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 BreakDance

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MesajSubiect: BreakDance   Mar Iul 01, 2008 9:30 am

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. Ric SilverElectric Slide is credited with the inception of Breakdancing when he started Breaking at a 15th and 9th Disco in 1972. By infusing his Eurythmics training from Westminster Choir College with is extensive dance training at Connecticut College and The American Dance Festival - he put 5 counts or beats agains 4 (4/4) to created a syncopated step. 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. A breakdancer, breaker, b-boy or b-girl refers to a person who practices breakdancing.
Since its inception, breakdancing has provided a youth culture constructive alternative to violent urban street gangs. Today, breakdancing culture is a remarkable discipline somewhere in-between those of dancers and athletes. Since acceptance and involvement centers on dance skills, breakdancing culture is usually free of the common race, gender and age boundaries of a subculture and has been accepted worldwide.

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.
The Robot was 1st introduced at Connecticut College in New London, CT at a Master's Recital in 1972 by Ric Silver who played a jukebox and was so constricted in the costume that it only allowed for this type of movement. A film of this performance is on file at Connecticut College. Michael Jackson's Robot dance, first performed on television in 1974 received a large following with many later breakdance pioneers further popularizing breakdance in the late 1970s. 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.[1] 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.[2]
Dance teams such as the Rock Steady Crew of New York City changed this competitive ritual of gang warfare 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 1990s and 2000s, breakdancing became an accepted dance style, portrayed in commercials, movies, and the media. Instruction in breakdancing techniques is often 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. The following interview with Crazy-A is his plan on where the Tokyo Rock Steady Crew is going to lead to. "We want to entertain people in streets...people outside hip hop culture. Thesedays, we have a lot opportunities to perform in clubs. But people in clubs are the one who are already into hip hop. It is different and hard to entertain people in streets. I want to let people know more about hip hop culture. That's what I want to do more now. But it should be a different way from what I did before. I am 35 years old and I want to take advantage of my experience and knowledge."[4]
While in Los Angeles in 1980 Ric Silver introduced the club scene to the style known as Lockin' & Poppin' which he had shown to New York audiences in 1968 while performing at The Tool Box and The Department Store, which was opened to feature Mr. Silver as it's sole GoGo Dancer. He also performed it at Studio 54 and was featured in the acclaimed "Blue Boy".

Dance techniques

There are four basic elements that form the foundation of Breakdancing. These are Toprock, Downrock (Also known as Footwork), Freezes and Power Moves.

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. 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, using his or her hands to do moves. Power moves include the Windmill, Swipe, and Flare. Because power moves are physically demanding, breakdancers use them as a 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.

Freezes 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. Whereas freezing refers to a single pose, locking[5] entails sharp transitions between a series of freezes.

"Suicides" are another dance move used to 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.[6] 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.[6] 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.

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.

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. Therefore, less baggy upperwear is more common today (though pants remain baggy).
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.
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.

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MesajSubiect: Re: BreakDance   Mar Iul 01, 2008 9:31 am

Stage shows

In many different countries, most notably South Korea, different stage companies and individual breakdancing crews are creating musicals and stage shows that are either based on, or focus on breakdancing. Among the most notable is A Ballerina Who Loved A B-Boy, a musical telling the story of a ballerina who falls in love with the power of breakdancing.

It is played by professional breakdance crews, including Extreme Crew, Maximum Crew, and Able Crew. Another breakdancing musical is Marionette, performed, created and choreographed by Korean breakdancing crew Expression. Many entertainers have incorporated breakdance moves into their stage performance, ranging from professional wrestler Booker T to Korean singer Se7en.

Media exposure

In the 1980s, with the help of pop culture and MTV, breakdancing made its way from America to the rest of the world as a new cultural phenomenon. Musicians such as Michael Jackson popularized some of the breakdancing styles in music videos, and movies such as Flashdance, Wild Style, Beat Street, Breakin', and Breakin' 2: Electric Boogaloo also contributed to the growing appeal of breakdancing.[citation needed] Today, many b-boys and former breakers are disappointed by the media hype that has changed the focus of breakdancing to money and overuse of power moves.

