Breakdance: Difference between revisions
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#REDIRECT [[Breakdancing]] |
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{{Otheruses6|Breakdance (ride)|Breakdance (video game)}} |
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{{Article issues|refimprove=November 2007 |
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[[Image:Thai Breakdancers.jpg|thumb|right|350px|A Thai break-dancer holding a one-handed [[handstand]] at MTV Street Festival, Thailand.]] |
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'''Breakdance''', '''breaking''', or '''b-boying''' is a [[street dance]] style that evolved as part of the [[hip hop culture|hip hop movement]] among [[African American]] youths in [[New York City]] during the early 1970s. It is danced to [[hip hop music|hip hop]] or other music, often [[remix]]ed to prolong the [[Break (music)|breaks]]. One who practices the style is a '''break-dancer''', '''breaker''', '''[[b-boy]]''' or '''b-girl'''. |
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The term "breakdancing" is contentious among practitioners who believe it was invented by [[mass media]]<ref name = Schloss>{{cite book |
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| lastname = Schloss |
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| firstname = Joseph |
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| title = Foundation: B-boys, B-girls, And Hip-Hop Culture In New York |
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| year = 2009 |
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| publisher = Oxford University Press}}</ref>{{rp|58}} to exploit the movement.<ref name=Schloss></ref>{{rp|60}}<ref name = freshest/> "Breakdancer" may even be used disparagingly to refer to those who learned the dance for personal gain rather than "committment to the culture."<ref name = Schloss></ref>{{rp|61}} Many pioneers and prominent figures<ref name=freshest>{{cite video |
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| people = Isreal (director) |
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| title = The Freshest Kids: A History of the B-Boy |
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| medium = Movie |
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| publisher = QD3 Entertainment |
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| location = USA |
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| year2 = 2002}}</ref> prefer to call it "b-boying"<ref name = globe>{{cite news |
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| title = The ascent of hip-hop: A historical, cultural, and aesthetic study of b-boying (book review of Joseph Schloss' "Foundation") |
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| author = Adam Mansbach |
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| year = 2009 |
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| month = May |
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| day = 24 |
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| work = [[The Boston Globe]] |
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| URL = http://www.boston.com/ae/books/articles/2009/05/24/the_ascent_of_hip_hop/}}</ref> or "breaking." |
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==History== |
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[[Image:165637447 d633abe006 o.jpg|thumb|right|350px|Breakdancer doing a [[Float (breakdance move)|turtle]].]] |
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Elements of breakdance may be seen in many antecedent cultures,<ref>{{cite video| title = 1800s Arab street dancers performing head spins and flips| URL = http://memory.loc.gov/mbrs/lcmp002/m2a32868.mpg}}</ref> but it was not until the 1970s that breakdance evolved as a [[street dance]] style during the [[hip hop culture|hip hop movement]] among [[African American]] and later on [[Latino American]] youths in [[Manhattan]] and the [[South Bronx]] of [[New York City]]. It became popular in the Western world when street corner [[disc jockey]]s would take the rhythmic [[Break (music)|breakdown section]]s (or "[[breaks]]") of dance [[Gramophone record|record]]s and string them together with many elements of the melody. This provided a raw rhythmic base for improvising and further mixing, and it allowed dancers to display their skills during the break. In a turn-based showcase of dance routines, the winning side was determined by the dancer(s) who could outperform the other by displaying a set of more complicated and innovative moves. |
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[[Michael Jackson]]'s televised performance of the [[robot dance]] in 1974 in the song [[Dancing Machine]] displayed elements of the breakdance subculture to a wide audience and helped spark its popularity. Meanwhile, dance teams such as the [[Rock Steady Crew]] and the [[New York City Breakers]] changed the dance into a pop-culture phenomenon receiving a large amount of media attention. In the 1980s, parties, disco clubs, talent shows, and other public events became typical locations for breakdancers. Though its intense popularity eventually faded in the mid-1980s, in the following decades break-dancing became an accepted dance style portrayed in commercials, movies, and the media. Instruction in break-dancing techniques is even available at [[dance studio]]s where hip-hop dancing is taught. Some large annual break-dancing competitions of the 2000s include the [[Battle of the Year]] or the [[Red Bull BC One]]. |
