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A b-boy performing in Faneuil Hall, Boston, MA, United States
|Inventor||Street dancers from New York City|
A b-boy performing in Faneuil Hall, Boston, MA, United States
|Inventor||Street dancers from New York City|
B-boying or breaking, also called breakdancing, is a style of street dance that originated among African American and Puerto Rican youths in New York City during the early 1980s. The dance spread worldwide due to popularity in the media, especially in regions such as the United Kingdom, Canada, Japan, Germany, France, Russia and South Korea. While diverse in the amount of variation available in the dance, b-boying consists of four kinds of movement: toprock, downrock, power moves, and freezes. B-boying is typically danced to hip-hop, funk music, and especially breakbeats, although modern trends allow for much wider varieties of music along certain ranges of tempo and beat patterns.
A practitioner of this dance is called a b-boy, b-girl, or breaker. Although the term "breakdance" is frequently used to refer to the dance in popular culture and in the more mainstream entertainment industry, "b-boying" and "breaking" are the original terms. These terms are preferred by the majority of the pioneers and most notable practitioners.
The terminology used to refer to b-boying (break-boying) changed after promotion by the mainstream media. Although widespread, the term "breakdancing" is looked down upon by those immersed in hip-hop culture. Purists consider "breakdancing" an ignorant term invented by the media that connotes exploitation of the art is used to sensationalize breaking. The term "breakdancing" is also problematic because it has become a diluted umbrella term that incorrectly includes popping, locking, and electric boogaloo,:60 which are not styles of "breakdance", but are funk styles that were developed separately from breaking in California. The dance itself is properly called "breaking" according to rappers such as KRS-One, Talib Kweli, Mos Def, and Darryl McDaniels of Run-DMC.
The terms "b-boy" (break-boy), "b-girl" (break-girl), and "breaker" are the original terms used to describe the dancers. The original terms arose to describe the dancers who performed to DJ Kool Herc's breakbeats. DJ Kool Herc is a Jamaican-American DJ who is responsible for developing the foundational aspects of hip-hop music. The obvious connection of the term "breaking" is to the word "breakbeat", but DJ Kool Herc has commented that the term "breaking" was slang at the time for "getting excited", "acting energetically" or "causing a disturbance". Most breaking pioneers and practitioners prefer the terms "b-boy", "b-girl", and/or "breaker" when referring to these dancers. For those immersed in hip-hop culture, the term "breakdancer" may be used to disparage those who learn the dance for personal gain rather than for commitment to the culture.:61 B-boy London of the New York City Breakers and filmmaker Michael Holman refer to these dancers as "breakers". Frosty Freeze of the 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." In addition, co-founder of Rock Steady Crew Santiago "Jo Jo" Torres, Rock Steady Crew member Marc "Mr. Freeze" Lemberger, hip-hop historian Fab 5 Freddy, and rappers Big Daddy Kane and Tech N9ne use the term "b-boy".
