Hip-hop dance

Hip-hop dance refers to street dance styles primarily per- 1 History

formed to hip-hop music or that have evolved as part of
hip-hop culture. It includes a wide range of styles primar-
ily breaking, locking, and popping which were created in Main article: History of hip-hop dance
the 1970s and made popular by dance crews in the United
States. The television show Soul Train and the 1980s Hip-hop dance is a broad category that includes a va-
films Breakin', Beat Street, and Wild Style showcased these riety of styles. The older dance styles that were cre-
crews and dance styles in their early stages; therefore, giv- ated in the 1970s include uprock, breaking, and the
ing hip-hop mainstream exposure. The dance industry re- funk styles.[1] Breaking was created in The Bronx,
sponded with a commercial, studio-based version of hip- New York, incorporating dances that were popular in
hop—sometimes called “new style”—and a hip-hop influ- the 1960s and early 1970s in African-American and
enced style of jazz dance called “jazz-funk”. Classically Latino communities.[2] In its earliest form, it began as
trained dancers developed these studio styles in order to elaborations on James Brown's "Good Foot" dance which
create choreography from the hip-hop dances that were came out in 1972.[1][3][4] Breaking at this period was
performed on the street. Because of this development, not primarily floor-oriented as seen today; it started out
hip-hop dance is practiced in both dance studios and out- as toprock which dancers perform while standing up.
door spaces. An influence on toprock was uprock[5] which was cre-
The commercialization of hip-hop dance continued into ated in Brooklyn, New York.[6][7] Uprock looks simi-
the 1990s and 2000s with the production of several tele- lar to toprock, but it is more aggressive and looks like
vision shows and movies such as The Grind, Planet B-Boy, a fight. Uprock is also performed with partners, but in
Rize, StreetDance 3D, America’s Best Dance Crew, Saigon toprock—and in breaking in general—each person takes
Electric, the Step Up film series, and The LXD, a web se- turns dancing.[8] In 1973, DJ Kool Herc invented the
ries. Though the dance is established in entertainment, break beat.[9][10] A break beat is a rhythmic, musical in-
including mild representation in theater, it maintains a terlude of a song that has been looped over and over
strong presence in urban neighborhoods which has led to again to extend that instrumental solo. Kool Herc did
the creation of street dance derivatives Memphis jookin, this to provide a means for dancers who attended his
turfing, jerkin', and krumping. parties to demonstrate their skills.[10] B-boy and b-girl
stands for “break-boy” and “break-girl"; b-boys and b-
1980s films, television shows, and the Internet have con- girls dance to the break of a record.[10] Further influenced
tributed to introducing hip-hop dance outside of the by martial arts[11] and gymnastics, breaking went from
United States. Since being exposed, educational oppor- being a purely upright dance style—toprock only—to be-
tunities and dance competitions have helped maintain its coming more floor-oriented.
presence worldwide. Europe hosts several international
hip-hop competitions such as the UK B-Boy Champi- At the same time breaking was developing in New York,
onships, Juste Debout, and EuroBattle. Australia hosts a other styles were being created in California. The funk
team-based competition called World Supremacy Battle- styles refers to several street dance styles created in Cal-
grounds and Japan hosts a two-on-two competition called ifornia in the 1970s such as roboting, bopping, hitting,
World Dance Colosseum. locking, bustin', popping, electric boogaloo, strutting,
sac-ing, and dime-stopping.[12] Out of all of these dances,
What distinguishes hip-hop from other forms of dance boogaloo is one of the oldest. It started out as a 1960s
is that it is often “freestyle” (improvisational) in na- fad dance and was the subject of several songs released
ture and hip-hop dance crews often engage in freestyle during that time such as “Do the Boogaloo” and “My
dance competitions—colloquially referred to as “battles”. Baby Likes to Boogaloo”.[13] From being a fad, it de-
Crews, freestyling, and battles are identifiers of this style. veloped into a dance style called electric boogaloo and
Hip-hop dance can be a form of entertainment or a hobby. a music genre called Latin boogaloo. The most popular
It can also be a way to stay active in competitive dance and and widely practiced of the funk styles are locking and
a way to make a living by dancing professionally. popping.[14] The television show Soul Train played a large
role in giving these styles commercial exposure. Both
The Lockers and The Electric Boogaloos—dance crews
responsible for the spread of locking and popping—
performed on this show.[15]

1
2 2 MAIN STYLES

It is historically inaccurate to say that the funk styles

were always considered hip-hop.[16] The funk styles were
adopted into hip-hop in large part due to the media.[16]
Once hip-hop activist and DJ, Afrika Bambaataa, used
the word “hip-hop” in a magazine interview in 1982,
“hip-hop dance” became an umbrella term encompass-
ing all of these styles.[17] Due to the amount of attention
locking and popping were receiving, the media brought
these styles under the “breakdance” label causing confu-
sion about their origin.[18][19] They were created on the
west coast independent from breaking and were originally
danced to funk music rather than hip-hop music.[15][16]
As breaking, locking, and popping gained popularity in
the 1980s, hip-hop social dancing (party dancing) started
to develop. Novelty and fad dances such as the Roger
Rabbit, the Cabbage Patch, and the Worm appeared in
the 1980s followed by the Humpty dance and the Running
Man in the 1990s.[20][note 1] The music of the day was the
driving force in the development of these dances. For
example, the 1980s rap group Gucci Crew II had a song
called “The Cabbage Patch” that the dance of the same
name was based on.[22] 2000s era social dances include
the Cha Cha Slide, the Cat Daddy, and the Dougie. The
previously mentioned dances are a sample of the many
that have appeared since hip-hop developed into a distinct
dance style. Like hip-hop music, hip-hop social dancing
continues to change as new songs are released and new
dances are created to accompany them. A b-boy in an airchair freeze at Street Summit 2006 in Moscow.

guard and all we did was add more flava to something

2 Main styles that already existed.”[28][30][31] Breaking includes four
foundational dances: toprock, footwork-oriented steps
performed while standing up; downrock, footwork per-
2.1 Breaking formed with both hands and feet on the floor; freezes,
stylish poses done on your hands; and power moves, com-
Main article: B-boying plex and impressive acrobatic moves.[32] Transitions from
Breaking was created in the South Bronx, New York toprock to downrock are called “drops.”[33][34]
City during the early 1970s.[3] It is the first hip-hop
dance style. At the time of its creation, it was the only Traditionally, breakers dance within a cypher or an
hip-hop dance style because Afrika Bambaataa classi- Apache Line. A cypher is a circular shaped dance space
fied it as one of the five pillars of hip-hop culture along formed by spectators that breakers use to perform or bat-
[12][32]
with MCing (rapping), DJing (turntablism), graffiti writ- tle in. Cyphers work well for one-on-one b-boy
ing, and knowledge. [23][24][25][26]
Though African Amer- (break-boy) battles; however, Apache Lines are more ap-
icans created breaking,[27][28] Puerto Ricans maintained propriate when the battle is between two crews—teams
its growth and development when it was considered a fad of street dancers. In contrast to the circular shape of a
in the late 1970s.[29] In a 2001 interview Richard “Crazy cypher, competing crews can face each other in this line
Legs” Colón, the president of Rock Steady Crew, com- formation, challenge each other, and execute their burns
mented on how Puerto Ricans contributed to breaking: “I (a move intended to humiliate the opponent, i.e. crotch
[35][36][37][38]
think the difference is when the brothas first started do- grabbing).
ing [it] and it was at its infancy they weren't doing acro-
batic moves. That didn't come into play until more Puerto
Ricans got involved in the mid 70s. We then took the 2.2 Locking
dance, evolved it and kept it alive. In '79 I was getting
dissed. I would go into a dance and I would get dissed Main article: Locking
by a lot of brothas who would ask 'Why y'all still doing
that dance? That’s played out'. By 79, there were very Locking, originally called Campbellocking, was created
few African American brothas that was doing this... We in 1969 in Los Angeles, California by Don “Campbel-
always maintained the flava. It was like a changing of the lock” Campbell and popularized by his crew The Lock-
 3

