Group B-boying

B-boying, often called "breakdancing", is a popular style of street dance that was created and developed as part of hip-hop culture among African Americans and, later, among Latino youths in New York City.[1]:125, 141, 153 The dance consists of four primary elements: toprock, downrock, power moves and freezes/suicides. It is danced to both hip-hop and other genres of music that are often remixed to prolong the musical breaks. The musical selection for b-boying is not restricted to hip-hop music as long as the tempo and beat pattern conditions are met. A practitioner of this dance is called a b-boy, b-girl, or breaker. These dancers often participate in battles, formal or informal dance competitions between two individuals or two crews. Although the term "breakdance" is frequently used, "b-boying" and "breaking" are the original terms used to refer to the dance. These terms are preferred by the majority of the art form’s pioneers and most notable practitioners.
TerminologyThough widespread, the term "breakdancing" is looked down upon by those immersed in hip-hop culture. "Breakdancer" may even be used disparagingly to refer to those who learned the dance for personal gain rather than commitment to hip-hop culture.[1]:61 The terms 'b-boys', 'b-girls', and 'breakers' are the preferred terms to use to describe the dancers. The "b-boys" and "b-girls" were the dancers to Herc's breaks, who were described as "breaking". The obvious connection is to the breakbeat, but Herc has noted that "breaking" was also street slang of the time meaning "getting excited", "acting energetically" or "causing a disturbance".[4] B-boy London of New York City Breakers and filmmaker Michael Holman refer to these dancers as “breakers”.[2] Frosty Freeze of Rock Steady Crew says, “we were known as b-boys”, and hip-hop pioneer Afrika Bambaataa says, “b-boys, [are] what you call break boys… or b-girls, what you call break girls.”[2] In addition, Santiago "Jo Jo" Torres (co-founder of Rock Steady Crew), Mr. Freeze of Rock Steady Crew and hip-hop historian Fab 5 Freddy use the term “b-boy”,[2] as do rappers Big Daddy Kane[5] and Tech N9ne.[6]

The dance itself is properly called "breaking" according to rappers such as KRS-One, Talib Kweli, Mos Def, and Darryl McDaniels of Run-DMC in the breaking documentary The Freshest Kids. Afrika Bambaataa, Fab 5 Freddy, Michael Holman, Frosty Freeze, and Jo Jo use the original term "b-boying".[2] Purists consider "breakdancing" an ignorant term invented by the media[1]:58[2] that connotes exploitation of the art.[1]:60[2]
HistoryElements of breaking may be seen in other antecedent cultures prior to the 1970s,[14] but it was not until the '70s that breaking developed as a street dance style. Street corner DJs would take the rhythmic breakdown sections (or "breaks") of dance records and loop them one after the other. This provided a rhythmic base for improvising and 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 while maintaining to hit specific beats of the break.

Shortly after the Rock Steady Crew came to Japan, breaking within Japan began to flourish. .Each Sunday b-boys would perform breaking in Tokyo's Yoyogi Park.[15] One of the first and most influential Japanese breakers was Crazy-A, who is now the leader of the Tokyo chapter of Rock Steady Crew.[15] 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.[16]

[edit] BattlesBattles are dance competitions between two individuals or two crews of dancers who try to out-dance each other. They can be either formal or informal but both types of battles are head to head confrontations. They can take the form of a cypher battle or an organized battle. Informally b-boying began with the cypher, the name given to a circle of breakers (and casual onlookers) who take turns dancing in the center. There are no judges, concrete rules, or restrictions in the cypher, only unspoken traditions. Although participants usually freestyle (improvise) within a cypher, battling does take place. This was the origin of b-boy battles and it is often more confrontational and personal. Cypher dancing is more prevalent in communities with an emphasis on what is regarded as authentic and traditional hip-hop culture
Crew versus crew battles are common in breaking. A crew is a group of b-boys/b-girls who dance together. A few of the most well known crews are the Justice Crew, Rock Steady Crew, Last For One, Super Cr3w, Gamblerz, Mortal Combat, Flying Steps, and Massive Monkeys. 1970s b-boy crews such as the Rock Steady Crew and the Dynamic Rockers changed breaking into a pop-culture phenomenon when they received a large amount of media attention by battling each other in public at the Lincoln Center in 1981.[17]