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Shortly after groups such as the [[Rock Steady Crew]] came to Japan, break-dancing within Japan began to flourish. Each Sunday performers would breakdance in Tokyo's Yoyogi Park. One of the first and most influential Japanese breakdancers was Crazy-A, who is now the leader of the Tokyo Rock Steady Crew.<ref>[http://web.mit.edu/condry/www/jhh/ Japanese Hip-Hop, by Ian Condry (MIT)<!-- Bot generated title -->]</ref> He also organizes the yearly B-Boy Park which draws upwards of 10,000 fans a year and attempts to expose a wider audience to the culture.<ref>[http://www.msu.edu/~okumurak/dancers/tokyorsc.html Tokyo Rock Steady Crew<!-- Bot generated title -->]</ref> |
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==Dance techniques== |
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{{details|List of breakdance moves}} |
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[[Image:120843587 0aae1ae5dc o.jpg|thumb|right|350px|A breakdancer in the middle of a [[downrock]].]] |
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There are four basic elements that form the foundation of breakdance. These are [[toprock]], [[downrock]] (also known as footwork), [[power moves]], and [[Freeze (breakdance move)|freezes]]. |
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Toprock refers to any string of steps performed from a standing position, relying upon a mixture of [[coordination (physiology)|coordination]], flexibility, style, and rhythm. It is usually the first and foremost opening display of style, and it serves as a warm-up for transitions into more acrobatic maneuvers. Perhaps the most basic toprock is the Indian Step, but toprock is very eclectic and can draw upon many other dance styles. Though commonly associated with [[popping]] and [[locking (dance)|locking]] (two elements of the [[funk styles]] that evolved independently in California during the late 1960s) break-dancing is often considered distinct from popping and locking, as its moves require a greater sense of athleticism, as opposed to the contortion of limbs seen in pop-and-lock. Breakdancers who wish to widen their expressive range, however, may dabble in all types of [[hip hop dance]]. |
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In contrast, downrock includes all footwork performed on the floor as in the [[6-step]]s. Downrock is normally performed with the hands and feet on the floor. In downrock, the breakdancer displays his or her proficiency with foot speed and control by performing footwork combinations. These combinations usually transition into more athletic moves known as power moves. |
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Power moves are actions that require momentum and physical power to execute. In power moves, the breakdancer relies more on upper body strength to dance, and is usually on his or her hands during moves. Power moves include the [[Windmill (breakdance move)|windmill]], [[Swipe (breakdance move)|swipe]], and [[Flare (breakdance move)|flare]]. Power moves are very physically demanding and a great display of upper body strength and stamina. Several moves are borrowed from gymnastics, such as the flare, and martial arts, with impressive acrobatics such as the [[butterfly kick]]. |
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[[Image:Breakdance BattleToys amk.jpg|thumb|right|200px|A pike, commonly used as a [[Freeze (breakdance move)|freeze]].]] |
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Breakdance sets usually end with [[Freeze (breakdance move)|freezes]] that halt all motion in a stylish pose. The more difficult freezes require the breakdancer to suspend himself or herself off the ground using upper body strength, in poses such as the [[handstand]] or [[Kick (breakdance move)|pike]]. Alternatively, [[Suicide (breakdance move)|suicides]] can also signal the end to a routine. Breakers will make it appear that they have lost control and fall onto their backs, stomachs, etc. The more painful the suicide appears, the more impressive it is, but breakdancers execute them in a way to minimize pain. In contrast to freezes, suicides draw attention to the motion of falling or losing control, while freezes draw attention to the final position. |
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===Music=== |
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As the clichéd quote "break to the beat" points out, rhythmic music is an essential ingredient for break-dancing. The original songs that popularized the dance form borrow significantly from progressive genres of [[jazz]], [[soul music|soul]], [[funk]], [[Electro music|electro]], [[disco]], and [[rhythm and blues|R&B]]. The most common feature of breakdance music exists in [[Break (music)|breaks]], or compilations formed from [[Sampling (music)|samples]] taken from different songs which are then looped and chained together by the DJ. The tempo generally ranges between 110 and 135 beats per minute with [[shuffle note|shuffled]] [[Sixteenth note|sixteenth]] and [[Quarter note|quarter]] beats in the percussive pattern. History credits [[Kool Herc|Kool Dj Herc]] for the invention of this concept, later termed '''breakbeat'''. |
