Place your right foot about two feet from and parallel to your left foot. Put your left hand on the floor behind you. You are now in the "crab position. Bring your left leg around and wrap it around your bent right leg. You should be balancing on the outside edge of your left shoe.
Lift your right hand up. Extend your left leg back and ground your right hand. You should be back where you started, in a pushup position.
Practice this move until you can spin in a circle fluidly. This is the foundational step from which the rest of the breakdancing creativity stems. Transition to the floor with a coin drop. Twist your upper body with your arms tightly wound around yourself. Bend your upper body over until your arms hit the ground. Once your arms hit the ground, you can swing your feet up into the air and transition into other groundwork moves.
Nail a knee drop. Bend your left leg deeply and place your right leg behind it. Get ready to catch yourself as you fall forward, making the move look like you are actually falling down. Catch yourself with your hands and then allow your bent knee to hit the ground. You are now ready to move on to whatever groundwork you want. Build a backdrop or suicide. A backdrop, more commonly and accurately called a suicide, is a very advanced move that shouldn't be practiced until a person is comfortable with the basic elements of breakdancing.
Put down a cushion of some sort such as a mattress to practice the suicide move and stand with your feet about two feet apart and your arms out in a T shape straight out from your shoulders. Kick your right leg out in front of you then swing it back, simultaneously jumping forward with your left leg. Tuck your body in tight and essentially perform a front flip. Land on the middle part of your back and proceed to move into your groundwork. This move is often performed at the end of a sequence as well.
Throw in a windmill. Kneel on the ground with your left elbow tight against your side and your right arm bent at a right angle with your hand in front of your face. Place your hands on the ground and keep your left elbow tucked under your hip bone. You want your weight to be mostly distributed over your left forearm.
Straighten out your legs behind you and hold your body weight with your left forearm. Raise your left leg up and bend your knee. Kick up your right leg, simultaneously swinging your left leg under your right leg. As you complete this move, push off the ground with your hands and roll over your left shoulder onto your upper back. Make sure your chin is tucked in toward your collar bone during this step to avoid injury. Return to your home position with your arms on the ground supporting your legs in the air.
Now your hands will be on the right side of your body. Now complete the push off and leg swing on the other side of your body, swinging your left leg under your right and rolling over your right shoulder onto your upper back. Continue this transfer of momentum from left to right using your entire body, and you've completed a windmill power move!
In order to perform a headspin move, you must first be able to hold a headstand for several minutes and move your legs around without falling over. Once you're able to perform these tasks, you're ready to try a headspin move. Put on a beanie or a bandana to aid your spinning motion. Cross your legs and alternate swinging them in a circular motion keeping your upper body in one place to get the feel of the movement. Keep your hands on the ground when just beginning to learn this move.
When you're comfortable with that, begin to let your hands lift off the ground as your legs uncross to allow yourself to spin slowly. Be ready to return your hands to the ground and catch yourself if you need to. The wider you spread your legs, the more momentum you will gain, causing you to spin faster. Concentrate on keeping your back straight and your neck safe.
If you start to feel neck pain, take a break immediately. Show your strength with a jackhammer. If you have a strong core, you can learn the jackhammer, though it's not an easy move. Balance your body on your two bent arms, with your elbows hugged in at your hips and your feet flared out behind you. Then try to release one hand and spin on the other, using the free hand to aid you in your spinning. Once you can spin without difficulty, you can move on to the hop.
Place both hands back down on the ground and incorporate small hops into your spin motion. You will now be rotating in a circle as you balance on two hands and hop slightly.
Now take one hand off of the ground and push with it as you spin yourself with the other. Shift all of your weight over to the balancing hand and place your pushing hand behind your back. Bounce on one hand while spinning and you've completed the jack hammer! The jackhammer is an extremely hard move that takes a lot of strength, so don't be discouraged if this move takes months to get down.
Learn the basic baby freeze. Put your right hand on the ground on the left side of your body with your left leg outstretched. Bend your right knee. Brazil Ismael Toledo was one of the first b-boys in Brazil. In , he moved to the United States to study dance.
While in the US, 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 Sao Paulo and started to organize b-boy crews and enter in international competitions.
