BREAK DANCE

IN THIS BLOG IAM GONNA TELL YOU ABOUT WHAT IS BREAK DANCE

Breakdance, breaking, or b-boying is a street dance style that evolved as part of the hip hop movement among African American and Latino American youths in New York City during the early 1970s[1]. It is danced to hip hop or other music, often remixed to prolong the breaks. One who practices the style is a break-dancer, breaker, b-boy or b-girl.
The term "breakdancing" is contentious among practitioners who believe it was invented by mass media[2]:58 to exploit the movement.[2]:60[3] "Breakdancer" may even be used disparagingly to refer to those who learned the dance for personal gain rather than commitment to the culture.[2]:61 Many pioneers and prominent figures[3] prefer to call it "b-boying"[4] or "breaking."
The term "breakdancing" is contentious among practitioners who believe it was invented by mass media[2]:58 to exploit the movement.[2]:60[3] "Breakdancer" may even be used disparagingly to refer to those who learned the dance for personal gain rather than commitment to the culture.[2]:61 Many pioneers and prominent figures[3] prefer to call it "b-boying"[4] or "breaking.

HISTORY Elements of breakdance may be seen in many antecedent cultures,[5] but it was not until the 1970s that breakdance evolved as a street dance style. It evolved during the hip hop movement among African American (and later Latino American) youths in Manhattan and the South Bronx of New York City. Street corner disc jockeys would take the rhythmic breakdown sections (or "breaks") of dance records 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. 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 studios where hip-hop dancing is taught. Today, b-boying culture is a discipline somewhere between those of dancers and 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.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.[6] 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.[7]

DANCE TECHNIQUES ; For more details on this topic, see List of breakdance moves.

A breakdancer doing downrock.
There are four basic elements that form the foundation of breakdance. These are toprock, downrock, power moves, and finishing moves (a freeze or suicide).
Toprock refers to any string of steps performed from a standing position. 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) 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.In contrast, downrock (or "footwork") includes all footwork performed on the floor, such as the foundational 6-step. It typically involves complicated contortions of the lower body, and may be as highly variable and personalized as toprock. Downrock transitions into more athletic moves known as power moves.
Power moves are actions that require momentum and physical power to execute. The breaker is generally supported by his upper body, while the rest of his body creates momentum. Notable examples are the windmill, swipe, and flare. Several moves are borrowed from gymnastics (such as the flare) and martial arts (such as the butterfly kick) Breakdance sets end with a distinctive finishing move. Many times this takes the form of a freeze in which all motion is halted 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 a controlled 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. 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. History credits Kool Dj Herc for the invention of this concept, later termed breakbeat.
The musical selection is not restricted to hip-hop music 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.

FASHION : For most breakdancers, fashion is a defining aspect of identity. The breakdancers of the 1980s often sported flat-soled Adidas shell-toe shoes,[8] or Pumas or Filas with thick, elaborately patterned laces.[citation needed] Some break-dancing 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 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. 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,mkmbv; 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] 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] Other breakdancers style their pants by cutting off or rolling up one pant leg. Bucket hats are also popular.