Children of the Zulu Kings
Honouring Breaking’s Legacy Through Film
Directed by Chantel Simpson
Words by Katie Huelin
Breaking’s Olympic debut in 2024 sparked global conversation, but for NYC-based director Chantel Simpson, it was a moment to reflect on the art form’s roots. In the short film, Children of the Zulu Kings, Simpson spotlights breaking pioneer Alien Ness, a key figure in the culture’s evolution from the Bronx to the world stage. With striking black-and-white cinematography and raw storytelling, the film is both a tribute and a reminder - breaking is more than a sport; it’s a revolutionary movement.
We caught up with Simpson to discuss her creative process, the inspiration behind Children of the Zulu Kings, and the responsibility of preserving breaking’s history.
What inspired you to tell this story about breaking pioneer, Alien Ness and the Mighty Zulu Kings through film? How did you first connect with the history of breaking culture and its impact on the global dance scene?
Breaking is a uniquely New York artform. It took a serendipitous combination of creativity, grit, and attitude to develop and it could have only happened in a city like New York. As a native New Yorker, breaking’s inclusion in the 2024 Paris Olympics was particularly exciting as it felt gratifying for something homegrown to be recognized on such a global scale. However, I did feel some of the coverage leading up to breaking’s Olympic debut glossed over the artform’s roots. I guess I felt an urge to pay homage to this history and show how breaking’s past informed its present as an international force.
I had known about the Mighty Zulu Kings, arguably the first recognized breaking group, for years but it wasn’t until I reached out to them that I found out about Alien Ness and his contributions to the culture. And it was then that I knew I wanted his voice to guide us through breaking’s evolution and its continued impact. It's truly an honor to have spoken to someone who had not only been there for breaking’s formation but pioneered and steered the artfrom’s trajectory. So “Children of the Zulu Kings” is both a celebration of breaking’s beauty and a reminder of its revolutionary beginning.
In Children of the Zulu Kings, the movements of the breakers feel like storytelling in motion. How did you approach capturing the expressive power of dance to communicate the film's narrative?
I’m in no way an expert, but my interpretation of breaking is that it cannot be choreographed. It’s a completely improvised form of expression that’s largely driven by music. So that’s where I started–with the music. I selected songs that I felt would elicit emotive performances from the dancers. And the resulting movements you see in the film is each dancer’s visceral reaction to each song. In the edit, it was just a matter of interweaving the stories they were telling with their bodies to form a beautiful narrative.
What was it like working with a world renowned b-boy, who has been so instrumental in breaking’s global rise? Were there moments when Alien Ness’s own personality or perspective altered your approach to the storytelling?
Alien Ness is a force. There’s a certain level of confidence you witness in people who have made their mark on history. Alien Ness commands respect and it’s well deserved. Alien’s perspective completely transformed the way I approached this film. His voice gave it credibility. It’s almost like being anointed or knighted. I don’t think there was a better way to celebrate breaking’s ascendance than through the reflections of one of its innovators.
The dynamic camera angles make the audience feel deeply connected to the dancers’ movements. How did you approach the cinematography for the film to achieve this immersive experience?
I wanted to create a level of intimacy between the dancers and the viewers. I wanted the audience to feel like they had this front-row view of the Mighty Zulu Kings. Through the cinematography, I created a world where one’s eyes could completely focus on each dancer’s movements and witness the complexity and chaotic elegance of breaking.
What do you hope audiences will understand or feel about breaking as an art form after watching the film, particularly given the controversy, as you mention, with its presence at the 2024 Olympics?
Oftentimes the history of art forms that originate within communities of color gets buried as it transforms and ascends and reaches a wider and more global audience. And so for breaking, and many other art forms, it's important to reiterate its origin story so that the contributions of its forefathers and foremothers are not forgotten. I hope viewers will come away with a deep respect for people like Alien Ness and a newfound curiosity about breaking’s roots.
“It’s important to reiterate its origin story so that the contributions of its forefathers and foremothers are not forgotten.”
Were there any specific challenges you faced trying to authentically capture the energy and flow of breaking through these various perspectives?
I honestly didn’t experience any challenges. The dancers were extremely generous with their time and were patient with my vision. They believed in my motives for creating this film and they really appreciated having a unique platform to express themselves.
The film’s sound mix, with infectious hip-hop beats, complements the visual intensity of the dance. Collaborating with Production sound mixer, Jose Villaman, how did you select the soundtrack, and what impact were you hoping the music would have on the film’s overall mood?
The soundtrack, paired with Alien Ness’ voice is meant to take the viewer on a journey. I also wanted the music to challenge the dancers to make big, bold, movements leading to visuals that are diverse and stimulating. In selecting songs, I sought out tracks that had an old-school hip-hop vibe and paired them with more contemporary sounds. The resulting effect showcases the evolution of breaking both sonically and physically.
The spotlighting effect, with dancers emerging from darkness into light, is incredibly striking. Can you talk about the creative process behind this decision? How did it contribute to the feeling you wanted to convey through the film?
The spotlight was a device to, again, force the viewer to pay attention to the movement itself without any environmental distractions. However, it also created an interesting challenge for each dancer. Having to contain themselves within the circle, it was fascinating to see how they actually used this barrier as part of their expression. Some of them would glide along the edges. Some would create unique shapes within its parameters. What was meant to be a creative choice visually also pushed each dancer’s creativity.
The black-and-white cinematography creates a real sense of nostalgia. What led you to choose this aesthetic, and how do you think it affects the way viewers experience the dance?
This film is about breaking and its history. Breaking arose during a complex social and political time in the Bronx, New York. The black-and-white cinematography paired with the pure expressions from the dancers and Alien Ness’ poignant narration embodies the raw, unfiltered, and unbossed energy of that time. It was a choice that made complete sense. I think it helps viewers come away with a deep reverence of the artform.
What's next for you?
I've just finished another New York-centric project–a short documentary film called “A Drastic Tale” which explores the deep brotherhood formed between a group of East Coast lowrider enthusiasts and provides an honest glimpse of what it means to dedicate one’s life to the culture. You can hopefully catch it on the 2025 festival circuit.
Director/Editor: Chantel Simpson
DP: Fengze Liang
1st AC: Amy Giordan
Gaffer: Cole Terra
Sound Mix: Jose Villaman