“Move Ya Body: The Birth of House” dives into the narrative of how house music sprouted towards the end of the 1970s. The director, Elegance Bratton (“The Inspection”), pieces together the history through the recollections of pioneers who created this unique rhythm amidst racial segregation and violence in Chicago's underground clubs. This docufilm, imbued with nostalgia, sheds light on Black, brown, and queer trailblazers and their creation that continues to inspire dance music today.
In the initial minutes, "Move Ya Body: The Birth of House" sets the stage by juxtaposing Chicago's riots against the police and images of people dancing to beats that resonate in the neighborhood. Vince Lawrence, one of the main figures of this musical revolution, takes center stage intimidated, only to be reassured by Bratton. The film traces Lawrence's journey emerging from challenging sociopolitical conditions with music that represented his culture and environment. Lawrence's friends and collaborations are also highlighted, reinforcing how a group of kids from Chicago transformed music history.
Pivoting to significant historical events, Bratton opens with the infamous disco demolition incident in July 1979. The destruction of disco records at a baseball match sparked by rock 'n' roll fans, including radio DJ Steve Dahl, stands as a symbolic rebellion against disco music's growing popularity, perceived as Black and queer-oriented. The chaotic incident, laced with traces of homophobia and racism, marked the decline of disco but simultaneously catalyzed the birth of hip-hop and house, as witnessed by Lawrence.
The film swirls the audience through the struggle and triumphs of house pioneers, blending reenactments, short interviews, and archival music. The narrative does not solely rely on historical footage, recognizing mainstream media's flawed portrayal at the time of inception. The combination of these elements mirrors the rhythm of house music. The remarkable story holds an amusing charm, keeping audiences engaged despite the lack of a full song or more dance scenes.
Lawrence and his peers, such as Jesse Saunders with whom he formed Z Factory and recorded the first house record "On and On", are portrayed as victors opposed by a range of personalities, from unscrupulous record executives to artists who falsely claimed credit for the genre. Rachael Cain, known as Screamin’ Rachel, who was hired for financial reasons as a singer on Lawrence and Saunders' first record and later claimed credit for its success, is a character that stands out.
"Move Ya Body" sheds light on how Black artists' fundamental contributions have been habitually exploited and commercialized as mainstream or "white". House music's evolution from its Chicago roots to popular genres like techno and EDM, with white DJs gaining massive success, is depicted and contrasted with the lack of recognition received by the Black innovators of this genre. The film casting a spotlight on this fact, void of bitterness or regret, turns out to be more of a celebration.
Endowed with a profound passion for house music, Bratton and his team achieve their objective. The participants do more than just narrate history, they delve into the analysis of beats and provide insights into distinct genres that shaped and emerged from house music. Owing to Bratton’s experience in directing "The Inspection", fictional reenactments add a captivating edge to the storyline shared in interviews. "Move Ya Body: The Birth of House Music” is a tribute to the unsung heroes of this genre.