|Richard "Crazy Legs" Colon;|
Rock Steady Crew
|"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."|||
New York City Breakers
|"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."|||
|Santiago "Jo Jo" Torres;|
Rock Steady Crew
|"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."|||
|NPR||"Breakdancing may have died, but the b-boy, one of four original elements of hip hop (also included: the MC, the DJ, and the graffiti artist) lives on. To those who knew it before it was tagged with the name breakdancing, to those still involved in the scene that they will always know as b-boying, the tradition is alive and, well, spinning."|||
|The Boston Globe||"Lesson one: Don't call it breakdancing. Hip-hop's dance tradition, the kinetic counterpart to the sound scape of rap music and the visuals of graffiti art, is properly known as b-boying."|||
|The Electric Boogaloos||"In the 80's when streetdancing [sic] blew up, the media often incorrectly used the term 'breakdancing' as an umbrella term for most the streetdancing [sic] styles that they saw. What many people didn't know was [that] within these styles, other sub-cultures existed, each with their own identities. Breakdancing, or b-boying as it is more appropriately known as, is known to have its roots in the east coast and was heavily influenced by break beats and hip hop."|||
|Jorge "Popmaster Fabel" Pabon||"Break dancing is a term created by the media! Once hip-hop dancers gained the media's attention, some journalists and reporters produced inaccurate terminology in an effort to present these urban dance forms to the masses. The term break dancing is a prime example of this misnomer. Most pioneers and architects of dance forms associated with hip-hop reject this term and hold fast to the original vernacular created in their places of origin. In the case of break dancing, it was initially called b-boying or b-girling."|||
|Benjamin "B-Tek" Chung;|
|"When someone says break dancing, we correct them and say it's b-boying."|||
|Timothy "Popin' Pete" Solomon;|
|"An important thing to clarify is that the term 'Break dancing' is wrong, I read that in many magazines but that is a media term. The correct term is 'Breakin', people who do it are B-Boys and B-Girls. The term 'Break dancing' has to be thrown out of the dance vocabulary."|||
|Excerpt from the book New York Ricans from the Hip Hop Zone||"With the barrage of media attention [breaking] received, even terminology started changing. 'Breakdancing' became the catch-all term to describe what originally had been referred to as 'burning', 'going off', 'breaking', 'b-boying', and 'b-girling'... Even though many of hip hop's pioneers accepted the term for a while in the 1980s, they have since reclaimed the original terminology and rejected 'breakdance' as a media-fabricated word that symbolizes the bastardization and co-optation of the art form."|||
|Hip-Hop Dance Conservatory||"Breaking or b-boying is generally misconstrued or incorrectly termed as 'breakdancing.' Breakdancing is a term spawned from the loins of the media's philistinism, sciolism, and naïveté at that time. With no true knowledge of the hip-hop diaspora but with an ineradicable need to define it for the nescient masses, the term breakdancing was born. Most breakers take great offense to the term."|||
|Jeff Chang||"During the 1970s, an array of dances practiced by black and Latino kids sprang up in the inner cities of New York and California. The styles had a dizzying list of names: 'uprock' in Brooklyn, 'locking' in Los Angeles, 'boogaloo' and 'popping' in Fresno, and 'strutting' in San Francisco and Oakland. When these dances gained notice in the mid-'80s outside of their geographic contexts, the diverse styles were lumped together under the tag 'break dancing.'|||
|American Heritage Dictionary||*"b-boy (bē′boi′) n. A man or boy who engages in b-boying. [b-, probably short for BREAK (from the danceable breaks in funk recordings from which turntablists make breakbeat music to which b-boying is done ) + BOY.]"|||
Many elements of b-boying can be seen in other antecedent cultures prior to the 1970s. B-boy pioneers Richard "Crazy Legs" Colon and Kenneth "Ken Swift" Gabbert, both of Rock Steady Crew, cite James Brown and Kung Fu films as influences to b-boying. Many of b-boying's more acrobatic moves, such as the flare, show clear connections to gymnastics. A young street dancer performing acrobatic headspins was recorded by Thomas Edison in 1898. However, it was not until the 1970s that b-boying developed as a defined dance style in the United States.
Beginning with DJ Kool Herc, Bronx-based DJs would take the rhythmic breakdown sections (also known as the "breaks") of dance records and prolong them by looping them successively. The breakbeat provided a rhythmic base that allowed dancers to display their improvisational skills during the duration of the break. This led to the first battles—turn-based dance competitions between two individuals or dance crews judged with respect to creativity, skill, and musicality. These battles occurred in cyphers—circles of people gathered around the breakers. Though at its inception the earliest b-boys were "close to 90 percent African-American", dance crews such as "SalSoul" and "Rockwell Association" were populated almost entirely by Puerto Rican-Americans.
