Kiwi krumper crushes it at Krump Wars 6
Trenten Omeri travelled to the Philippines earlier this year to represent New Zealand at one of the world’s most iconic Krump events, Krump Wars 6. While he held his own in the fiercely competitive battles, Trenten says the real prize wasn’t the stage — it was the people he met, the connections he forged, and the vibrant regional krump community he became part.
Trenten participating in a krump workshop prior to the competition stages
In April 2025, I had the incredible opportunity to travel to the Philippines and immerse myself in the vibrant, deeply rooted Asian krump scene, a journey that became a defining chapter in my artistic development.
I landed in the Philippines in the early hours of 3 April and emerged from the airport into the thick humidity and buzzing energy of Manila. I took the first day to rest and acclimatise, physically, mentally, and environmentally.
A light training session helped me break a sweat and settle into the local rhythm. I was preparing not just for an event, but to step into a different cultural world of krump, where expression, history, and intensity converge.
Trenten Omeri: "The lessons I gathered weren’t just about movement, but also mindset."
Day 1 of Krump Wars 6 began with a series of elite-level workshops. Sherwin ‘Beast’ Salonga, Pat ‘Hax-Xyb’ Mabanta, and Aotearoa’s own Ken ‘Light$aber’ Vaega shared their knowledge with powerful presence.
These sessions ranged from freestyle development to structured choreography and performance psychology. I approached this day strategically, observing, note-taking, and processing every gem of wisdom. The lessons I gathered weren’t just about movement, but also mindset: how to prepare, how to persevere, and how to adapt under pressure within a competition.
The evening brought the Heavyweight Session, a pre-event battle night that felt like a fusion of performance, ritual, and warfare. Filipino dancers took on international challengers in high quality and intense battles.
I witnessed the raw passion that makes the Filipino Krump scene so respected, a passion that’s fierce, communal, and grounded in identity. Being in that space, surrounded by fire and intention, was as educational as any workshop.
On Day 2, workshops continued with global icons like Jun ‘Twiggz’ Sato (Japan), Grichka (France), and Anton ‘Slam’ (Kazakhstan).
Each brought their own methodology, I was especially inspired by Slam’s insights on movement and building your body to become more mobile and flexible and building infrastructure for dance movements.
That afternoon, I competed in the Open Krump Prelims, where over 150 dancers competed for a spot in the top 16.
Trenten: "I battled through multiple rounds, pushing past mental and physical fatigue."
It was a gauntlet. I battled through multiple rounds, pushing past mental and physical fatigue.
In the second round, I faced a tiebreaker: five of us were called back for one final round to prove ourselves.
The judges, unable to pick just two, expanded the finalist bracket to a Top 17, and I was in.
Standing among such high-calibre dancers was both humbling and empowering. After nearly 13 hours of dancing, observing, and mentally staying sharp, we finished past midnight.
Day 3: the main event. This included the New Era Hat Trick Battle, a newer Krump division where props like hats are used for illusions and storytelling.
This style has become a personal creative focus, and entering this division allowed me to test my skills on the world stage. Though I advanced through prelims, I fell short in the first round, a loss that sharpened my resolve for the future.
Then came the Top 17 Open Krump Battles. I was matched with ‘Flame’ from Japan, a prodigious 4-time King of Buck champion.
Our styles couldn’t have been more different. Flame’s smooth musicality contrasted my aggressive, raw delivery. It was a clash of rhythm and intensity.
Trenten: "Yet, the real gold of this journey wasn’t just in competition, it was in connection."
Though the judges ultimately gave the win to Flame (who would later reach both finals), I left that stage proud of what I brought. My presence was felt.
While I didn’t win the division, my fellow Kiwi, Ken ‘Light$aber’ Vaega, did, becoming the champion of Krump Wars 6. It was a moment of pride for our Aotearoa community and further proof that our dancers can thrive on global stages.
Yet, the real gold of this journey wasn’t just in competition, it was in connection. I formed new bonds with dancers and leaders from Indonesia, Japan, Malaysia, China, and more.
We exchanged ideas, talked future events, and laid the groundwork for cross-cultural exchange. Many expressed interest in visiting or battling in Aotearoa. Doors are opening.
Returning home, I carry more than battle experience. I’ve gained insight, connection, and clarity.
I feel a renewed sense of purpose, not just to grow as a dancer, but to help elevate the Krump scene in Aotearoa. This trip affirmed that we belong in global conversations. That our stories, our styles, and our roots matter.
This is only the beginning.
The Foundation's Arts Programme brings Asia into the mainstream of New Zealand arts by inspiring New Zealand arts professionals to grow their connections and knowledge of Asia. It also supports the presentation of Asian arts in partnership with New Zealand arts organisations and events.