He eventually opened a hip-hop dance studio called the Hip-Hop Street College. South Korea B-boying was first introduced to South Korea by American soldiers shortly after its surge of popularity in the U.
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. Since then, the Korean government has capitalized on the popularity of the dance and has promoted it alongside Korean culture. R Korea is the most well-known government-sponsored b-boy event, and is hosted by the Korean Tourism Organization and is supported by the Ministry of Culture, Sports, and Tourism.
He also organizes the yearly B-Boy Park, which draws upward of 10, fans a year and attempts to expose a wider audience to the culture. His organization helps roughly 5, youths a year. 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.
A great deal of freedom is allowed in the definition of toprock: Toprock can draw upon many other dance styles such as popping, locking, tap dance, Lindy hop, or house dance.
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 a 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. There are many different individual styles used in b-boying. In an interview with B-Boy Magazine he expressed his frustration:. It used to be that you could tell what city a b-boy was from by the way he danced. 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 of their own.
B-boys can therefore be categorized into a broad style which generally showcases the same types of techniques. The names of some of these moves are air baby, hollow backs, solar eclipse, and reverse air baby, among others. Like freezes, a suicide is used to emphasize a strong beat in the music and signal the end to a routine.
While freezes draw attention to a controlled final position, suicides draw attention to the motion of falling or losing control. B-boys or b-girls will make it appear that they have lost control and fall onto their backs, stomachs, and etc. The more painful the suicide appears, the more impressive it is, but breakers execute them in a way to minimize pain.
This style is focused more on the beat and musicality of the song than having to rely on power moves only. Downrock Styles In addition to the styles listed above, certain footwork styles have been associated with different areas which popularized them. Traditional New York Style: The original style of b-boying from the Bronx, based around the Russian Tropak dance. Created in the eraly 90s, this style is very circular, focusing not on steps but more on glide-type moves such as the pretzel, deadlegs, undersweeps, and fluid sliding moves.
Based upon the Euro Style, except characterized by elaborate leg threads. Multiple stereotypes have emerged in the breaking community over the give-and-take relationship between technical footwork and physical power.
This debate however is somewhat of a misnomer. 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 and beats per minute with shuffled sixteenth and quarter beats in the percussive pattern. It is the first and largest international breaking competition for b-boy crews. Crews who win these tournaments go on to compete in the final championship in Montpellier, France. BOTY was featured in the independent documentary Planet B-Boy that filmed five b-boy crews training for the championship. A 3D film Battle of the Year: The Dream Team is scheduled for commercial release in January IBE International Breakdance Event is not a traditional competition because there are not any stages or judges.
Instead, there are timed competitive events that take place in large multitiered ciphers—circular dance spaces surrounded by observers—where the winners are determined by audience approval. There are several kinds of events such as the b-girl crew battle, the Seven 2 Smoke battle , the All vs. In , 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.
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.
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 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. Afrika Bambaataa is also the leader of the Zulu Nation in the Bronx.
Breakdancing, also called breaking or b-boying/b-girling, is an athletic style of street dance. While diverse in the amount of variation available in the dance, breakdancing mainly consists of four kinds of movement: toprock, downrock, power moves, and freezes.
B-boying/B-girling/Breaking: Breakdancing. Dancing with floor movements, such as spins, freezes, and poses. Dancing with floor movements, such as spins, freezes, and poses. Backflip: .
the term "breakdancing" or 'breakdancer' was coined by the media in the late 80's as the dance became highly commercialised from more people getting involved in the hip-hop scene. b-boys were getting alot of exposure in movies, commercials and were often seen dancing on the streets. In breakdancing,there are many common terms used by luvenagesov.gadge of these terms proves that one is a real B-boy and one must be familiarized with all these terms in order to be considered a real,espected luvenagesov.ga are some examples: luvenagesov.ga Ness:The .
In 's, b-boying became popular and it was introduced as "breakdancing" in the news and stuff. Majority of the b-boys don't like that word and they prefer the original term, "breaking" or "b-boying". Unlike b-boying, "breakdancing" doesn't require any music or beat. The term "BREAKDANCING" was created by media. And generally when people say "breakdancing", it could mean either old school dancing (breaking, locking and popping) or street/club dancing in general including old school and new school. This is confusing and people should not use this term any more.