Learn Breakdance

History of Breakdancing

Breakdancing seems so different from all other kinds of dancing that the first question people ask when they see it is: "Where did these kids learn to dance like that?" To many people, this dance seems to have come out of nowhere. But like everything else, Breakdance did come from somewhere, something and someone. In the case of Breakdancing, the someone is the great superstar, James Brown, and the something is the dance, the Good Foot. In 1969, when James Brown was getting down with his big hit "Get on the Good Foot" the Hustle was the big dance style of the day. If you've ever seen JamesBrown live in concert or on TV, then you know he can really get down. And when he preformed his hit, he did the kind of dance you'd expect James Brown to do. High Energy. This almost acrobatic dance was appropriately enough known as the lot of kids around New York City.

By the time the Good Foot became the new dance style, the tradition of dance battle was well established. Dancers would gather at places like Harlem World on 116th Street in Harlem and Battle-dancewise. Battles are covered in more detail in the section on battles, challanges, and contests, but the important thing as fas as the history of Breakdancing is concerned is that Breakdancing was particularly well-suited for competition. And not only was the Good Foot well- suited for dance battles, it appealed to certain young men who were very athletic.

The Good Foot, which was soon to be called B-Boy and shortly after that Breakdancing, or Breaking, was very different from the Breaking we see today. In some ways it was simpler. There were no Headspind. No Windmill. No Handglides or Backspins. It was what is now called old-style Breaking. Old-Style Breaking consisted only of floor work, or Floor Rock, and in a way it was more complex than modern Breaking. There may be some small variations on the Headspin and a Backspin, but basically, a Headspin is a head spin and a Backspin is a back spin. But Floor Rock can involve som extremely complicated leg moves, and it is done very fast. And it did not take long before where were a lot of Breakdancing battles happening.

Among those for whom old-style Breaking was especially popular were many of the youths and street gangs that roamed the South Bronx. And it was in those streets that Breakdancing really started. Often, the best Breakers in opposing gangs would battle dancewise instead of fighting. They would battle over turf. Or because someone stepped on someone else's shoes. They might battle prove that their gang was better than the other gang. Sometimes they would make a contract that the loser would not go around to the winner's neighborhood anymore. Sometimes they battled just to gain each other's respect. Unfortunately, these Breaking battles did not always stop fight. In fact, they often would cause a fight, since dancers would sometimes get physical when they couldn't win dancewise.No one likes to lose. But today Breaking battles have, to a large extent, replaced fighting in the Bronx.

In this way Breakdancing crews-groups of dancers who practice and preform together-were formed. And soon formal crews organized, who not only practiced and preformed together, but who also developed their own dance routines. Some of these crewws became very dedicated to their dancing, and since they had nothing better to do, would spend hours a day praticing, developing more and more complex moves, improving their form, and increasing their speed. And then Afrika bambaataa came along. Bambaataa is the legendary grand master D.J. who is the individual most responsible for the successful growth of Breakdancing. He is a record producer and member of the Soul Sonic Force, whose "Looking For The Perfect Beat" was chosen as the No.4 best single in the 1983 Jazz and pop Critics' Poll. Afrika Bambaataa is also the leader of the Zulu Nation in the Bronx.

In 1969, Afrika Bambaataa saw Breakdancing as more than just dancing. He saw it as a way to achieve something. He saw the potential of Breakdancing, and encouraged the dancers to keep at it. To work hard, and to believe that if they stuck with it, something good would come of it. Bambaataa then started one of the first Breakdance crews, the Zulu Kings. The Zulu Kings won a lot of battles and talent shows and preformed in various clubs in New York. At the same time they won a lot of adherents for the Zulu Nation.

Old-style Breaking remained popular untill about 1977, when the Freak took over, based on the hit record "Freak Out" by the Shieks. Then around 1979 and early 1980 a new Breakdance crew was organized-Rock Steady Crew. Even though Rock Steady Crew was especially talented, a lot of people put them down being old-fashioned. But Bambataa encouraged them. He told them that if they stuck with it, something good would happen. He took them on, and soon they were performing at the Mudd Club, the Ritz, and other Punk rock clubs around New York. When Rock Steady performed for Malcom McLaren and Bow Wow Wow at the Ritz people started taking them seriously. Breakdancing Was In Again.

But the new-style Breaking was different from the old. Rock Steady added a lot of acrobatic moves. Breaking now included not only Floor Rock but Headspins, Backspins, Handglides, and Windmills. In 1981, Charles Ahearn made his Hip-Hop movie, Wild Style, a raw vision of rap singing, graffiti, scratching, and Breakdancing in the Bronx. Ahearn called on Rock Steady to do the Breaking and Rock Steady became the preeminent Breakdance crew and new-style Breaking became even more popular. When the spring of 1982 rolled around the Roxy was a well-established New York roller-skating rink. But the popularity of roller skating quickly began to fade, and in June of '82, Pat Fuji turned the Roxy into a dance club on Thursday, Friday, and Saturday night. The Roxy quickly became the Hip Hop center. It was here that rappers, D.J.'s, and Breakdancers would perform and hang out.