Organized battles set a format for competition such as a time limit or a cap on the number of participants. Organized battles also have judges who are usually chosen based on their years of experience, level of cultural knowledge, contribution to the scene, and ability to judge in an unbiased manner. On occasion organizers invite judges from outside the breaking community and these events (jams) are sometimes met with disapproval from b-boys/b-girls. Organized battles are publicized to a much greater extent than informal events. They include famous international level championships such as Battle of the Year, UK B-Boy Championships, Red Bull BC One, Freestyle Session, and R16 Korea. However, the trend in recent years to place excessive emphasis on organized battles may detract from the spontaneous aspect of the culture that is emphasized in cypher dancing.[18]

[edit] UprockA separate but related dance form which influenced breaking is Uprock also called Rocking or Brooklyn Rock. Uprock is an aggressive dance that involves two dancers who mimic ways of fighting each other using mimed weaponry in rhythm with the music.[9] Uprock as a dance style of its own never gained the same widespread popularity as breaking, except for some very specific moves adopted by breakers who use it as a variation for their toprock.[19]:138 When used in a b-boy battle, opponents often respond by performing similar uprock moves, supposedly creating a short uprock battle. Some dancers argue that because uprock was originally a separate dance style it should never be mixed with breaking and that the uprock moves performed by breakers today are not the original moves but poor imitations that only show a small part of the original uprock style

It has been stated that breaking replaced fighting between street gangs.[7] On the contrary, some believe it a misconception that b-boying ever played a part in mediating gang rivalry. Both viewpoints have some truth. Uprock has its roots in gangs.[19]:116, 138 Whenever there was an issue over turf, the two warlords of the feuding gangs would uprock. Whoever won this preliminary battle would decide where the real fight would be.[20] This is where the battle mentality in breaking and hip-hop dance in general comes from.[21] "Sometimes a dance was enough to settle the beef, sometimes the dance set off more beef."[19]:116[9]

[edit] Dance techniquesFor more details on this topic, see List of breakdance moves.
There are four primary elements that form breaking. These include toprock, downrock, power moves, and freezes/suicides.
Toprock generally refers to any string of steps performed from a standing position. It is usually the first and foremost opening display of style, though dancers often transition from other aspects of breaking to toprock and back. Toprock has a variety of steps which can each be varied according to the dancer's expression (ie. aggressive, calm, excited). A great deal of freedom is allowed in the definition of toprock: as long as the dancer maintains cleanness, form and the b-boy attitude, theoretically anything can be toprock. Toprock can draw upon many other dance styles such as popping, locking, or house dance. Transitions from toprock to downrock and power moves are called drops.[22]

Downrock (also known as "footwork" or "floorwork") is used to describe any movement on the floor with the hands supporting the dancer as much as the feet. Downrock includes moves such as the foundational 6-step, and its variants such as the 3-step or other small steps that add style. The most basic of downrock is done entirely on feet and hands but more complex variations can involve the knees when threading limbs through each other.

Power moves are acrobatic moves that require momentum, speed, endurance, strength, and control to execute. The breaker is generally supported by his upper body, while the rest of his body creates circular momentum. Notable examples are the windmill, swipe, and head spin. Some power moves are borrowed from gymnastics and martial arts. An example of a power move taken from gymnastics is the Thomas Flair which is shortened and spelled flare in b-boying.

Freezes are stylish poses, and the more difficult require the breaker to suspend himself or herself off the ground using upper body strength in poses such as the pike. They are used to emphasize strong beats in the music and often signal the end of a b-boy set. Freezes can be linked into chains or "freeze ladders" where breakers change positions to the music to display musicality and physical strength.

Suicides like freezes are used to emphasize a strong beat in the music and signal the end to a routine. In contrast to freezes, suicides draw attention to the motion of falling or losing control, while freezes draw attention to a controlled final position. 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 breakers execute them in a way to minimize pain.

[edit] Power versus styleMultiple stereotypes have emerged in the breaking community over the give-and-take relationship between technical footwork and physical power. Those who focus on dance steps and fundamental sharpness are labeled as "style-heads." 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 technique over the other.

This debate however is somewhat of a misnomer. The classification of dancing as "style" in b-boying is inaccurate because every b-boy or b-girl has their own unique style developed both consciously and subconsciously. Each b-boy or b-girl's style is the certain attitude or method in which they execute their movements. A breaker's unique style does not strictly refer to just toprock or downrock. It is a concept which encompasses how a move is executed rather than what move is done.