ers.[14][39] In addition to Campbell, the original mem- Popping as an umbrella term also includes floating, glid-
bers of The Lockers were Fred “Mr. Penguin” Berry, ing, and sliding.[15][47] These are lower body dances per-
Leo “Fluky Luke” Williamson, Adolfo “Shabba-Doo” formed with little to no movements in the chest or arms.
Quiñones, Bill “Slim the Robot” Williams, Greg “Camp- In floating, gliding, and sliding a dancer appears as if
bellock Jr” Pope, and Toni Basil, who also served as the they are drifting across the floor on ice.[note 3] Opposite
group’s manager.[40][41][42] At the 2009 World Hip Hop from gliding is tutting, an upper body dance that uses the
Dance Championships, Basil became the first female re- arms, hands, and wrists to form right angles and create
cipient of the Living Legend Award in honor of her role geometric box-like shapes. Tutting can be done primar-
in giving locking commercial exposure.[43] ily with the fingers rather than the arms. This method is
Locking looks similar to popping, and the two are fre- called finger tutting. In both variations the movements
are intricate, linear, and form 90° or 45° angles. In prac-
quently confused by the casual observer. In locking,
dancers hold their positions longer. The lock is the pri- tice, tutting looks like the characters on the art of ancient
Egypt,[50][51][52]:2 hence the name—a reference to King
mary move used in locking. It is “similar to a freeze or
a sudden pause.”[44] A locker’s dancing is characterized Tut.
by frequently locking in place and after a brief freeze While popping as an umbrella term is widely used by
moving again.[14] According to Dance Spirit magazine, hip-hop dancers and in competitive hip-hop dancing,
a dancer cannot perform both locking and popping si- Timothy “Popin' Pete” Solomon of the Electric Booga-
multaneously; thus, it is incorrect to call locking “pop- loos disagrees with the use of the word “popping” in this
locking”.[14][45][46] While both styles originate in Los An- way. Many of these related styles (animation, liquid, tut-
geles, locking and popping are two distinct funk styles ting, etc.) can not be traced to one person or group.
with their own histories, their own set of dance moves, Solomon states “There are people who wave and there
their own pioneers, and their own competition categories. are people who tut. They’re not popping. I say this to
Locking is more playful and character-driven, whereas give the people who created other styles their just dues
popping is more illusory.[14] In popping, dancers push and their props.”[14]
the boundaries of what they can do with their bodies.[14]
Locking has specific dance moves that distinguish it from
popping and other funk styles. In the 2006 book Total
Chaos, hip-hop historian Jorge “Popmaster Fabel” Pabon 3 Derivative street styles
lists some of these moves which include “the lock, points,
skeeter [rabbits], scooby doos, stop 'n go, which-away, Main articles: Memphis Jookin', Turfing, Jerkin' and
and the fancies.”[44] In addition, Lockers commonly use Krumping
a distinctive dress style, such as colorful clothing with
stripes and suspenders.[14]
Decades after breaking, locking, and popping became
established, four new dance styles appeared. Three of
2.3 Popping them come from California and one comes from Ten-
nessee. Memphis Jookin' was created in the 1980s in
Main article: Popping Memphis, Tennessee. It is an evolution of an older Mem-
phis line dance called The Gangsta' Walk.[52]:1[53] Ac-
Popping was created in Fresno, California in the 1970s cording to Dance magazine, jookin is characterized by
and popularized by Samuel “Boogaloo Sam” Solomon dancers “gliding footwork... popping and waving... [and]
and his crew the Electric Boogaloos.[14] It is based on the using the tips of their sneakers to balance on pointe.”[54]
technique of quickly contracting and relaxing muscles to Gliding on tiptoes is fundamental to this dance. While
cause a jerk in a dancer’s body, referred to as a pop or a watching a jookin' battle in Jackson, Tennessee, dance
hit. When performed correctly, each hit is synchronized critic Alastair Macaulay observed that “the most evidently
to the rhythm and beats of the music. Popping is also used sensational feature of jookin is the extensive use of what
as an umbrella term to refer to a wide range of closely re- a ballet observer is bound to call pointwork: the men,
lated illusionary dance styles[47] such as strobing, liquid, in sneakers, go onto tiptoe... many of the men not only
animation, twisto-flex, and waving.[15][47] Dancers often rose onto point but also hopped, turned, ran and balanced
integrate these styles with standard popping to create a on point.”[55] Jookers have traditionally practiced their
more varied performance.[note 2] In all of these subgenres moves at the Crystal Palace skating rink in Memphis,
it appears to the spectator that the body is popping. The which is akin to how milongueros practice their moves
difference between each subgenre is how exaggerated the in public spaces in Buenos Aires.[54]
popping is. In liquid, the body movements look like wa- Turfing, an acronym for Taking Up Room on the Floor,
ter. The popping is so smooth that the movements do not was created in 2002 by Jeriel Bey in Oakland, Califor-
look like popping at all; they look fluid.[15] The opposite nia.[48] Turfing is a fusion of miming and gliding that
of this is strobing (also called ticking) in which the move- places heavy emphasis on storytelling (through move-
ments are staccato and jerky.[49] ment) and illusion. Other than San Francisco Bay Area
4 4 DANCE INDUSTRY