If you wanted to discover a Breakdancer for your show or video, you would come to the Roxy. Or if you just wanted to watch or learn some new moves, you would come to the Roxy. And the Roxy started to sponsor Breakdance contests, which would help the winners get more recognition. In June, 1983, Pat Fuji hired professional Jazz dancer Rosanne Hoare to run the Street Arts Consortium, whish was a house Breakdancing, rapping, and graffiti art. Rosy was going to officially establish a home for Hip Hop Culture. While the Street Art Consorium never really happened as envisioned, Rosy did provide a home for Breakdancers. She not only provided a place where they could feel at home, but she worked with them as a choreographer, helping to extend their dance possibilities. She also helped many dancer find commercial and performing dance work. Most importanly, Rosy was-and is-always there as a friend whom they can count on. She herself has taken up Breakdancing.

Fashion

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]} Some breakdancing 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 tracksuits 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.

Hooded nylon jackets allowed dancers to perform head spins and windmills with greater ease.^{[citation needed]} 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.

The b-boys today dress differently from the b-boys in the 80s, but one constant remains: dressing "fresh".^{[citation needed]} Due to the spread of breakdancing 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. Kangols are still worn by some, and track pants and nylon clothes still have their place combined with modern sneakers and hats. Trucker hats were reintroduced to the scene in the late 1990s, well before the mainstream pop culture began wearing them again in numbers.^{[citation needed]}

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]} 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 breakdancing 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]} Therefore, less baggy upperwear is more common today (though pants remain baggy).^{[citation needed]}

Some dancers and crews have begun to dress in a style similar to "goth" or 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 is also well known in the breaking community. Both brands sponsor many b-boy events.^{[citation needed]}

But aside from these generalities, many b-boys choose not to try too hard to dress for breaking, because one would want to be able to break anytime, anywhere, whatever the circumstances.^{[citation needed]} This is part of the reason why many breakdancers would rather learn headspins without a helmet even though helmets allow them to learn the technique more easily.

Other breakdancers style their pants by cuttting off or rolling up one pant leg. Bucket hats are also popular.

Dance techniques

There are four basic elements that form the foundation of breakdance. These are toprock, downrock (also known as footwork), power moves, and freezes.

Toprock refers to any string of steps performed from a standing position, relying upon a mixture of 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 (two elements of the funk styles that evolved independently in California during the late 1960s) breakdancing is distinct from popping and locking in that moves require a greater sense of athleticism as opposed to the contortion of limbs seen in pop-and-lock. Dancers who wish to widen their expressive range, however, may typically dabble in all types of hip hop dance.

In contrast, downrock includes all footwork performed on the floor as in the 6-step. 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.

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, swipe, and flare. Power moves are very physically demanding and a great display of upper body strength and stamina. Many moves are borrowed from gymnastics, such as the flare, and martial arts, with impressive acrobatics such as the butterfly kick.

Breakdance sets usually end with 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 pike. Alternatively, 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.

Music

As the clichéd quote "break to the beat" points out, rhythmic music is an essential ingredient for breakdancing. The original songs that popularized the dance form borrow significantly from progressive genres of jazz, soul, funk, electro, disco, and R&B.^[5] The most common feature of breakdance music exists in 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.^[5] History credits Kool Dj Herc for the invention of this concept, later termed breakbeat.

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 remixing). 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.

Origins: From street to dance

Breaking became popular in the Western world when street corner disc jockeys would take the rhythmic breakdown sections (or "breaks") of dance records and string them together without any 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.

Breakdancing, in its organized fashion seen today, may have begun as a method for rival gangs of the ghetto to mediate and settle territorial disputes. 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.

Michael Jackson's televised performance of the robot dance in 1974 displayed elements of the breakdance subculture to a wide audience and helped spark its popularity. Meanwhile, dance teams such as the Rock Steady Crew of New York City 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 breakdancing became an accepted dance style portrayed in commercials, movies, and the media. Instruction in breakdancing techniques is even available at dance studios where hip-hop dancing is taught. Some large annual breakdancing competitions of the 2000s include the Battle of the Year or the Red Bull BC One.

Shortly after groups such as the Rock Steady Crew came to Japan, breakdancing 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.^[3] 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.^[4]

Breakdance, breaking, b-boying or b-girling is a street dance style that evolved as part of the hip hop movement among African American and Puerto Rican youths in Manhattan and the South Bronx of New York City during the early 1970s. It is normally danced to pop, funk or hip hop music, often remixed to prolong the breaks, and is a well-known hip hop dance style. Breakdancing involves Toprock (movement while standing up), Downrock (movement on the ground), Freezes (acrobatic pauses in movement) and Power Moves (large, often strenuous movements often involving rotation). A breakdancer, breaker, b-boy or b-girl refers to a person who practices breakdancing.

Breakdancing may have begun as a building, productive, and a constructive youth culture alternative to the violence of urban street gangs.^[1] Today, breakdancing culture is a remarkable discipline somewhere between those of dancers and athletes. Since acceptance and involvement centers on dance skills, breakdancing culture is often free of the common race and gender boundaries of a subculture and has been accepted worldwide.