A separate but related dance form which influenced b-boying 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. Uprock as a dance style of its own never gained the same widespread popularity as b-boying, except for some very specific moves adopted by breakers who use it as a variation for their toprock. When used in a b-boy battle, opponents often respond by performing similar uprock moves, supposedly creating a short uprock battle. Some b-boys argue that because uprock was originally a separate dance style it should never be mixed with b-boying and that the uprock moves performed by breakers today are not the original moves but imitations that only show a small part of the original uprock style.
It has been stated that b-boying replaced fighting between street gangs. 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. 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.
Ismael Toledo was one of the first b-boys in Brazil. In 1984, he moved to the United States to study dance. While in the U.S. he discovered b-boying and ended up meeting b-boy Crazy Legs who personally mentored him for the four years that followed. After becoming proficient in b-boying, he moved back to São Paulo and started to organize b-boys crews and enter international competitions. He eventually opened a hip-hop dance studio called the Hip-Hop Street College.
B-boying was first introduced to South Korea by American soldiers shortly after its surge of popularity in the U.S. during the 1980s, but it was not until the late 1990s that the culture and dance really took hold. 1997 is known as the "Year Zero of Korean breaking". A Korean-American hip hop promoter named John Jay Chon was visiting his family in Seoul and while he was there, he met a crew named Expression Crew in a club. He gave them a VHS tape of a Los Angeles b-boying competition called Radiotron. A year later when he returned, Chon found that his video and others like his had been copied and dubbed numerous times, and were feeding an ever-growing b-boy community.
In 2002, Korea's Expression Crew won the prestigious international b-boying competition Battle of the Year, exposing the skill of the country's b-boys to the rest of the world. Since then, the Korean government has capitalized on the popularity of the dance and has promoted it alongside Korean culture. R-16 Korea is the most well-known government-sponsored b-boy event, and is hosted by the Korean Tourism Organization and supported by the Ministry of Culture, Sports, and Tourism.
Shortly after the Rock Steady Crew came to Japan, b-boying within Japan began to thrive. Each Sunday b-boys would perform b-boying in Tokyo's Yoyogi Park. 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. 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.
Born in Thailand and raised in the United States, Tuy "KK" Sobil started a community center called Tiny Toones in Phnom Penh, Cambodia in 2005 where he uses b-boying, hip-hop music, and art to teach Cambodian youth language skills, computer skills, and life skills (hygiene, sex education, counseling). His orgranization helps roughly 5,000 youths a year. One of these youths include Diamond, who is regarded as Cambodia's first b-girl.
There are several ways Breaking came to Canada. During the late 70's and early 80's, films like Breakin' (1984), Beatstreet (1984), and the overall influence of Hip-Hop culture brought many people over from Chicago, New York, Detroit, Seattle, Los Angeles, which in the process, brought over their style from the U.S.. Before we knew it, crews were growing in almost every city. Breaking expanded in Canada from there, with crews like Canadian Floormasters taking over the 80's scene. Leading into the 90's, crews like Bag of Trix, Rakunz, Intrikit, Contents Under Pressure, Supernaturalz, Boogie Brats and Red Power Squad, led the scene throughout the rest of the past two decades and counting.
There are four primary elements that form b-boying. These include toprock, downrock, power moves, and freezes.
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 b-boying to toprock and back. Toprock has a variety of steps which can each be varied according to the dancer's expression (i.e. aggressive, calm, excited). A great deal of freedom is allowed in the definition of toprock: as long as the dancer maintains cleanliness, form, and the b-boy attitude, theoretically anything can be toprock. Toprock can draw upon many other dance styles such as popping, locking, tap dance, Lindy hop, or house dance. Transitions from toprock to downrock and power moves are called "drops".
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. 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. Some examples are the windmill, swipe, back spin, 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 that 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 "stacks" where breakers go from freeze to freeze to freeze in order to hit the beats of the music which displays musicality and physical strength.