pride, turfing avoided becoming a fad due to local turf 4.1 Commercial/New Style
dance competitions and local youth programs that pro-
mote turfing as a form of physical activity.[56] See also: Lyrical hip-hop
The dance style Jerkin' was popularized in 2009 by the
New Boyz's rap song "You're a Jerk".[57][58]:1 This song The dance industry responded to hip-hop dance by cre-
went viral via their MySpace page before they had a ating a commercial version of it. This studio hip-hop,
manager or were signed to a record label.[58]:1, 3 Af- sometimes called “new style”, is the kind of hip-hop
ter hearing about the song, Los Angeles radio station dance seen in rap, R&B, and pop music videos and con-
Power 106 hired the New Boyz to perform at local high certs. From the point of view of someone deeply im-
schools. These shows led to “You’re a Jerk” entering mersed in hip-hop culture, anything that looks like hip-
the radio’s playlist.[58]:2 Later the same year, rap duo hop dance that did not come from the streets is not a true
Audio Push released the song and video “Teach Me How hip-hop dance form. In an interview with Dance mag-
to Jerk” which showcased the different dance moves azine, choreographer and hip-hop dance teacher Emilio
within jerkin' including the Reject—the Running Man “Buddha Stretch” Austin, Jr. described his point-of-view:
done in reverse.[57][59] Dancers who perform jerkin' typ-
ically wear bright colors, skinny jeans, Mohawks, and
Vans sneakers.[58]:1,5 This trend echos locking dancers in
the 1970s who traditionally wore suspenders and black Stage performance can suppress improvisation which de-
and white striped socks.[14] Of the dance, journalist Jeff fined hip-hop dance early in its development.[1][65][66]
Weiss from LA Weekly stated “For a youth culture weaned Furthermore, meshing different dance styles together dis-
on the cult of individualism, jerkin’ is its apotheosis.”[58] solves their structures and identities.[1] In an interview
Similar to breaking, locking, and popping, jerkin’s pop- with The Bronx Journal, choreographer and artistic di-
ularity spread through dance crews. For example, The rector Safi Thomas expressed a similar qualm as Austin
Rej3ctz (crew) created both the Cat Daddy[60] and the concerning hip-hop instruction within the studio:
Reject dance moves.[58]:2, 4
Although jookin', turfing, and jerkin' generated regional
support and media attention, none have reached the
same zenith as krumping. Ceasare “Tight Eyez” Willis
and Jo'Artis “Big Mijo” Ratti created krumping[61] in
the early 2000s in South Central, Los Angeles.[62] It
was only practiced in Los Angeles until it gained main-
stream exposure after being featured in several music
videos[63] and showcased in the krumping documen-
tary Rize. Rize was screened at several film festivals
before it was commercially released in the summer of
2005.[64][note 4] Clowning, the less aggressive predecessor
to krumping, was created in 1992 by Thomas “Tommy
the Clown” Johnson.[63][note 5] Johnson and his dancers
would paint their faces and perform clowning for children
at birthday parties or for the general public at other func-
tions as a form of entertainment.[63] In contrast, krumping
focuses on highly energetic battles and movements which Hip-hop dancer Joseph Coine performing in 2011 in Wallace
Johnson describes as intense, fast-paced, and sharp.[63] Theater at Fort Belvoir, Virginia.
Of the dance, journalist taisha paggett from Dance mag-
azine stated “If movement were words, [krumping] would The term “new style” was created by dancers outside of
be a poetry slam.”[62] Compared to breaking and the funk the United States. According to Moncell Durden, adjunct
styles, jookin', turfing, jerkin', and krumping are rela- professor at Drexel University and director of the film
tively new. The music driving the dances and the cultural History and Concept of Hip-Hop Dance, the 1992 dance
similarities between these street dance styles, the funk documentary Wreckin' Shop From Brooklyn was very
styles, and breaking have brought them together under the influential to hip-hop dancers in France and Japan.[68]
same subculture of hip-hop. These dancers wanted to move like the New York hip-
hop dancers who were profiled in the documentary. They
called the social dancing (party dancing) they saw “new
style” which was short for “New York Style”.[68]
In the context of the commercial dance industry, hip-hop
4 Dance industry (or new style hip-hop for dancers in France and Japan) is
choreographed urban party dancing with studio technique
4.2 Jazz-funk 5

added to it. From a technical aspect, it is characterized as for the song "Rhythm Nation" which was choreographed
hard-hitting involving flexibility and isolations—moving by street dancer Anthony Thomas.[76] The dance was so
a specific body part independently from others.[69][70]:82 popular during this time it was also performed by 1990s
The feet are grounded,[65]:76 the chest is down,[70]:82 the rappers MC Hammer and Vanilla Ice in their chore-
posture is hunched,[71] and the body is kept loose[72] so ographed routines.[77] Michael Jackson also used hip-hop
that dancers can easily alternate between hitting the beat in his 1992 music video "Remember The Time" which
or moving through the beat. Like African dance, new was choreographed by a then 21-year-old Fatima Robin-
style hip-hop is very rhythmic and involves a lot of foot- son.[78] At the time, Robinson was a street dancer with no
work and radial movement of the hips.[69] In addition, formal training and “Remember the Time” was her first
emphasis is placed on musicality[72] —how sensitive your music video job.[79] According to MTV.com, “Dances
movements are to the music—and being able to freestyle have always been a part of hip-hop culture — from the
(improvise).[69][70]:85 As long as dancers keep the founda- running man to the Soulja Boy dance...”[60] and this era
tional movements, they can add their own (free)style and was the start of commercial hip-hop choreography as it
have a performance that is still hip-hop.[73] looks today: dance routines are not specific to one genre
(strictly popping, strictly locking, or strictly breaking) but
“Street dancing was never ever ever to a count. You do
not count a 1,a 2,a 3,a 4, a 5, a 6 to hip hop. It should be rather an amalgamation of[17] urban party dancing with stu-
a feeling by making noise like “ou” “ah” “aw” “tsi”, that’s dio technique added to it.
how we count, right there.”
Timothy “Popin' Pete” Solomon; 4.2 Jazz-funk
The Electric Boogaloos[17]
Another style the dance industry created in response to
hip-hop was jazz-funk. This style was shown in its early
A significant juncture in the development of hip-hop was
form on a sketch comedy series called In Living Color.[80]
the addition of eight-counts, a method of counting dance
The resident dance troupe, The Fly Girls, opened and
steps to stay in sync with the music. Toni Basil introduced
closed every show with a hip-hop and jazz performance
this studio technique into locking in the 1970s. Basil was
choreographed by Rosie Perez.[80] Jazz-funk (also called
trained in ballet before being introduced to street dance
street-jazz) is a hybrid of hip-hop and jazz dance.[15]
by Don Campbell, the creator of locking and founding
R&B singer Beyoncé uses this style.[15] Korean dance
member of The Lockers dance crew.[14] She is respon-
crew Prepix also uses this style.[81] They have chore-
sible for teaching the rest of The Lockers how to dance
ographed for K-pop singers Jay Park and G.NA as well as
to counts. In an interview with NPR, Lockers member
for K-pop boy bands 2PM and B2ST.[81] Although jazz-
Adolfo “Shabba-Doo” Quiñones stated “I would say that
funk borrows from hip-hop dance, it is not considered a
Toni Basil was sort of our Abe Saperstein in terms of
style of hip-hop because the foundational movements are
how she was able to organize us into a professional dance
jazz. In hip-hop—even in lyrical hip-hop—there are no
troupe. I remember her teaching us how to count music.
pirouettes or arabesques and dancers do not perform on
She was like, okay, we were like, count music? How do
relevé (on the balls of the feet). However, these methods
you count soul? It was crazy, you know?... all of our
are used in jazz-funk and in jazz dance in general.[15]
cues kind of went something like this, boom, pop, do
boom, pada da boom, pada like that. And she was like,
how do you guys get in sync like that? I said it’s a feel- 4.3 Business developments
ing, you know?"[42] Traditionally hip-hop dance, or any
form of street dance, is not performed to counts as these Other developments in the dance industry occurred in re-
styles were created on the street rather than in a studio sponse to the growing popularity of hip-hop. On the trav-
setting.[17][74] So the introduction of counts was a pivotal eling convention circuit there were tap, ballet, and jazz
move into bringing hip-hop dance from the street into the dance conventions, but there were none specifically for
studio. Even with this addition, it would be years before hip-hop. The same void existed in dancewear. There was
commercial hip-hop developed into its current form. dancewear for tap, ballet, and jazz dancers but none for
A second important event in the development of hip- hip-hop dancers. Monsters of Hip Hop and Nappytabs
hop was the start of hip-hop dance instruction. Bud- dancewear were formed to answer to both needs. Nap-
dha Stretch was a pioneer in this field. He started teach- pytabs is the first line of hip-hop dancewear.[82] Because
ing formal hip-hop dance classes in 1989 at Broadway their clothing is made for hip-hop dancers, they do not
Dance Center in New York City.[75] Around the same sell leotards, unitards, tights, or leg warmers. Their line
time, hip-hop party dancing started to appear in mu- consists of tank tops, shorts, t-shirts, sweat pants, harem
sic videos and on television—this was another important pants, and hoodies. Monsters of Hip Hop (MOHH) was
point in the development and commercialization of hip- founded in 2003 in Baltimore, Maryland by Andy Funk,
hop. An early example of this is when Janet Jackson Becky Funk, and Angie Servant.[83] The convention is
performed the Running Man in her 1989 music video dedicated exclusively to hip-hop instruction.[84] Fatima
Robinson, Stefan "Mr. Wiggles" Clemente, and Timo-
6 5 ENTERTAINMENT