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The musical selection is not restricted to hip-hop as long as the tempo and beat pattern conditions are met. It can be readily adapted to different music genres (often with the aid of [[remix]]ing). World competitions have seen the unexpected progressions and applications of heavily European [[electronica]], and even opera. Some b-boys, such as Pierre, even extend it to rock music. |
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===Fashion=== |
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[[Image:120843583 e22b153125 o.jpg|thumb|right|250px|Breakdancer doing a [[headstand]].]] |
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For most breakdancers, [[fashion]] is a defining aspect of identity. The breakdancers of the 1980s typically sported flat-soled [[Adidas]], Puma, or Fila shoes with thick, elaborately patterned laces.{{citation needed|date=November 2007}} Some break-dancing crews matched their hats, shirts, and shoes to show uniformity, and were perceived as a threat to the competitor by their apparent strength in numbers. B-boys also wore [[nylon]] [[tracksuit]]s which were functional as well as fashionable. The slick, low-friction material allowed the breakdancer to slide on the floor much more readily than with cotton or most other materials. |
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Hooded nylon jackets allowed dancers to perform head spins and windmills with greater ease.{{citation needed|date=November 2007}} Additionally, the popular image of the original breakdancer always involved a public performance on the street, accompanied by the essential [[boombox]] and oversized sheet of cardboard, which serves as a dance floor. |
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The b-boys today dress differently from the b-boys in the 80s, but one constant remains: dressing "fresh".{{citation needed|date=February 2007}} Due to the spread of break-dancing from the inner cities into the suburbs and other social groups, different perceptions of "fresh" have arisen. Generally the rule that one's gear needs to match has remained from the 80s, along with a certain playfulness. [[Kangol]]s are still worn by some, and track pants and nylon clothes still have their place combined with modern sneakers and hats. [[Trucker hat]]s were reintroduced to the scene in the late 1990s, well before the mainstream pop culture began wearing them again in numbers.{{citation needed|date=February 2007}} |
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[[Image:51189164 3cc8f04821 o.jpg|thumb|left|250px|A [[Freeze (breakdance move)|freeze]].]] |
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Function is heavily intertwined with b-boy fashion. Due to the demands on the feet in b-boying, b-boys look for shoes with low weight, good grip, and durability in the sole as well as elsewhere.{{citation needed|date=November 2007}} Headwear can facilitate the movement of the head on the ground, especially in headspins. Bandannas underneath headwear can protect against the discomfort of fabric pulling on hair. Wristbands placed along the arm can also lower friction in particular places, as well as provide some protection. Today's break-dancing styles, which emphasize fast-paced, fluid floor moves and freezes, differ from that of two decades ago, requiring more freedom of movement in the upper body.{{citation needed|date=November 2007}} Therefore, less baggy upperwear is more common today (though pants remain baggy).{{citation needed|date=February 2007}} |
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Some dancers and crews have begun to dress in a style similar to "[[Goth subculture|goth]]" or [[Punk fashion|punk]] rockers in order to stand out from the more traditional toned-down b-boy appearance. Certain clothing brands have been associated with breaking, for instance, ''Tribal''. [[Puma AG|Puma]] is also well known in the breaking community. Both brands sponsor many b-boy events.{{citation needed|date=November 2007}} Other breakdancers style their pants by cutting off or rolling up one pant leg. [[Bucket hat]]s are also popular. |
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===Stage shows=== |
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In a number of countries, most notably [[South Korea]], stage companies and individual break-dancing crews have created musicals and stage shows that are either based on, or focus on break-dancing. Among the most notable is ''A Ballerina Who Loved A B-Boy'', a musical telling the story of a ballerina who falls in love with the power of break-dancing. |
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These theatrical productions have been performed by professional breakdance crews, including Extreme Crew, Maximum Crew, and Able Crew. Another break-dancing musical is ''Marionette'' performed, created and choreographed by Korean break-dancing crew "Expression Crew". Many entertainers have incorporated breakdance moves into their stage performances, ranging from [[Professional wrestling|professional wrestler]] [[Booker Huffman|Booker T]] to Korean singer [[Se7en (singer)|Se7en]]. |
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Breaking and hip hop culture have also been the subject of documentaries such as ''[[The Freshest Kids: A History of the B-Boy]]'' and ''[[Style Wars]]''. |
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==Battles== |
