the plate? What story are you telling? What is your concept?”

Importantly, this intent manifests in “the stop, the freeze. So when you point, and you lock, do self five. All that, you have to freeze."

"You Have to Unlock the Lock”

Being a Locker, according to Chunky, is not just about dancing - it’s about surrendering to the music.

“To be a very good, effective Locker or communicator of Funk is very challenging. You have to unlock the lock. You have to unlock the character. You have to totally surrender to the music.”

He praises crews like Ghetto Funk from Amsterdam: “These are the guys that you look out [for] because they really surrender to the music. They do Don, and they are so different. They don’t look like any other country.”

Final Words

Chunky sums it up nicely:

“In a nutshell, you talk about the essence of the Lock - it’s the stops, it’s the character. And you have to entertain, and to create, you have to connect.”