thy “Popin' Pete” Solomon have taught classes at MOHH Several hip-hop dance films were produced after the mil-
in the past.[84] Every year, the convention brings together lennium. The Freshest Kids: A History of the B-Boy,
its top student dancers for a professionally choreographed Neukölln Unlimited, B-Girl, Bouncing Cats, Planet B-Boy,
showcase in Los Angeles called Monsters of Hip Hop: The and Battle of the Year: The Dream Team all showcase
Show.[85] breaking. Films such as Honey, Save the Last Dance,
MOHH may have been the first hip-hop dance conven- You Got Served, the Step Up film series, StreetDance 3D,
tion, but it is not the only one that exists. Urban Dance Hype Nation, Saigon Electric, Berlin Dance Battle 3D,
Camp (UDC) is a six-week-long German-based dance and ABCD: Any Body Can Dance showcase all forms
of hip-hop dance, especially new style hip-hop. Rize,
convention held every year in Lörrach, a small town on
the border of France and Switzerland.[86] In a report on The Heart of Krump, and Shake City 101 are documen-
taries about krumping. All of these movies and doc-
the event by a local paper, Bettina Kraft, the manager of
UDC, estimated that 85% of the participants were from umentaries are examples of films where the plot and
theme surround hip-hop dance and how it affects the
outside of Germany. In 2009 Kraft created Urban Dance
Showcase, a parallel event to UDC reserved only for per- characters’ lives. Bouncing Cats is the story of b-boy
Abraham “Abramz” Tekya who uses b-boying to em-
formances by professional choreographers, dance crews,
and UDC teachers.[87] Dancers such as Shaun Evaristo, power youth in Uganda. In 2010, the film won “Out-
Les Twins, I.aM.mE, b-boy Lilou, and b-boy Hong 10 standing Achievement in Documentary Filmmaking” at
have performed at the showcase in the past.[88] Newport Beach Film Festival and “Best Documentary
Feature” at Urbanworld Film Festival.[98] Saigon Elec-
Aside from dancewear and conventions, developments in tric was Vietnam’s first hip-hop film.[99] It was written,
agency representation occurred as well. Although lim- produced, and directed by Vietnamese-American film-
ited, representation for individual dancers had existed maker Stephane Gauger. The film is about two female
since the 1980s at the beginning of the music video era dancers (a ribbon dancer and a hip-hop dancer) and how
due to the pioneering work of talent agent Julie McDon- their respective romances, the threat of their commu-
ald.[note 6] However, the UK-based dance agencies Pro- nity center being torn down, and the stress of an upcom-
Dance and Superbad Talent were created to exclusively ing dance battle affects their friendship.[100][101] The film
represent street dancers.[89][90] was choreographed by Viet Max and Ricky Cole.[102] In
2012, it won a Golden Kite Prize (the Vietnamese equiv-
alent of The Oscars/BAFTAs) for “Best Film” and “Best
Actress”.[103]
5 Entertainment

5.1 Movies 5.2 Television

The entertainment industry has been largely responsible Before reaching movie audiences, hip-hop dance was al-
ready being broadcast on television. Soul Train was a
for introducing hip-hop dance to mainstream audiences
around the world. The first hip-hop films Wild Style, syndicated, music variety show that featured social danc-
Beat Street, and Breakin' were made in the 1980s. When ing and performances by African-American soul, funk,
Wild Style opened in Japan, Rock Steady Crew performed and R&B singers. The show was broadcast in South Ko-
breaking in Tokyo’s Harajuku shopping district to pro- rea via the US Armed Forces Korea Network.[104] Before
mote the film.[91] Wild Style was the first movie centered officially becoming a crew, The Lockers made several ap-
around hip-hop culture; however, Flashdance was the first pearances on this show.[105] After becoming a crew, The
commercially released film to feature breaking.[92][note 7] Electric Boogaloos also appeared on the show.[15][106]
In 1984, Beat Street was released in West Germany and Soul Train premiered in 1970.[107] During its 36 year run,
screened at the Cannes Film Festival which helped to in- the resident freestyle dancers were referred to as the Soul
troduce breaking, graffiti writing, and turntablism to this Train Gang.[108] Auditions were held in 1971 when the
part of Europe.[93][94] Breakin' and Breakin' 2: Electric show moved from Chicago, Illinois to Los Angeles, Cal-
Boogaloo brought the funk styles to the cinema. Break- ifornia. Dancers who wanted to get on Soul Train af-
ing, locking, popping, and waacking—a style of house ter this time had to rely on word-of-mouth recommen-
dance—were performed in these films.[95] At this time in dations from dancers who were already employed by the
the 1980s, the United States was not the only country pro- show.[108][109] A regular feature during the broadcast was
ducing hip-hop films. In 1985, Yuen Woo-ping directed the Soul Train Line.[110] To participate in the Soul Train
a hip-hop themed romantic comedy in Hong Kong called Line, the dancers formed two lines of equal length fac-
Mismatched Couples starring Donnie Yen.[96] Another ing each other with a large space in between them. Each
hip-hop film, Electro Rock, was released the same year dancer in line would take their turn dancing down the
in the United Kingdom.[97] This film featured a then 14- middle.
year-old Hanifa “Bubbles” McQueen Hudson, the UK’s Other music variety shows on television at this time
first b-girl.[97] were American Bandstand, Solid Gold, and Top of the
5.2 Television 7