There are many different individual styles used in b-boying. Individual styles often stem from a dancer's region of origin and influences. However, some people such as b-boy Jacob "Kujo" Lyons feel that the Internet inhibits individual style. In an 2012 interview with B-Boy Magazine he expressed his frustration:
... because everybody watches the same videos online, everybody ends up looking very similar. The differences between individual b-boys, between crews, between cities/states/countries/continents, have largely disappeared. It used to be that you could tell what city a b-boy was from by the way he danced. Not anymore. But I've been saying these things for almost a decade, and most people don't listen, but continue watching the same videos and dancing the same way. It's what I call the "international style," or the "Youtube style."
B-boy Luis "Alien Ness" Martinez, the president of Mighty Zulu Kings, expressed a similar frustration in a separate interview three years earlier with "The Super B-Beat Show" about the top five things he hates in b-boying:
Oh yeah, the last thing I hate in breakin'... Yo, all y'all mother f*ckin' Internet b-boys... I'm an Internet b-boy too, but I'm real about my sh*t. Everybody knows who I am, I'm out at every f*cking jam, I'm in a different country every week. I tell my story dancing... I've been all around the world, y'all been all around the world wide web... [my friend] Bebe once said that sh*t, and I co-sign that, Bebe said that. That wasn't me but that's the realist sh*t I ever heard anybody say. I've been all around the world, you've been all around the world wide web.
Although there are some generalities in the styles that exist, many dancers combine elements of different styles with their own ideas and knowledge in order to create a unique style of their own. B-boys can therefore be categorized into a broad style which generally showcases the same types of techniques.
In addition to the styles listed above, certain footwork styles have been associated with different areas which popularized them.
Multiple 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.
The 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:79 later termed the break beat.
Like the other aspects of hip-hop culture, graffiti writing, MCing, and DJing, males are generally the predominant gender within breaking, though the number of b-girls has increased rapidly in recent years. 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. Both b-boys and b-girls practice the art together, and are judged on their skill and personal expression rather than their gender.
Some people have pointed to a lack of promotion as a barrier, as full-time b-girl Firefly stated in a BBC piece: "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." Growing interest is being shown in changing 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.
|This section needs additional citations for verification. (November 2007)|
In the past 40 years since b-boying's creation, various films have depicted the dance. In 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 some b-boying. In 1985, at the height of b-boying's popularity, Donnie Yen starred in a Hong Kong hip-hop film called Mismatched Couples.
The 2000s saw a resurgence of films featuring b-boying. The 2002 documentary film The Freshest Kids: A History of the B-Boy provides a comprehensive history of b-boying including its evolution and its place within hip-hop culture. The 2007 documentary Planet B-Boy follows five crews from around the world in their journey to the international breaking competition Battle of the Year. The award-winning (SXSW Film Festival audience award) 2007 documentary "Inside the Circle" 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 2010 German documentary Neukölln Unlimited depicts the life of two b-boy brothers in Berlin that try to use their dancing talents to secure a livelihood. B-boying moves are sometimes incorporated into the choreography of films featuring martial arts. This is due to the visually pleasing aspect of the dance, no matter how ridiculous or useless it would be in an actual fight.
In the United States, the dance shows So You Think You Can Dance and America's Best Dance Crew arguably presented b-boying back to the forefront of America's pop culture, similar to the popularity it had in the 80s. B-boying is widely referenced in TV advertising, 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. In 2005, a Volkswagen Golf GTi commercial featured a partly CGI version of Gene Kelly popping and b-boying to a remix of "Singin' in the Rain", by Mint Royale. The tagline was, "The original, updated."
Since b-boying's popularity surge in South Korea, it has been featured in various TV dramas and commercials. Break is a 2006 mini series from Korea about a b-boying competition. Over the Rainbow (Drama series 2006) centers on different characters who are brought together by b-boying.
There have been few video games created that focus on b-boying. The main deterrence for attempting to create games like these is the difficulty of translating the dance into something entertaining and fun on a video game console. Most of these attempts have had low to average success.
The transition between top and floor rockin' was also important and became known as the 'drop.'
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