In the ever-evolving world of internet culture, viral trends emerge and disappear at lightning speed. But some leave a lasting mark, reshaping how we understand media and online interaction. One such phenomenon is the “Crank That Dance,” popularized by Soulja Boy. Originating from a simple online video, this dance became a global sensation, demonstrating the power of grassroots movements in the digital age. This article delves into the “Crank That dance” craze, exploring its origins, its explosive spread, and its significance as a case study in viral media.
The story of “Crank That dance” began with DeAndre Way, a teenager from Mississippi, known to the world as Soulja Boy. In the summer of 2006, armed with Fruity Loops software and a cousin’s video camera, he started creating music and accompanying dance videos in his hometown of Batesville. Uploading these videos to platforms like YouTube and MySpace, Soulja Boy tapped into a nascent online culture eager for fresh, participatory content. His track “Crank That (Soulja Boy),” with its distinctive steel-pan-drum sound, quickly gained traction, but it was the accompanying dance that truly ignited the internet.
The “Crank That dance” itself is characterized by its simple yet catchy moves: a crisscrossed jump, shakes and stomps, a breaststroke-like arm motion, and jumps to the sides. Its accessibility was key to its virality. Unlike complex choreographed routines, anyone could learn and perform the “Crank That dance,” and people did. Videos of individuals and groups performing their own versions flooded YouTube, creating a massive wave of user-generated content. This participatory nature is a hallmark of what is now understood as “spreadable media,” a concept emphasizing the value of audience engagement and circulation over traditional “stickiness” models of media consumption.
The phenomenon caught the attention of academics and media theorists alike. At MIT, a group of graduate students in a media theory course, led by Professor Henry Jenkins, decided to examine “Crank That” as a contemporary media phenomenon. They recognized it as a prime example of how media gains value through grassroots circulation. To further understand the craze, and perhaps inject some “coolness” into MIT, these students, and even Professor Jenkins himself, staged their own “Crank That dance” performance on the MIT campus.
This event, covered by the Boston Phoenix, highlighted the unique virality of the “Crank That dance.” Kevin Driscoll, one of the MIT students involved, noted that “Crank That” represented a shift in how dances become viral, enabled by platforms like YouTube and MySpace. He argued that the dance craze itself played a crucial role in Soulja Boy being signed by a major record label, demonstrating the power of online platforms in launching careers and shaping popular culture.
Xiaochang Li, another student involved in the MIT project, further analyzed the phenomenon as “Hustling 2.0.” She pointed out Soulja Boy’s savvy use of online platforms for self-promotion, contrasting it with traditional media promotion strategies. Soulja Boy understood the unique dynamics of online spaces, leveraging file-sharing practices and YouTube’s video blogging aesthetic to brand himself and spread his music and dance. Even the official “Crank That” music video acknowledged this Web 2.0 phenomenon, depicting the dance spreading across various digital platforms and into the “real world.”
The “Crank That dance” phenomenon extends beyond just a fleeting internet trend. It serves as a significant case study in understanding how user-generated content, participatory culture, and social media platforms can converge to create viral sensations. It underscored the shift from a media landscape controlled by gatekeepers to one where grassroots movements and audience participation can propel content to mainstream success. Soulja Boy’s “Crank That dance” remains a potent example of the power of spreadable media and the enduring impact of viral dance crazes in the digital age.
References
Jenkins, H. (2007). Sometimes a class project takes on a life of its own. [Web log post]. Retrieved from [original article URL]
Li, X. (2007). Hustling 2.0: Soulja Boy and the Crank Dat Phenomenon. Convergence Culture Consortium. Retrieved from http://www.convergenceculture.org/weblog/
Densmore, B. (2007). Jenkins on Soulja Boy. New England News. Retrieved from http://test.newenglandnews.org/?q=node/234
(Note: Please replace “[original article URL]” with the actual URL of the provided original article. Also, verify the active status of the provided URLs and update if necessary.)