Pops. Unlike Soul Train which focused on soul and ticipated in professional dance battles including the pop-
funk, these shows promoted Top 40 music and pop ping battle at Juste Debout, the Seven 2 Smoke battle at
acts. Solid Gold employed a permanent dance troupe The Notorious IBE, and b-boy battles at Chelles Battle
called the Solid Gold Dancers who performed chore- Pro.[122] B-boy Lilou, b-boy crew Phase T, and promoter
ographed routines to musical performances. Lucinda Bruce Ykanji (the founder of Juste Debout) all made ap-
Dickey, an actress and dancer who played the lead role pearances during the show.[122]
in the Breakin' films, appeared on the show during the The founders of Hip Hop International, Howard and
1982–1983 season as a Solid Gold dancer.[111] In 1983, Karen Schwartz, created the reality hip-hop dance com-
street dancers Marc “Mr. Freeze” Lemberger from Rock
petition America’s Best Dance Crew (ABDC) in 2008.[123]
Steady Crew, Timothy “Popin' Pete” Solomon and Dane On the show, different crews competed in dance chal-
“Robot Dane” Parker from the Electric Boogaloos, and
lenges against each other every week. ABDC contributed
locking dancers Alpha “Omega” Anderson and Lewis to the exposure of several crews such as Jabbawockeez,
“Deputy” Green also appeared on Solid Gold during a
Quest, Beat Freaks, and Poreotics. These crews now have
performance to the song "What a Feeling" from the movie official websites, work with musical artists, and perform
Flashdance.[112] In 1982 during a performance in Lon- at live events. The JabbaWockeeZ had a show in Las
don on Top of the Pops, street dancer Jeffrey Daniel Vegas, Nevada called MÜS.I.C. at the Monte Carlo Re-
performed popping and the backslide during the song sort and Casino.[124] MÜS.I.C. was the first hip-hop dance
"A Night to Remember". This was the first time pop- stage show on the Las Vegas Strip.[124] In 2012, the Jab-
ping was shown on British television thus spreading its bawockeez performed the show during a five-month res-
popularity in the United Kingdom.[113][114] A year later, idency at the Jupiters Hotel and Casino in Gold Coast,
Michael Jackson also performed the backslide during Queensland, Australia.[125] Both Poreotics and Hokuto
a performance of "Billie Jean" on the Motown 25 TV “Hok” Konishi from Quest were nominated for a 2011
special.[115] He called it the moonwalk and his perfor- MTV Video Music Award for Best Choreography.[126]
mance spread its popularity all over the world[116] to much Poreotics was nominated with singer Bruno Mars for
larger extent than Daniel’s performance did. It was Jef- his video "The Lazy Song". Hok was nominated for
frey Daniel who taught Michael Jackson how to do the LMFAO's video "Party Rock Anthem"; the rest of Quest
backslide/moonwalk.[note 8][119][120] crew appeared in the video as featured dancers.[126]
In contrast to ABDC, individual dancers from all back-
grounds compete on the reality dance competition So
You Think You Can Dance (SYTYCD). It has a similar
premise to the Idol series of singing competitions with
initial auditions leading to the selection of a winner over
the course of several episodes. In 2008, poppers Robert
“Mr. Fantastic” Muraine and Phillip “Pacman” Chbeeb
auditioned during season four of the US series. Neither
made it to the final “Top 20”, but the judges were so im-
pressed with their dancing that both were invited back to
participate in a popping battle against each other on the
show’s live finale. According to Muraine, this was the first
popping battle that was nationally televised.[127] After the
The JabbaWockeez, winners of the first season of America’s Best battle, hip-hop dancer Joshua Allen was declared the win-
Dance Crew, performing in 2008 at Vivid Nightclub in San Jose,
ner of season four of the competition.[128] The same year
California.
Mona-Jeanette Berntsen, a hip-hop dancer from Norway,
won the first season of So You Think You Can Dance Scan-
A few hip-hop dance shows appeared on television in dinavia.[129]
the 1990s such as 1991’s The Party Machine with Nia
Peeples[note 9] and 1992’s The Grind. Several hip-hop Hip-hop dance has also been popular among viewers
dance shows premiered in the 2000s including (but not of the Got Talent series. French hip-hop dancer Salah [130]
limited to) Dance Fever, Dance 360, The Wade Robson won the first season of Incroyable Talent in 2006.[131]
Project, MTV Dance Crew, America’s Best Dance Crew, French b-boy Junior won the second season in 2007.
Dance on Sunset, and Shake It Up. In 2006, MTV France In 2008, hip-hop [132]
dancer George Sampson won Britain’s
documented the creation of a dance crew for an original Got Talent, Danish popping and roboting duo Robot
[133]
series called MTV Dance Crew. [122]
Viewers were able to Boys won Talent 2008 (da), and hip-hop dance crew
see the crew from auditions to the selection of the final Quick won the Norwegian version of the show.[134] After
eight who were subsequently named Original Soul. Orig- George Sampson, dance crew Diversity won the next sea-
[135][note 10]
inal Soul was coached by three professional choreogra- son of Britain’s Got Talent in 2009. The same
phers who mentored them and helped refine their danc- year, Brazilian crew D-Efeitos won Qual é o Seu Tal-
[136]
ing. Over the course of 32 episodes they routinely par- ento? (What’s Your Talent?). In 2010, Justice Crew
8 5 ENTERTAINMENT

won Australia’s Got Talent.[137] After signing a recording

his performance roots in hip-hop theater. In 1991,
contract with Sony Music Australia, Justice Crew shotRobitzky—who went by the name “Swipe”—left Ger-
a video for their single "Dance with Me" featuring rap-
many with his crew Battle Squad for New York City to
look for b-boy legends they could study under.[147] When
per Flo Rida and America’s Best Dance Crew alumni Beat
Freaks.[138] In 2015, nine years after he won Incroyable
he got to New York, he met b-boy Gabriel “Kwikstep”
Talent, hip-hop dancer Salah won the fourth season ofDionisio who personally mentored him and introduced
Arabs Got Talent.[139] him to New York techniques.[147] While in New York,
he also learned about the funk styles from Clemente.[148]
Clemente and Dionisio knew each other since Dionisio
5.3 Theater was an original member of both GhettOriginal and the
Rhythm Technicians.[147] A year later in 1992, Robitzky
See also: Hip-hop theater performed with GhettOriginal at the Kennedy Center in
Though hip-hop dancing is established on film and on Washington D.C. and at the Lincoln Center in New York
City.[148] It was Dionisio who gave Robitzky a new name,
“Storm”.[147] In 2000, he wrote a book called Von Swipe
zu Storm: Breakdance in Deutschland (From Swipe to
Storm: Breakdance in Germany).[149]
Dancers in the United Kingdom have had success in hip-
hop theater. In 2006, hip-hop dance company Boy Blue
Entertainment won a Laurence Olivier Award for their
show Pied Piper.[150] In 2008, Into the Hoods became
the first hip-hop theater show to perform in London’s
West End.[151] It eventually went on to become the West
End’s longest running dance show ever.[152] According to
Clemente, the future of hip-hop dance is in theater; he
believes it is necessary for the dance to make this transi-
tion in order for it to be legitimized as an art form.[17]

5.4 Online content

YAK Films is a three-man team that films urban dance
around the world. It was founded in Oakland, Cal-
Choreographer and artistic director Rennie Harris in 2011. ifornia by Yoram Savion and Kash Grimes.[153][154]
Their first videos were of the Turf Feinz dance crew
television, it has not gained the same level of expo- performing turfing—a regional hip-hop dance style
sure in theater. This may be due to the fact that the from Oakland.[155] After generating significant views
dance is performed more in film and in television than on YouTube, they started YAK (Yoram And Kash)
it is in a theatrical setting.[140] B-boy and popper Ste- Films and added music producer Ben “B'zwax” Tar-
fan "Mr. Wiggles" Clemente and hip-hop historian Jorge quin to the team.[153][154] From shooting videos only in
“Popmaster Fabel” Pabon were involved in hip-hop the- the United States, they were able to easily transition to
ater at its inception. Their dance company, GhettOrig- covering dance events in Europe due to Savion’s dual
inal, produced the first hip-hop stage shows: 1991’s off French citizenship.[153] In 2009, they filmed Battle of
Broadway musical So! What Happens Now? and 1995’s the Year's first one-on-one b-boy competition, and in
Jam on the Groove.[141][142] Both shows were performed 2010 they filmed dance battles at Juste Debout, a French
by the Rock Steady Crew, Magnificent Force, and the street dance competition.[155] In addition to filming dance
Rhythm Technicians.[143][144] Aside from the pioneers in events and original freestyle performances, they post tu-
New York City was Rennie Harris' Puremovement hip- torials and upload a weekly web series called “YAK Like
hop theater company. Harris founded Puremovement You Know”.[154] Some of their more popular videos have
in 1992 in Philadelphia, Pennsylvania.[66] One of Pure- been featured in Oakland Local[156] and the Huffington
movement’s theater shows Rome & Jewels won two Black Post.[157][158]
Theater Alliance Awards and three Bessie Awards.[145]
Juba Films was founded in Germany by Julien Bam and
In 2012, Harris and his company toured Egypt, Israel,
Gong Bao.[159] Rather than film freestyle content, Juba
and the Palestinian territories as part of Dance Motion
(“Ju"lien and “Ba"o) produces short films with a story-
USA, a program sponsored by the US State Department
line. For their short b-boy film “More Than Bread”, they
to showcase American dance to other countries and pro-
won first place at the 7th International Online Dance Fes-
mote cultural exchange.[146] tival in 2011.[160] In 2012, the Daily Mail wrote an article
German b-boy pioneer Niels “Storm” Robitzky has about Juba’s short film “With a Piece of Chalk” after the
 9

