Showdown Chinatown: A Fusion of Culture & Community
Written by T.K. Mills
Photos by Kelvin Loarca & Shamil Tanna
Published on November 25th, 2025
On a fair September Saturday, a coalition of B-Boys, DJs, and Graffiti writers convened for Showdown Chinatown, the second annual hosting of hip-hop culture. Alive with scratching, spraying, and the sounds of cheers – the crowd watched as the variety of creatives did what they do best, with the triumphant return of the festival. Speaking with Ken Ji, the festival organizer, he shared with UP the origins of Showdown Chinatown, the success of the second edition, and his ambitions for the future.
T.K. Mills: What is your role within Showdown Chinatown, and how did you get involved?
Ken Ji: Over the last two years, we’ve had many people contribute blood, sweat, and tears—but the best way to describe my role is as the lead organizer of Showdown Chinatown.
For me, it was really 20 years in the making, but everything fell into place in the last few years. I moved to NYC in 2016 but had mostly stepped back from being an active B-Boy. Toward the end of 2019, I was ready to leave, disappointed by the facade of the city.
Then the pandemic happened. We all witnessed Derek Chauvin murder George Floyd, Chinatown and Asian Americans came under attack, and everything changed—the soul of the city started spilling out onto the streets. For the first time, I felt like I was finally seeing the real New York. Wanting to contribute but not knowing how, I picked up my camera and started documenting protests throughout 2020–2023. This community of organizers, activists, and documentarians taught me a lot about the lived realities of New York and America. Instead of leaving, my instincts told me to stay—and I’m glad I did.
After attending and shooting 200–300 protests between 2020 and 2023, I developed an urge to organize and use what I know to give back to the communities I love—the same communities that helped me get to where I am today. After reconnecting with Hip-Hop through breaking jams around the East Coast, attending Hip-Hop 50th anniversary events in NYC, and going to Freestyle Session Mexico 2023, I was re-energized and ready to represent.
T.K. Mills: What is the aim of the festival?
Ken Ji: It was really an answer to many questions I had been asking myself throughout 2020–2023:
- How can I give back beyond photography?
- What can I do to bring joy to my community?
- How can I show the beauty and diversity of Hip-Hop culture?
- How can I bring all the traditional elements together in a meaningful way?
- How can I highlight the beauty and impact Chinese and Asian peoples and cultures have had on Hip-Hop?
- What can I bring to the table that doesn’t already exist in New York or Chinatown?
The answer to all of these was Showdown Chinatown.
A deeper personal motivation I carried was to challenge the mainstream notion that Asians merely exploit Hip-Hop culture—when in fact, our cultural heritage and exchange run deeper than most people realize.
The concept of “my style vs. your style” was heavily inspired by the Kung Fu films of the ’70s. Not only did these early pioneers imitate the movements; they were also absorbing culture. From Grandmaster Flash to Wu-Tang, from Ken Swift to Kung Fu Kenny, the tradition of drawing inspiration from Chinese culture continues in Hip-Hop to this day.
T.K. Mills: How long have you been b-boying, and how did you get involved in the culture?
Ken Ji: My first contact with the culture was around 1997, when “It’s Like That” by Run-D.M.C., remixed by Jason Nevins, was released. My family was living in Auckland, New Zealand at the time, and it blew my little brain—Krazy Kujo, Asia One, Mr. Animation (RIP), and so many other legends!
In the early 2000s, after my family moved to Melbourne, “Freestyler” by Bomfunk MCs—a Finnish song—blew up in Australia. The music video featured Wartecs from Flowmo Crew and only deepened my fascination with the dance.
In 2004, I signed up for breaking workshops taught by B-Boy Arch from Wickid Force. Not long after, I was lucky to join a club/crew at my school called Soul Power, where I learned more about the culture as a whole and eventually became vice president for a term. We had no idea how lucky we were, but some of the older kids at the school had a relationship with Fresh Sox Crew, who had just become the first international chapter of the Mighty Zulu Kingz—they became our early mentors and teachers.