[edit] MusicThe musical selection for breaking is not restricted to hip-hop music as long as the tempo and beat pattern conditions are met. Breaking can be readily adapted to different music genres with the aid of remixing. The original songs that popularized the dance form borrow significantly from progressive genres of jazz, soul, funk, electro, and disco. The most common feature of b-boy music exists in musical breaks, or compilations formed from 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 shuffled sixteenth and quarter beats in the percussive pattern. History credits DJ Kool Herc for the invention of this concept[19]:79 later termed the break beat.

[edit] Gender inequalityLike the other aspects of hip-hop culture, graffiti writing, MCing, and DJing, males are generally the predominant gender within breaking. However, this is being challenged by the rapidly increasing number of b-girls. 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 breaking scene.[23][24]

Despite the increasing number of female breakers, another possible barrier is lack of promotion. As Firefly, a full-time b-girl, 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."[25][26] More people are seeking to change the traditional image of females in hip-hop culture (and by extension, b-boy culture) to a more positive, empowered role in the modern hip-hop scene.[27][28][29] The lower exposure of female dancers is probably caused not by any conscious discrimination, but simply by the fewer number of female breakers compared to the number of male breakers. However, both males and females do practice this art form equally together and are competitively judged only by skill and personal expression, not gender.
Film and televisionIn the early 1980s several films depicted b-boying including Wild Style, Flashdance, Breakin', Breakin' 2: Electric Boogaloo, Delivery Boys, Krush Groove, and Beat Street. The 1983 PBS documentary Style Wars chronicled New York graffiti artists, but also includes elements of breaking. "BreakBoy" (1985) is a view of the determination of one individual to become one of the best. The documentary film The Freshest Kids: A History of the B-Boy (2002) provides a comprehensive history of b-boying including its evolution and its place within hip-hop culture. The 2001 comedy film Zoolander depicts Zoolander (Ben Stiller) and Hansel (Owen Wilson) performing b-boy moves on a catwalk. Planet B-Boy (2007) follows crews from around the world in their quest for a world championship at Battle of the Year 2005.

Break is a 2006 mini series from Korea about a breaking competition.[citation needed] Over the Rainbow (Drama series 2006) centers on different characters who are brought together by b-boying. The award-winning (SXSW Film Festival audience award) documentary "Inside the Circle"[30] (2007) goes into the personal stories of three b-boys (Omar Davila, Josh "Milky" Ayers and Romeo Navarro) and their struggle to keep dance at the center of their lives. The character Mugen on the anime TV series Samurai Champloo uses a fighting style based on breaking.[citation needed]. The German documentary Neukölln Unlimited (2010) depicts the life of two b-boying brothers in Berlin, who try to use their dancing talents to secure a livelihood. Most recently Step Up 3D, a 2010 hip hop dance movie, features breaking as the main type of dance performed.

B-boying is widely referenced in TV advertising, titling and program-linking, as well as news, travelogue and documentary segments, as an indicator of youth/street culture. From a production point of view the style is visually arresting, instantly recognizable and adducible to fast-editing, while the ethos is multi-ethnic, energetic and edgy, but free from the gangster-laden overtones of much rap-culture imagery. Its usability as a visual cliché benefits sponsorship, despite the relatively small following of the genre itself beyond the circle of its practitioners.

[edit] Pop culture
Breakdance was an 8-bit computer game by Epyx released in 1984, at the height of breaking's popularity.
B-boy (videogame) is a 2006 console game which aims at an unadulterated depiction of breaking.[31]
Bust A Groove is a video game franchise whose character "Heat" specializes in breaking.
Pump It Up is a Korean game that requires physical movement of the feet. The game involves breaking[citation needed] and many people have accomplished this feat by memorizing the steps and creating dance moves to hit the arrows on time.
In 1997, Kim Soo Yong began serialization of the first breaking themed comic,Hip Hop.[citation needed] The comic sold over 1.5 million books[citation needed] and it helped to introduce breaking and hip-hop culture to Korean youth.
The first breaking themed novel, Kid B, was published by Houghton Mifflin in 2006.[citation needed] 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 was inspired by Dalecki's b-boy-themed short story The B-Boys of Beaumont, which won the 2004 Austin Chronicle short story contest.[citation needed]
In 2005, a Volkswagen Golf GTi commercial featured a partly CGI version of Gene Kelly breaking to a new version of "Singin' in the Rain", remixed by Mint Royale.[citation needed] The tagline was, "The original, updated."