video went viral and started trending on Mashable.[159] • UK B-Boy Championships was founded by DJ
Both Juba Films and YAK Films appeared at The Noto- Hooch in 1996 in London.[168][169] There are four
rious IBE's New Dance Media Conference discussing the world championship titles: breaking crew cham-
relationship between street dance and visual arts.[161] Al- pions, solo b-boy champion, solo popping cham-
though Juba Films has won an award and YAK Films has pion, and solo hip-hop champion.[170] The world fi-
booked high-profile events, they are not the only film pro- nals also include the “Fresh Awards” (best dressed)
duction teams distributing hip-hop dance videos on the which are hosted and judged every year by Richard
Internet. House of Crews, Strife TV, Pacific Rim Video "Crazy Legs" Colón—the president of Rock Steady
Press, ProDance TV, Battle Fest Extreme, Urban Dance Crew.[171] In 2011, DJ Hooch wrote a book about
Show, Ocke Films, World of Dance Network, and Canal the competition called B-Boy Championships: From
Street TV also produce hundreds of high-quality hip-hop Bronx to Brixton.[172]
dance content.[note 11]
The Legion of Extraordinary Dancers (The LXD) was • Freestyle Session was founded in 1997 in Cal-
a good-versus-evil themed web series about a group of ifornia by graffiti writer and DJ Chris “Cros1”
dancers who discover they have super powers through Wright.[173][174] It is the largest breaking compe-
their dance moves.[162] Each character specializes in tition in the United States.[175] The main com-
one dance style. Consequently, a wide range of styles petitive event is for b-boy crews, but there are
are displayed including krumping, tutting, breaking, also popping and locking competitions for solo
locking, boogaloo, and popping.[162][163] The majority competitors.[15][174] Although the US is the flagship
of the dancing shown in the series is hip-hop; how- location for Freestyle Session, it is not the only coun-
ever, other styles have also been performed includ- try where it is held. Promoters outside the US pay
ing jazz, tap, and ballet.[164] AdvertisingAge.com gave Cros1 to use Freestyle Session’s name and fly him
the series a favorable review stating "...each episode to their location to judge the competition.[176] Using
of 'LXD' packs a wealth of narrative sophistication this method, Freestyle Session has been held in 18
into its eight or nine minutes. Combine this with the other countries including Poland, Russia, Switzer-
theater-worthy production values and a cast that ex- land, and Venezuela.[176]
erts itself to an ungodly extent, and the end result
is – pun time! – extraordinary.”[165] The LXD pre- • Hip Hop International (HHI) was founded in
miered July 7, 2010 on Hulu.[166] In 2012, Jon Chu, the 2002 in the United States by Howard and Karen
writer, director, and producer of The LXD launched a Schwartz.[123][177] There are two categories of com-
dance channel on YouTube called DS2DIO (pronounced petitions: World Battles and World Hip Hop Dance
D-Studio).[167][note 12] DS2DIO has videos of master Championship. Within the World Battles cate-
classes, freestyle dance, and original choreographed per- gory, there are four titles including three-on-three
formances. Through this channel, Chu also made The breaking champions, one-on-one popping cham-
LXD available on YouTube. Before then, it could only pion, one-on-one locking champion, and one-on-
be viewed on Hulu.[167] one all styles (freestyle) champion.[177] The World
Hip Hop Dance Championship is for hip-hop crews.
There are four divisions: junior (ages 7–12), varsity
6 International competitions (12–18), adult (18+), and mega crew (all ages).[178]
Each crew must have at least five but not more
than eight people (mega crew must have 15–40) and
See also: B-boying § World championships
must perform a routine that showcases three styles
of hip-hop dance.[123] For the 2009 competition,
there were 120 crews representing 30 countries.[123]
HHI also created the USA Hip Hop Dance Champi-
onship and the television show America’s Best Dance
Crew.[177]

• Juste Debout was founded in 2002 by Bruce

Ykanji in Paris.[15][179] Competition categories in-
clude popping, hip-hop, locking, house, toprock,
and experimental.[179] Breaking is not included to
put more focus on dance styles performed while
standing up, hence the name (French for Just Stand-
ing). There are not any team trophies at Juste De-
The 2010 winners of the b-boy crew battle at Freestyle Session bout. The experimental and toprock categories are
Taiwan. only for solo dancers; popping, new style, locking,
and house are for duos.[179] In 2008, Ingrid “Shéyen”
10 7 EDUCATION

Gamboa, the editor-in-chief of Juste Debout maga- California.[191] It differs from other competitions
zine, wrote a book called Hip-hop: L'histoire de la because there is no final championship. WOD trav-
danse (Hip Hop: A history of the dance).[180] els to different cities in the United States, Canada,
and Europe and holds a competition in each lo-
• United Dance Organisation (UDO) was founded cation; therefore, WOD distinguishes itself as a
in 2002 in the United Kingdom.[181] It is endorsed tour.[192] Each tour stop is a stand-alone compe-
by choreographers Ashley Banjo and Sisco Gomez tition; they are all related to each other in name
and dancers Twist and Pulse and George Samp- only. In 2013, WOD will travel to New York City,
son.[182] UDO operates the British Street Dance Vallejo, Seattle, Vancouver, Berlin, Dallas, Toronto,
Championships, the European Street Dance Cham- San Diego, Montreal, Eindhoven, Boston, Orlando,
pionships, and the World Street Dance Champi- Houston, Chicago, Seattle, Honolulu, Los Angeles,
onships. The European championships are held in Union City, and Antwerp.[192]
Germany rather than in the UK.[183]

• Street Dance Kemp Europe (SDK Europe) is a • World Dance Colosseum is a two-on-two dance
competition and dance convention founded in 2004 competition founded in Japan. There are five two-
in Jedovnice, Czech Republic.[184] There is a hip- on-two world championship titles: b-boying, lock-
hop crew battle and solo battles for house, krump- ing, popping, hip-hop, and house.[193] Japanese
ing, locking, hip-hop male, and hip-hop female dancers qualify for the international final through
dancers.[184] SDK Europe begins every year in the preliminary tournaments held in the country but for-
summer and lasts seven days. Daytime hours are eign dancers do not qualify through tournaments be-
reserved primarily for dance workshops and classes cause 30 of the top-ranked foreign dancers are au-
taught by an international pool of instructors; com- tomatically invited to participate in the final.[194]
petitive events are held at night.[185][186] All of the At the final, the winning duos from the Japanese
classes, workshops, and competitive events are held tournaments compete against the top-ranked foreign
outside and—although hotels or cottages are an duos to determine who is the best.[194] There is also
option—many participants stay in tents and camp a “kids” title (hip-hop) at the world finals but this
outside on the SDK event grounds.[186] event is only for Japanese children.[193]
• EuroBattle was founded in 2005 in Portugal by
Max from Momentum crew.[187] There are five com-
petitive events for solo dancers including b-boying,
b-girling, hip-hop, locking, and popping.[188] The
international final is held in Porto but the win- 7 Education
ner of the Spanish qualifying tournament also gets
to compete at the UK B-Boy Championships in
London.[187] In 2004, Safi Thomas founded the Hip-Hop Dance
Conservatory (HHDC) in New York City.[67] Thomas’
• World Supremacy Battlegrounds is a hip-hop goal was to provide a comprehensive education to hip-
dance competition based in Australia. The her- hop dancers that was comparable to what ballet, mod-
itage of World Supremacy Battlegrounds goes back ern, and jazz dancers experience at their respective
[195]
to 2002 when it began as GROOVE, a local institutions. HHDC provides a formal curriculum
hip-hop competition held in Sydney.[189] Over the with dance classes (breaking, freestyle, locking, etc.) and
three years that followed, the competition was re- academic classes (dance theory, physiology, kinesiology,
named Battlegrounds and went national to include etc.) to people who want to pursue hip-hop dance as
[67][196]
dance crews from all over Australia.[189] It be- a career. It is the only educational institution in
came international in 2006 when crews from the the United States that is exclusively dedicated to hip-hop
[196]
Philippines, Japan, and New Zealand entered the dance instruction. HHDC does not grant degrees. It
competition.[189] There are four dance crew cate- is a non-profit organization and repertory company that
gories: open (all ages), junior (12 and under), varsity grants certifications to dancers that complete the three-
[67]
(12–18), and monster (all ages, 20–40 members). year program.
For the 2011 competition, teams from Indonesia, Three years later in 2007, the University of East Lon-
Thailand, Singapore, Malaysia, Vietnam, the Philip- don's Institute for Performing Arts Development (IPAD)
pines, Japan, Guam, New Zealand, Samoa, and started intake for the only bachelor’s degree program in
South Africa came to compete.[190] the world specializing in hip-hop, urban, and global dance
forms.[197] The IPAD’s program also lasts three years, but
• World of Dance Tour (WOD) was founded in 2008 it is not exclusive to hip-hop. Students also study African
by Myron Marten and David Gonzales in Pomona, dance, kathak, Bollywood, and capoeira.[198]
 11