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Battles are an integral part of the b-boying culture. They can take the form of a cypher battle and an organized battle. Both types of battles are head to head confrontations between individuals or groups of dancers who try to out-dance each other. |
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The cypher (or the circle) is the name given to a circle of b-boys and/or b-girls who take turns dancing in the center. There are no judges (other than the participants of the cypher itself), concrete rules or restrictions in the cypher, only unsaid traditions. Although people aren't always battling each other in the cypher, there are many times when battles do take place. B-boying began in the cypher and only later did organized competition develop. This type of battle is how b-boying was originally and it is often more confrontational and more personal. The battle goes on until it ends for one of many possible reasons, such as one dancer admitting defeat. Cypher culture is more present in communities with a stronger emphasis and understanding of original, true hip hop culture. Battling in the cypher is also a common way for dancers to settle issues between each other whether it be individuals or crews. |
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Organized battles, however, set a format for the battle, such as a time limit, or specify a limit for the number of dancers that can represent each side. Organized battles also have judges, who are usually chosen based on years of experience, level of deeper cultural knowledge, contribution to the scene and general ability to judge in an unbiased manner. There are however, times when non b-boys or non b-girls are chosen to judge by some organizers, and these type of events (jams) are often looked down upon by the b-boying community. Organized battles are far more publicized and known to the mainstream community, and include famous international-level competitions such as Battle of the Year, UK B-Boy Championships Redbull BC One, Freestyle Session and R16 Korea. It should be noted however that a view exists that a trend in recent years has been to place an over-emphasis on organized battles, which takes away from a more originality-based aspect of the culture that is often more emphasized in cypher culture.<ref>http://koreanroc.com/zboard/zboard.php?id=document&page=1&sn1=&divpage=1&sn=off&ss=on&sc=on&select_arrange=headnum&desc=asc&no=94 "When You're In a BATTLE" - BEBE (Ground Zero)</ref> |
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==Crews== |
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<!--commenting out deleted image[[Image:Crew_pic-1-.jpg|thumb|350px|[[T.I.P (Teamwork Is Perfect)|T.I.P]] (Teamwork is Perfect) crew]]--> |
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A crew is a group of two or more b-boys or b-girls who choose to dance together for whatever purpose, either simultaneously or separately. Crew vs Crew battles are common in break-dancing. Many B-boys and B-Girls are part of a crew, which makes many feel more dedicated to break-dancing. A few of the most well known crews are the [[New York City Breakers]], [[Rock Steady Crew]],[[Recognize Crew]], Style Elements Crew, LA Breakers, [[Last For One]], [[Super Cr3w]], [[Gamblerz]], [[Mortal Combat]], [[Beat Freaks]], [[Flying Steps]], and [[Quest Crew]]. |
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Many b-girl crews often find themselves competing or trying to prove their legitimacy and passion for this specific type of dancing. Anonamiss is an all female b-girl crew, based in Christchurch, New Zealand, known for incorporating b-girling moves with Samoa siva dance inspired moves.<ref>Henderson, April K. "Dancing Between Islands: Hip Hop and the Samoan Diaspora." In The Vinyl Ain’t Final: Hip Hop and the Globalization of Black Popular Culture, ed. by Dipannita Basu and Sidney J. Lemelle, 180–199. London; Ann Arbor, MI: Pluto Press, 2000</ref> |
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==Controversy== |
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===Terminology=== |
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What is popularly known as break-dancing is referred to as “b-boying” and “breaking” by the majority of the art form’s pioneers and most notable practitioners, as well as by many of Hip-Hop’s most prominent figures. <ref name=freshest/> |
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“B-boying” and “breaking” are the terms used throughout [[QD3]] Entertainment’s documentary [[The Freshest Kids: A History of the B-Boy]]. |
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[[KRS-One]], [[Talib Kweli]], [[Mos Def]], and [[Darryl McDaniels|DMC]] of [[Run-DMC]] refer to it as “breaking”, <ref name=freshest/> [[Michael Holman]] and [[Fab 5 Freddy]] refer to it as “b-boying”, and Jo Jo of [[Rock Steady Crew]] uses “breaking” and “b-boying”. <ref name=freshest/> |
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The terms 'b-boys' and 'breakers' are used to describe the actual dancers – [[B-Boy London]] of [[New York City Breakers]] and [[Michael Holman]] refer to “breakers.” [[Frosty Freeze]] of [[Rock Steady Crew]] says, “we were known as b-boys”, <ref name=freshest/> [[Afrika Bambaataa]] says, “b-boys, what you call break boys… or b-girls, what you call break girls”, and Jo Jo and Mr. Freeze of [[Rock Steady Crew]] and [[Fab 5 Freddy]] use the term “b-boy”. <ref name=freshest/> |
