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We’ve curated the best of digital age-inspired creativity—from user-generated content, mash-ups, and remixes to collaborations between multi-disciplined makers.

If you can’t get behind The Prancing Elites, a black gay dance team from Mobile, Alabama, it’s quite possible you had a brain tumor for breakfast. The dance troupe’s signature dance style is called J-Setting, or as Elite member Adrian explains, “It’s like a cheerleading and voguing combined in one with a lot of pelvic thrusting.” And if you still don’t quite know what that means, Beyoncé introduced J-setting to the mainstream via her legendary “Single Ladies” music video. Of course, The Prancing Elites have routines that also include other styles like twerking, classical ballet and the classic death drop. Their new reality show The Prancing Elites Project just debuted on the US Oxygen network, and the first episode demonstrates just how important it is that this quintet is J-Setting their way towards equality and right into our hearts (obviously).

The Prancing Elites banded together in the mid-2000s, but they didn’t become internet darlings and national superstars until Shaquille O’Neal tweeted a video of the five performing. The video in question is the news segment that on how the Elites were banned from a local Mobile Christmas parade because they were deemed inappropriate for the “family oriented” event. So why do they continue to endure the homophobic hostility to perform in Mobile? “The way my mind is set up, in everything I do I fight,” explains Kareem, the self-proclaimed ‘dad’ of the group, “People say don’t you wish it was easier? I wish it was harder. Because then I’d have learned something. I would still have fun, but it would be a bit boring.” Inspirational isn’t a strong enough adjective to describe The Prancing Elites.

So go and check out the first episode of The Prancing Elites Project to see the quintet combat discrimination with knee-high boots, sparkly leotards and killer dance moves.

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[Photo source: The Daily Beast]

April 30, 2015 by Robert Cordero