8 Footnotes Bambaataa, who owns a place in the same musical lineage,

as the Godfather of Hip Hop. He says that the song “Get
[1] The Running Man has African origins. It was performed on the Good Foot” inspired crowds to imitate the singer’s
at the Fela Kuti concert “Cross Examination” in Berlin in dance moves.
1978.[21]
[4] Whitburn, Joel (2005). Top R&B/Hip-Hop Singles: 1942-
[2] Two regional substyles that developed out of popping are 2004. Menomonee Falls: Record Research. p. 85. ISBN
jookin' (also called buckin)[15] from Memphis, Tennessee 0898201608.
and turfing from Oakland, California. Turfing borrows
[5] Chang 2006, p. 20. “Toprockin’s structure and form fuse
heavily from gliding.[48]
dance forms and influences from uprocking, tap, lindy
[3] The moonwalk, called the backslide in popping context, is hop, James Brown’s “good foot,” salsa, Afro-Cuban, and
an example of sliding. various African and Native American dances.”

[4] Rize had a limited release when shown in theaters.[64] [6] Schloss 2009, p. 14.

[5] Clowning is not the same as the clown walk. [7] Chang 2005, p. 138.

[6] Representation for dance groups existed before the music [8] Chang 2006, p. 21. “The structure was different from b-
video era. In the 1970s, The Lockers were represented by boying/b-girling since dancers in b-boy/b-girl battles took
ICM Talent Agency.[40] turns dancing, while uprocking was done with partners.”

[7] Wild Style was produced in New York City and indepen- [9] Hess, Mickey, ed. (2007). Icons of hip hop: an encyclo-
dently released.[92] pedia of the movement, music, and culture 1. Westport:
Greenwood Press. p. xxi. ISBN 0313339031. Jamaican
[8] Jeffrey Daniel learned the backslide from The Electric American DJ Kool Herc creates the beak beat by isolat-
Boogaloos.[117][118] ing the most exciting instrumental break in a record and
looping that section so that the break played continuously.
[9] Prior to The Party Machine, Nia Peeples hosted the US
version of Top of the Pops.[121] [10] Chang 2006, p. 19. “DJ Kool Herc, originally from Ja-
maica, is credited with extending these breaks by using
[10] George Sampson and Diversity appeared in the film two turntables, a mixer and two of the same records. As
StreetDance 3D. DJs could re-cue these beats from one turntable to the
[11] CanalStreet.tv is owned by Canal+, a French premium other, finally, the dancers were able to enjoy more than
television channel. just a few seconds of a break! Kool Herc also coined
the terms 'b-boy' and 'b-girl' which stood for 'break boys’
[12] Jon Chu also directed the movies Step Up 2: The Streets and 'break girls.' At one of Kool Herc’s jams, he might
and Step Up 3D. have addressed the dancers just before playing the break
beats by saying, 'B-Boys are you ready?! B-Girls are you
ready?!' The tension started to mount and the air was thick
with anticipation. The b-boys and b-girls knew this was
9 See also their time to 'go off!'.”

• Street dance [11] Chang 2006, p. 20. “Early influences on b-boying and
b-girling also included martial arts films from the 1970s.”
• House dance
[12] Chang 2006, p. 24.
• Waacking
[13] Nelson, Tom (2009). 1000 Novelty & Fad Dances.
Bloomington: AuthorHouse. pp. 32–33. ISBN
1438926383.
10 References
[14] Garofoli, Wendy (April 1, 2008). “Urban Legend”.
Dance Spirit. Archived from the original on May 28, 2010.
Citations Retrieved October 27, 2009.

[1] Pabon, Jorge. “Physical Graffiti... The History of Hip [15] Freeman, Santiago (July 1, 2009). “Planet Funk”. Dance
Hop Dance”. DaveyD.com. Archived from the original Spirit. Archived from the original on May 28, 2010. Re-
on May 28, 2010. Retrieved July 31, 2009. trieved November 23, 2010.

[2] Schloss 2009, p. 153. [16] Seibert, Brian (October 26, 2004). “Breaking Down”.
Village Voice. Archived from the original on December 5,
[3] “Breakdancing, Present at the Creation”. NPR.org. Oc- 2012. Retrieved December 5, 2012. Although much hip-
tober 14, 2002. Archived from the original on Novem- hop history is murky and contested, the legendary status
ber 28, 2010. Retrieved September 8, 2009. 'When of these men is clear. It’s the hip-hop label that’s ques-
you're dealing with the b-boys and b-girls, you can take tionable. Campbell grew up in Los Angeles. Solomon
it... straight back to the Godfather of Soul,' says DJ Afrika started out in Fresno, and later moved to L.A. “One thing
12 10 REFERENCES

that came out of the conferences,” says Harris, “is that black. When Latinos started breaking they were emulat-
the West Coast faction said they were not part of hip-hop. ing what they saw, you know, the black people doing.
They got swallowed up by hip-hop”—an East Coast term
and movement— “when they had never heard of it.” Their [28] Schloss 2009, p. 16.
moves pre-dated hip-hop, at least in its popularized form, [29] Rivera 2003, p. 75. "...Puerto Ricans had been and were
and they prefer the term “funk styles.” This concern with still key in the development of the b-boy/b-girl dance
definitions and labels is partly a belated response to the in- styles; most of the better known breaking crews (Rock
ternational “breakdancing” fad of the early '80s, when the Steady Crew, the Furious Rockers, Dynamic Rockers,
mainstream media and Hollywood latched onto a variety New York City Breakers) were primarily Puerto Rican.”
of regional and individual styles, collapsing them into a
single trend. [30] Cook, Dave. “Crazy Legs Speaks”. DaveyD.com.
Archived from the original on May 28, 2010. Retrieved
[17] Klopman, Alan (January 1, 2007). “Interview with Popin September 6, 2009.
Pete & Mr. Wiggles at Monsters of Hip Hop – July 7–9,
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[32] DJ Hooch 2011, p. 20.
[18] Rivera 2003, p. 72. “With the barrage of media attention
[33] Chang 2006, p. 20. “The transition between top and
it received, even terminology started changing. 'Break-
floor rockin' was also important and became known as the
dancing' became the catch-all term to describe what orig-
'drop.'"
inally had been referred to as 'burning', 'going off', 'break-
ing', 'b-boying', and 'b-girling.' Dance styles that origi- [34] DJ Hooch 2011, p. 27.
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also grouped under the term 'breakdance.'" [35] Weisbard, Eric, ed. (October 2007). That’s the Joint!:
The Hip-Hop Studies Reader. Durham: Duke University
[19] Chang 2006, pp. 18–19. “Although dance forms associate Press Books. p. 259. ISBN 0822340410. Uprockers
with hip-hop did develop in New York City, half of them or “Rockers” battle throughout the duration of a complete
(that is, popping and locking) were created on the West song—from beginning to the end while in a line formation
Coast as part of a different cultural movement. Much called the “Apache Line”. The Apache Line allows two
of the media coverage in the 1980s grouped these dance opposing dancers or Crews (dance groups) to face each
forms together with New York’s native dance forms (b- other and execute their Burn gestures towards one another.
boying/b-girling and uprocking) labeling them all “break-
dancing”. As a result, the West Coast “funk” culture and [36] Chang 2006, p. 21. “There were also the 'Apache Lines’
movement were overlooked...” where one crew stood in a line facing the opposing crew
and challenged each other simultaneously.”
[20] Pagett 2008, p. 48.
[37] Guzman-Sanchez 2012, p. 129. “The Apache Line was
[21] Fela Kuti - Cross Examination (concert performance). basically two opposing lineups of dancers standing face-
Berlin, Germany. 1978. Event occurs at 09:20. Retrieved to-face doing the step toward each other. This simple
March 28, 2013. shuffle step was done in a repeated manner.