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''[[The Freshest Kids: A History of the B-Boy]]'' explains how the term ‘break-dancing’ was a term coined by the media and is not the term used by the actual dancers. <ref name=freshest/> [[Crazy Legs]] of [[Rock Steady Crew]] says, “when I first learned about the dance in ’77 it was called b-boying… by the time the media got a hold of it in like ’81, ’82, it became ‘break-dancing’ and I even got caught up calling it break-dancing too”, and Action of [[New York City Breakers]] says, “you know what, that’s our fault kind of… we started dancing and going on tours and all that and people would say, oh you guys are breakdancers – we never corrected them”.<ref name=freshest/> Jo Jo of [[Rock Steady Crew]] adds – “b-boy… that’s what it is, that’s why when the public changed it to ‘break-dancing’ they were just giving a professional name to it, but b-boy was the original name for it and whoever wants to keep it real would keep calling it b-boy”. <ref name=freshest/> |
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''The Freshest Kids: A History of the B-Boy'' presents two versions of why the ‘b’ stands for ‘break’. The first is that it comes from the ‘breaks’ on the record – Mr. Freeze of [[Rock Steady Crew]] says, “the break of the record… ‘b’… break, we are the b-boys”, and [[Mr. Wiggles]] of [[Rock Steady Crew]] and [[Electric Boogaloos]] says, “the DJs used to cut breaks, and the b-boys would break to what? The breaks. So you know, it’s just common sense”.<ref name=freshest/> Alternatively, it is said to come from the street slang of the term break and breaking – [[Grand Mixer DXT]] says, “breaking boys - because people would be breaking at the party, starting trouble… when somebody would get mad - yo he’s breaking, stop breaking man, and when [[Kool Herc]] says it, it’s official”, and [[DJ Kool Herc]] himself (billed as ‘The Father Of Hip-Hop’ in the documentary) says, “b-boy – boys that break, it didn’t come from breaks on the record, it comes from… this man he ‘broke’, he went to a point, a breaking point… we just used that exaggeration of that term to the dancing – the b-boys, break boys”. <ref name=freshest/> |
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Hip-hop scholar Joseph Schloss (in the book "[[Foundation (b-boy book)|Foundation]]: B-boys, B-girls, And Hip-Hop Culture In New York") states – "the term breakdancing connotes exploitation and disregard for the dance's roots in hip-hop culture"<ref name =Schloss/>{{rp|60}}, "most feel that the term was part of a larger attempt by the mass media to recast their raw street dance as a nonthreatening form of musical acrobatics,"<ref name = Schloss/>{{rp|58}} "one of the first things that beginning b-boys or b-girls learn from their peers is not to refer to the practice as "breakdancing,"<ref name = Schloss/>{{rp|58}} and "those who are unfamiliar with the culture may be surprised at the vehemence of b-boys' feelings about the term: "I don't use the term 'breakdance'. It's an ignorant word"<ref name = Schloss/>{{rp|58}} |
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Schloss also states that, "the term is also problematic on a practical level... breakdancing is often used as an umbrella term that includes not only b-boying, but popping, locking, boogalooing, and other so-called funk-style dances that originated in California,"<ref name = Schloss/>{{rp|60}} and says that the term "breakdancer" is often used disparagingly – "a breakdancer is someone who has learned the dance for mercenary reasons, while a b-boy has learned it through a commitment to the culture."<ref name = Schloss/>{{rp|61}} |
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The [[Boston Globe]] also notes: "Lesson one: Don't call it breakdancing. Hip-hop's dance tradition, the kinetic counterpart to the soundscape of rap music and the visuals of graffiti art, is properly known as b-boying"<ref name = globe/> |
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==Gender inequality== |
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{{Weasel|date=February 2009}} |
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As in its musical counterpart, rap music, males are generally seen as the predominant gender within b-boying. However, this belief is being challenged by the rapidly increasing number of b-girls in the world today. Like most aspects of hip hop, including the three other major components of [[graffiti]], [[Master of Ceremonies#Hip hop culture|emceeing]] and [[turntabalism]], women are overall seen as having less influence than men. Relatively speaking the women are seen as outsiders to the groups. It is interesting to note that if there is a group with a majority of males and a minority of females, the crew will still be referred to as b-boys. However, if there is a majority of females and a minority of males, the group will normally not be known as a crew of b-girls. This simple concept of naming certain groups, feminists argue, is proof of the gender inequalities within the break dancing world. |
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Critics argue that it is unfair to make a sweeping generalization about these inequalities because women have begun to play a larger role in the break-dancing scene<ref>{{cite web |