During this time, we had to do a lot of catching up—speeding through 30 years of history and culture and cramming it all in. Hip-Hop culture gave a bunch of immigrant kids on the other side of the world purpose and a true sense of home.
Huge shout-out to the OGs in Australia—especially Wickid Force and Fresh Sox (Immortal Shining Ones + Ghetto Rock). Lamaroc, Arch, Nasa, Qwesroc, Gucci Daz, Silenz, Mousa, Tien, Steve, and the rest of the Melbourne community—for holding it down and inspiring a young me both in and out of the cypher. Rest in peace Dr. Janet Prideaux—thank you for seeing us and supporting our little crew 20 years ago.
T.K. Mills: How was the second year compared to the first?
Ken Ji: Last year, since it was our first time hosting the event, we didn’t know what to expect—and being mostly out of pocket with one local sponsor, our neighborhood bar Izakaya Juraku, was a challenge in itself! With the help of B-Boy Prevail, we were fortunate to receive some support from Red Bull, covering equipment and bringing Neguin onto our judging panel.
This year, we weren’t so lucky and had to start from scratch, but with help of TenTen and support from local organizations like the Chinese-American Planning Council, Evolute Academy, Sour Mouse, and Canal Street Sound & Light, we were still able to take everything to the next level. We nearly doubled our total prize pool and brought in more MCs, Writers, DJs—and, of course, more Breaking and Rocking.
One plan that didn’t materialize was our effort to beautify the façade of East Broadway Mall. We had built a good relationship with the owners, who were ready to approve the project; however, the building was sold and management changed hands just weeks before our event. It’s something we still hope to pursue next year.
Pressure Paint came through with a 25-foot truck to serve as a backdrop for the event, helping elevate it from a breaking jam to a full Hip-Hop festival. Huge shout-out to all the writers: TurtleCaps, ShiroOne, BelowKey, Zero Productivity, Kosuke James, Bom5—and, of course, Born, who inspired me in my youth and continues to set an example in the global Hip-Hop community.
T.K. Mills: How did TenTen get involved in the festival, and what is their official role?
Ken Ji: TenTen made this whole event logistically possible. Officially, they are our fiscal sponsor—but Ayaka May and the team have contributed far beyond that.
I met Ayaka May at our local bar Izakaya Juraku in the LES. TenTen hosts an artist gathering every Wednesday (check it out!). One night, while I was talking about the event idea with a friend, Kiyo —the manager—thought it would be good to connect us. The rest is history.
TenTen also works on a whole variety of other projects to support local artists throughout the year.
T.K. Mills: What are your hopes for the future?
Ken Ji: I hope kids in Chinatown who are experiencing this culture for the first time continue to learn, develop, and grow—you are the future! I hope people of different cultures and backgrounds keep coming together to learn, share and celebrate with each other.
For this event, I hope it keeps growing beyond all of us and inspires others to organize and give back.
Some final shoutouts to people who made the event possible:
Ken: Our legendary host Ness; our amazing judges Candy, Jiggz, Aya, our MCs BrooklynNext and MC Tingbudong; Our DJs Bijan, Skee and Natural; Josh, Kelvin, Tima, Ra and all the crazy talented documentarians. Lamgen and the team at Chinatown BID; the kids of Tai Look Liondance Group, everyone from Shaolin Temple Staten Island, Fulton for being my Chinatown crutch and Eugene for helping make Year 1 possible. Of course to everyone who attended the event, thank you!
T.K. Mills is an art journalist based in New York City. After receiving a Master’s Degree in Global Affairs, he discovered a love for graffiti while backpacking through Cuba. T.K. has written for several art publications including SOLD, Global Street Art, and Arte Fuse. Additionally, he manages the street art blog, Well Pleased We Dream. Beyond art, T.K. loves reading and traveling.
Insta: @t.k.m85
Website: www.tkmills.com