[22] Pagett 2008, p. 33. [38] Guzman-Sanchez 2012, p. 138. “Even the Burns (thrust-
ing motion to disrespect your opponent) and Jerks (drop-
[23] Kugelberg 2007, p. 17. ping down) terminology became synonymous with B-Boy
slang.
[24] Brown, Lauren (February 18, 2009). “Hip to the Game
– Dance World vs. Music Industry, The Battle for Hip [39] Guzman-Sanchez 2012, pp. 33–35.
Hop’s Legacy”. Movmnt. Archived from the original on
May 28, 2010. Retrieved July 30, 2009. [40] Guzman-Sanchez 2012, p. 41.

[25] Chang 2005, p. 90. [41] “The Lockers”. TheLockersDance.com. Retrieved August
28, 2010.
[26] Schloss 2009, p. 37.
[42] Neil Conan (February 9, 2010). “How 'Soul Train' Got
[27] Tony Cox (September 20, 2006). “Born in the Bronx: America Dancing”. NPR.org (Podcast). Talk of the Na-
Mambo and Hip-Hop”. NPR.org (Podcast). News & tion from NPR News. Archived from the original on
Notes from NPR News. Archived from the original on November 14, 2011. Retrieved November 28, 2011.
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[175] Bloom, Julie (August 12, 2007). “With Crews and Zoos,
a B-Boy World”. The New York Times. Archived from the [195] “Biography”. HDCNY.com. Retrieved September 27,
original on October 2, 2011. Retrieved July 31, 2010. 2011.

[176] Leighton, Ken (July 8, 2009). “He’s Got the Cheese”. San [196] Daren Jaime (host) Safi Thomas, Yvonne Chow (artis-
Diego Reader. Archived from the original on August 15, tic director and education director of the Hip-Hop Dance
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[177] “About Us”. HipHopInternational.com. Archived from Bronx, New York: BronxnetOPEN. Retrieved October 8,
the original on May 2, 2012. Retrieved May 7, 2012. 2011.
 18 11 EXTERNAL LINKS

[197] “IPAD Programmes”. UEL.ac.uk. Archived from the • Uprock – Rob Nasty vs. Foots at B-Boy Hodown
original on May 28, 2010. Retrieved August 23, 2009. 2006 on YouTube
[198] “Programme summary for BA Dance: Urban Practice”. • Roboting – Paul Dateh & Chadd “Madd Chadd”
UEL.ac.uk. Archived from the original on November 22, Smith in My Musical Robot on YouTube
2011. Retrieved November 21, 2011.
• Turfing – Precise Films’ Bay Area Turfing on
Bibliography YouTube
• Jerkin' – Audio Push “Teach Me How To Jerk” in-
• Chang, Jeff (2005). Can't Stop Won't Stop: A His- structional video on YouTube
tory of the Hip-Hop Generation. New York City: St.
Martin’s Press. ISBN 031230143X. • Krumping – Russell “Gutta” Ferguson, Larry
“Ruin” Combs, Darren “Outrage” King, and
• Chang, Jeff (2006). Total Chaos: The Art and Aes- Christopher “Worm” Lewis in Midnight Krump on
thetics of Hip-Hop. New York City: BasicCivitas. YouTube
ISBN 0465009093.
• Memphis Jookin' – Charles “Lil Buck” Riley danc-
• DJ Hooch (2011). B-Boy Championships: From ing in tunnel to LYNX “Burning Bone” on YouTube
Bronx to Brixton. London: Virgin Books ISBN
• New Style – Les Twins vs. Lil' O & Tyger B at Juste
0753540010.
Debout 2011 (Semi-Final) on YouTube
• Guzman-Sanchez, Thomas (2012). Underground • Lyrical Hip-Hop – SYTYCD Benelux Season 2:
Dance Masters: Final History of a Forgotten Era. Els and Angelo on Vimeo
Santa Barbara: Praeger. ISBN 0313386927.

• Kugelberg, Johan (2007). Born in the Bronx. New

York City: Rizzoli International Publications ISBN
0789315408.

• Pagett, Matt (2008). The Best Dance Moves in the

World... Ever. San Francisco: Chronicle Books.
ISBN 0811863034.

• Rivera, Raquel (2003). New York Ricans from the

Hip Hop Zone. New York City: Palgrave MacMil-
lan. ISBN 1403960437.

• Schloss, Joseph (2009). Foundation: B-Boys, B-

Girls and Hip-Hop Culture in New York. New York
City: Oxford University Press. ISBN 0195334051.

11 External links
• Breaking – Lilou vs. Morris at Red Bull BC One
2009 (Semi-Final) on YouTube

• Locking – Firelock & Hurrikane in ATSLOPES Bike

Shop Lock on YouTube

• Popping – Salah in TWIST // Choose the dimension

of your life! on YouTube

• Tutting – Di “Moon” Zhang and Hokuto “Hok”

Konishi in The Art of Tutting on YouTube

• Finger Tutting – Nemesis, PNut, CTut,

Strobe, Era in Dexterity on YouTube

• Boogaloo – Otis Funkmeyer boogaloo knee roll tu-

torial on YouTube
 19

12 Text and image sources, contributors, and licenses

12.1 Text
• Hip-hop dance Source: https://en.wikipedia.org/wiki/Hip-hop_dance?oldid=688819372 Contributors: Venkytv, Olivier, Wintran, Selket,
Hyacinth, TomPhil, Pigsonthewing, Altenmann, Utcursch, Alexf, Freakofnurture, Discospinster, Rich Farmbrough, LindsayH, Uli,
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Bookandcoffee, Richwales, Firsfron, Woohookitty, Camw, LOL, Rjwilmsi, Koavf, Salix alba, Vegaswikian, Paul foord, Bigdottawa, King of
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inho, Kalathalan, J.smith, Zahid Abdassabur, SilkTork, Gobonobo, Shooshpanchick, Accurizer, Aleenf1, Ckatz, JHunterJ, TastyPoutine,
Hu12, White Ash, Iridescent, Igoldste, CapitalR, Az1568, Courcelles, Tawkerbot2, Licriss, Sk5893, NickW557, Neelix, JJ101093, An-
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AstaBOTh15, I dream of horses, Jojopinoy, Chocolatewomen, Tomcat7, MondalorBot, Onlyt tooth, Newsbh, FoxBot, Denyiten, Oth-
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Nix, L Kensington, NewsReporting, 28bot, Arunregi007, ClueBot NG, Jack Greenmaven, Allen Artsedge, Mickey83, Studioup, Slayer4x4,
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20 12 TEXT AND IMAGE SOURCES, CONTRIBUTORS, AND LICENSES

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