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| last = Dyer |
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| first = Deesha |
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| title = Getting Phresh |
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| date = 9-15 Feb 2006 |
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| URL = http://www.citypaper.net/articles/2006-02-09/list_cap.shtml?print=1}}</ref><ref>{{cite news |
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| last = La Rocco |
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| first = Claudia |
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| title = A Breaking Battle Women Hope to Win |
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| date = 6 Aug 2006 |
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| work = [[New York Times]] |
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| url = http://www.nytimes.com/2006/08/06/arts/dance/06laro.html}}</ref><ref>{{cite web |
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| coauthors = |
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| title = Girl Power Dances to It's Own Groove |
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| url = http://politicalpalace.yuku.com/forum/viewtopic/id/10152}}</ref>. Despite the increasing number of female break dancers, another possible barrier is lack of promotion. As Firefly, a full-time break dancer,<ref>{{cite web |
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| title = Firefly aka female breakdancer |
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| work = BBC Living section |
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| url = http://www.bbc.co.uk/leeds/features/living/breakdance/firefly.shtml}}</ref> a.k.a. says, "It's getting more popular. There are a lot more girls involved. The problem is that promoters are not putting on enough female-only battles."<ref>{{cite web |
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| title = Women Get the Breaks |
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| date = 18 March 2005 |
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| work = The Independent: Independent News and Media |
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| url = http://license.icopyright.net/user/viewFreeUse.act?fuid=MjEyOTQ2Mw%3D%3D}}</ref> |
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Issues such as these have been addressed more and more in recent years by such groups as We-B-Girls, who seek to "influence and inspire leadership to change the perceptions and roles of women in hip-hop for current and future generations." As well, more people are seeking to change the traditional image of [[w:Hip_hop_model#Controversy|females in hip-hop culture]] (and by extension, break-dancing culture) to a more positive, empowered role in the modern hip hop scene.<ref>{{cite web |
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| coauthors = Ayanna |
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| title = The Exploitation of Women in Hip-Hop Culture |
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| work = MySistahs.org |
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| url = http://www.mysistahs.org/features/hiphop.htm}}</ref><ref>{{cite news |
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| last = Arce |
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| first = Rose |
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| title = Hip-Hop Portrayal of Women Protested |
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| date = 4 March 2005 |
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| work = CNN |
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| url = http://www.cnn.com/2005/SHOWBIZ/Music/03/03/hip.hop/index.html}}</ref><ref>{{cite web | title = Hip Hop's Lone Ladies Call for Backup: The B-Girl Be Summit preaches strength in numbers |
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| last = Shepherd |
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| first = Julianne |
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| date = 1 June 2005 |
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| url = http://www.citypages.com/content/printVersion/15970}}</ref> |
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However, this argument is deemed nonsensical by its detractors{{Who|date=December 2008}}; is it stated that "the floor does not discriminate against anyone"{{citation needed|date=December 2008}}. The lower exposure of female dancers is probably caused not by any conscious discrimination, but simply by there being fewer female break dancers. Since there are no women division as in "official" sports, they have to compete with men on equal terms. In any "Bboy" Battles, if it is a one-on-one competition or maybe a battle between crews, B-girls attend the event as equals to the B-Boys. They compete against the B-boys and as members of crews alongside B-boys, and all female B-girl crews battle against other crews with no negative discrimination. The term "B-girling" is as acceptable as the term B-boying and the only reason the masculine form is used more often is simply because of a lack of a gender-even term. Other than the terminology, both males and females practice this art together.{{Or|date=December 2008}} |
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===Power vs Style=== |