Breaking was given proper respect in the critically-acclaimed, feature documentary film: The Freshest Kids: A History of the B-Boy. The film captured the essence of the culture and accurately traced the origin, evolution, and position of the dance within the Hip Hop movement.[citation needed]

Gender Inequalities

Like its musical counterpart, rap music, the world of break-dancing and hip-hop has remained a bastion of male domination since its origins thirty years ago.[7] Like most aspects of hip hop, including the three other major components graffiti, emceeing and turntabalism, women are overall seen as having less influence than men. Relatively speaking the women are seen as outsiders to the groups. It is interesting to note that if there is a group with a majority of males and a minority of females, the crew will still be referred to as bboys. However, if there is a majority of females and a minority of males, the group will normally not be known as a crew of bgirls. This simple concept of naming certain groups is proof of the gender inequalities within the break dancing world. However, it is unfair to make a sweeping generalization about these inequalities because women have begun to infiltrate the style.

Battles

Battles are an integral part of the b-boying culture. They can take the form of a cypher battle and an organized battle. Both types of battles are head to head confrontations between individuals or groups of dancers who try to out-dance each other.

The cypher (or the circle) is the name given to a circle of b-boys and/or b-girls who take turns dancing in the center. There are no judges (other than the participants of the cypher itself), concrete rules or restrictions in the cypher, only unsaid traditions. Although people aren't always battling each other in the cypher, there are many times when battles do take place. B-boying began in the cypher and only later did organized competition develop. This type of battle is how b-boying was originally and it is often more confrontational and more personal. The battle goes on until it ends for one of many possible reasons, such as one dancer admitting defeat. Cypher culture is more present in communities with a stronger emphasis and understanding of original, true hip hop culture. Battling in the cypher is also a common way for dancers to settle issues between each other whether it be individuals or crews.

Organized battles, however, set a format for the battle, such as a time limit, or specify a limit for the number of dancers that can represent each side. Organized battles also have judges, who are usually chosen based on years of experience, level of deeper cultural knowledge, contribution to the scene and general ability to judge in an unbiased manner. There are however, times when non b-boys or non b-girls are chosen to judge by some organizers, and these type of events (jams) are often looked down upon by the b-boying community. Organized battles are far more publicized and known to the mainstream community, and include famous international-level competitions such as Battle of the Year, UK B-Boy Championships Redbull BC One, Freestyle Session and R16 Korea. It should be noted however that a view exists that a trend in recent years has been to place an over-emphasis on organized battles, which takes away from a more originality-based aspect of the culture that is often more emphasized in cypher culture.[8]

Crews

A crew is a group of two or more b-boys or b-girls who choose to dance together for whatever purpose, either simultaneously or separately. Crew vs Crew battles are common in breakdancing. Many B-boys and B-Girls are part of a crew, which makes many feel more dedicated to breakdancing. A few of the most well known crews are Last For One, the New York City Breakers, Flying Steps and Shebang!.

Many b-girl crews often find themselves competing or trying to prove their legitimacy and passion for this specific type of dancing. Anonamiss is a all female b-girl crew, based in Christchurch, New Zealand, known for incorporating b-girling moves with Samoa siva dance inspired moves. [9].

Controversy

Though recreational, the dance is not without its heated debates. Some practitioners state the original terms b-boying or breaking are better names for the dance as breakdance was supposedly created by the media as a marketing device. As such, the term breakdance is said to lack the depth and history of the older terms and are today looked down by some who consider its use as an evidence of ignorance and disrespect to the history of the dance style itself.

Multiple stereotypes have emerged in the breakdancing community over the give-and-take relationship between technical footwork and physical prowess. Those who focus on dance steps and fundamental sharpness—but lack upper-body brawn, form, discipline, etc.—are labeled as "style-heads" and specialists of more gymnastics-oriented technique and form—at the cost of charisma and coordinated footwork—are known as "power-heads." Such terms are used colloquially often to classify one's skill, however, the subject has been known to disrupt competitive events where judges tend to favor a certain array of techniques. It has often been stated that breakdancing replaced fighting between street gangs, though some believe it a misconception that b-boying ever played a part in mediating gang rivalry. These gang roots made breakdancing itself seem controversial in its early history.

Uprocking as a dance style of its own never gained the same wide-spread popularity as breakdance, except for some very specific moves adopted by breakers who use it as a variation for their toprock. When used in a breakdance battle, opponents often respond by performing similar uprock moves, supposedly creating a short uprock battle. Some dancers argue that because uprocking was originally a separate dance style it should never be mixed with breakdancing, and that the uprock moves performed by breakers today are not the original moves but poor imitations that only shows a small part of the original uprock style.


si asta imi placeee :X da'prefer streetdance'ul blush
PS: nu sariti pe mine k am facut double-post .nu-mi incapea tot intr-un mesaj lol

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Just wait until the darkness falls so I can sin with you.
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