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Multiple stereotypes have emerged in the break-dancing community over the give-and-take relationship between technical footwork and physical prowess. Those who focus on dance steps and fundamental sharpness—but lack upper-body brawn, form, discipline, etc.—are labeled as "style-heads" and specialists of more gymnastics-oriented technique and form—at the cost of charisma and coordinated footwork—are known as "power-heads." Such terms are used colloquially often to classify one's skill, however, the subject has been known to disrupt competitive events where judges tend to favor a certain array of techniques. |
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It has often been stated that break-dancing replaced fighting between street gangs, though some believe it a misconception that b-boying ever played a part in mediating gang rivalry. These gang roots made break-dancing itself seem controversial in its early history. |
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[[Uprock]]ing as a dance style of its own never gained the same widespread popularity as breakdance, except for some very specific moves adopted by breakers who use it as a variation for their toprock. When used in a breakdance battle, opponents often respond by performing similar uprock moves, supposedly creating a short uprock battle. Some dancers argue that because uprocking was originally a separate dance style it should never be mixed with break-dancing, and that the uprock moves performed by breakers today are not the original moves but poor imitations that only shows a small part of the original uprock style. |
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===Creative outlet=== |
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B-boying may have begun as a building, productive, and a constructive [[youth culture]] alternative to the violence of urban street gangs.<ref name="npr.org">National Public Radio. ''Break-dancing, Present at the Creation.'' 14 October 2002. [http://www.npr.org/programs/morning/features/patc/break-dancing/]</ref> Today, b-boying culture is a discipline somewhere between those of [[dancers]] and [[Sportsperson|athletes]]. Since acceptance and involvement centers on dance abilities, b-boying culture is often free of the common race and gender boundaries of a [[subculture]] and has been accepted worldwide. |
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==Pop-culture references== |
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===Music videos=== |
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[[Buffalo Gals]] ([[Malcolm McLaren]] music video. 1982): The first break-dancing video on MTV, that brought hip hop to the mainstream, most noticeably in Europe. [[It's like That (Run-D.M.C. song)|It's like That]] by [[Run DMC]] (Music Video. 1997): Quite possibly ''the'' dance video responsible for the return of break-dancing to mainstream culture. The recording, though seemingly unrelated to the harsh themes of the song, features a comical battle between two talented respectively all-female and male crews. |
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[[Canon in D]] Korean video clip (2006) features a famous DJ (DJ Chang Eue), beatboxer (Eun Jun), and two members, Bboy Joe and Bboy Zero-Nine of the 2005 [[BOTY]] champions, [[Last For One]] in two different versions. [[South Korea]] vs [[North Korea]] Break-dancing video clip (2005) depicts the separation of these two nations and the will for reunification through bboying. This video clip includes world famous breakdancers Bboy Ducky (Drifterz). Bboy Trickx (Drifterz), Bboy [[Physicx]] (Rivers), and [[Hong10]] (Drifterz). Korean crews including Gambler Crew, Rivers Crew, Extreme (Obowang) Crew, Drifterz Crew, Jinjo Crew and more have participated in creating break-dancing tutorial clips shown on television and online to help instruct the new generation of aspiring b-boys. |
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[[Koreans|Korean]] singers have been known for incorporating break-dancing moves into their choreographies, music videos and performances, including [[Se7en (singer)|Se7en]], [[Big Bang (group)|Big Bang]], [[BoA]], [[Rain (singer)|Rain]], and [[Minwoo]]. In 2004, the ''[[Pro-Test]]'' video by [[Skinny Puppy]] depicted B-Boys break-dancing on a sidewalk in Los Angeles, who ridicule a group of [[goth subculture|goths]], which leads to a dispute. |
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===Films and television shows=== |
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In 2007–2008 [[MTV]] created [[America's Best Dance Crew]] featuring [[street dance]] crews from the [[United States]]. [[Super Cr3w]] (Season 2), and [[Quest Crew]] (Season 3) were declared winners and have all won the $100,000 (USD) prize during their respective season. In the early 1980s, several films depicted breakdancers, including ''[[Wild Style!]]'' (1982) and ''[[Flashdance]]'' (1983), which showed the [[Rock Steady Crew]]. The 1983 PBS documentary ''[[Style Wars]]'' by Tony Silver and Henry Chalfant tracks the rise and fall of subway graffiti in New York in the late 1970s and early 1980s. At the peak of its popularity, graffiti was as much a part of B-boy culture as rapping, scratching, and breaking. Several 1984 movies focused on the dance, including ''[[Breakin']]; [[Breakin' 2: Electric Boogaloo]]; [[Delivery Boys]]'', a comedy about a gang of boys under the Brooklyn Bridge who are united by their common interest in break-dancing; ''Krush Groove'' and ''[[Beat Street]]''. In the 1994 Australian documentary ''Sprayed Conflict'', by Robert Moller, Australian graffiti artist and future Melbourne Extreme Games breakdance winner [[Duel]] performed break-dancing. |
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The 2001 comedy film ''[[Zoolander]]'' depicts Zoolander ([[Ben Stiller]]) and Hansel ([[Owen Wilson]]) performing break-dancing moves on a catwalk. The acclaimed documentary film ''[[The Freshest Kids: A History of the B-Boy]]'' (2002) provides a comprehensive history of b-boying, its evolution and its place within hip-hop culture and beyond. ''[[Break]]'' is a 2006 mini series from Korea about a break-dancing competition. ''[[Over the Rainbow (TV series)|Over the Rainbow]]'' (Drama series 2006) centers on a different characters who are brought together by break-dancing. The character [[List of Samurai Champloo characters#mugen|Mugen]] on the [[anime]] TV series ''[[Samurai Champloo]]'' uses a fighting style that is based on break-dancing. The 2007 film ''[[Transformers (film)|Transformers]]'' includes a robot character named [[Jazz (Transformers)#2007 Transformers movie|Jazz]], who performs a [[1990 (breakdance move)|"1990" (breakdance move)]] as it transforms into its robotic form. ''[[Planet B-Boy]]'' (2007) brings contemporary b-boying alive as it follows crews from around the world in their quest for a world championship at [[Battle of the Year]] 2005. The award-winning documentary ''Inside the Circle'' (2007) goes deep into the personal stories of three talented b-boys (Omar Davila, Josh "Milky" Ayers and Romeo Navarro) and their struggle to keep dance at the center of their lives. |
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===Video games=== |
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[[Breakdance (video game)|Breakdance]] was an 8-bit computer game by [[Epyx]] released in 1984, at the height of break-dancing's popularity. |
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[[Bust A Groove]] (Video game franchise. 1998): The two games series by [[989 Studios]] which spanned comprises a rhythm based gameplay that featured characters with distinctly unique dance styles. The fictional main character, "Heat," former F-1 racer, specializes in break-dancing, while other selectable characters, punk Gas-O and alien twins Capoeira use respectively [[House music|house]] and (obviously) [[Capoeira|Capoeira martial arts]]. |
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[[B-boy (videogame)]] (2006) is a [[game console|console]] game which aims at an unadulterated depiction of break-dancing.<ref>[http://www.psp411.com/show/product/1163/0/BBoy.html B-boy article at psp411.com]</ref> [[Pump It Up]] is a Korean game that requires physical movement of the feet. The game is open for break-dancing and many people have accomplished this feat by memorizing the steps and creating dance moves to hit the arrows on time. See [[World Pump Freestyle]] (WPF) videos. |
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Developed by Freestyle Games, B-Boy allows you to battle through authentic Hip-Hop break-dancing culture, challenging the world's best B-Boys on the world's greatest B-Boy stages – and hopefully take home an in-game adidas sponsorship along the way. |
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Some characters in the [[Tekken (series)|Tekken series]], notably [[Eddy Gordo]] and [[Christie Monteiro]], specialize in capoeira, resulting in a fighting style similar to break-dancing. |
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===Other media=== |
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In 1997, Korea, [[Kim Soo Yong]] began serialization of the first break-dancing themed comic,'' [[Hip Hop (comic)|Hip Hop]].'' The comic sold over 1.5 million books and it helped to introduce hip-hop and break-dancing culture to Korean youth. The first break-dancing-themed novel, [[Kid B]], was published by Houghton Mifflin in 2006. The author, Linden Dalecki, was an amateur b-boy in high school and directed a short documentary film about Texas b-boy culture before writing the novel. The novel evolved from Dalecki's b-boy-themed short story [[The B-Boys of Beaumont]], which won the 2004 ''[[Austin Chronicle]]'' short story contest. |
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In 2005, a [[Golf GTi|Volkswagen Golf GTi]] commercial featured a partly [[Computer-generated imagery|CGI]] version of Kelly break-dancing to a new version of "[[Singin' in the Rain (song)|Singin' in the Rain]]", remixed by [[Mint Royale]]. The tagline was, "The original, updated." |
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==References== |
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{{Reflist}} |
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==References== |
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*[[David Toop]] (1991). ''Rap Attack 2: African Rap To Global Hip Hop'', p. 113–115. New York. New York: Serpent's Tail. ISBN 1-85242-243-2. |
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*The Freshest Kids: A History of the B-Boy ([[DVD]]) 2002 by Image Entertainment. |
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Latest revision as of 19:16, 27 May 2017
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