B-boying dance, also known as breaking, is a dynamic style of street dance that emerged from the Black youth community in New York City in the early 1970s. This energetic and acrobatic dance form rapidly gained global recognition, particularly in regions like South Korea, the United Kingdom, Germany, France, Russia, and Japan, fueled by media exposure and its captivating nature. Characterized by its improvisational and competitive spirit, b-boying encompasses a diverse range of movements, fundamentally categorized into four key elements: toprock, downrock, power moves, and freezes. Typically set to the rhythm of hip-hop, funk, and breakbeat music, b-boying has evolved to embrace a broader spectrum of musical genres within specific tempo and beat parameters.
Dancers who dedicate themselves to this art form are known as b-boys, b-girls, or breakers. While “breakdance” is a commonly used term, “b-boying” and “breaking” are the original and preferred terms within the hip-hop community. Understanding the nuances of this terminology is crucial to appreciating the cultural significance of b-boying dance.
Terminology: B-boying vs. Breakdancing
The language surrounding b-boying dance has been a subject of debate, particularly concerning the terms used by mainstream media versus those preferred within hip-hop culture. While “breakdancing” became widely popular, it is often viewed negatively by those deeply involved in hip-hop. Purists argue that “breakdancing” is a media-created term that sensationalizes and potentially misrepresents the art form.
B-boys locked in a dynamic exchange during a b-boying dance competition, showcasing the energy and competitive spirit inherent in b-boying culture.
Furthermore, the term “breakdancing” is considered problematic due to its broad and often inaccurate application. It incorrectly lumps together other funk styles like popping, locking, and electric boogaloo, which developed independently in California and are distinct from b-boying dance. According to influential figures in hip-hop such as KRS-One, Talib Kweli, Mos Def, and Darryl McDaniels of Run-DMC, the correct term for the dance itself is “breaking.”
The terms “b-boy” (break-boy), “b-girl” (break-girl), and “breaker” are the original descriptors for dancers of this style. These terms originated to identify those who danced to DJ Kool Herc’s breakbeats. DJ Kool Herc, a pivotal figure in hip-hop’s genesis, is credited with developing the breakbeat technique that became foundational to hip-hop music. The connection to “breakbeat” is evident, but DJ Kool Herc has also explained that “breaking” was slang at the time for “getting excited,” “acting energetically,” or “causing a disturbance,” further emphasizing the dynamic and expressive nature of b-boying dance.
Within hip-hop culture, using “breakdancer” can even be seen as derogatory, implying that someone is learning the dance for personal gain rather than a genuine commitment to the culture and history of b-boying.
Richard “Crazy Legs” Colon; Rock Steady Crew: “When I first learned about the dance in ’77 it was called b-boying…by the time the media got the hold of it in like ’81, ’82, it became ‘break-dancing’ and I even got caught up calling it breakdancing too.”
Action; New York City Breakers: “You know what, that’s our fault kind of…we started dancing and going on tours and all that and people would say, ‘oh you guys are breakdancers’ – we never corrected them.”
Santiago “Jo Jo” Torres; Rock Steady Crew: “B-boy…that’s what it is, that’s why when the public changed it to ‘break-dancing’ they were just giving a professional name to it, but b-boy was the original name for it and whoever wants to keep it real would keep calling it b-boy.”
NPR: “Breakdancing may have died, but the b-boy, one of four original elements of hip-hop (also included: the MC, the DJ, and the graffiti artist) lives on. To those who knew it before it was tagged with the name breakdancing, to those still involved in the scene that they will always know as b-boying, the tradition in alive and, well, spinning.”
The Boston Globe: “Lesson one: Don’t call it breakdancing. Hip-hop’s dance tradition, the kinetic counterpart to the sound scape of rap music and the visuals of graffiti art, is properly known as b-boying.”
The Electric Boogaloos: “In the 80’s when streetdancing blew up, the media often incorrectly used the term ‘breakdancing’ as an umbrella term for most the streetdancing styles that they saw. What many people didn’t know was [that] within these styles, other sub-cultures existed, each with their own identities. Breakdancing, or b-boying as it is more appropriately known as, is known to have its roots in the east coast and was heavily influenced by break beats and hip-hop.”
Jorge “Popmaster Fabel” Pabon: “Breakdancing is a term created by the media! Once hip-hop dancers gained the media’s attention, some journalists and reporters produced inaccurate terminology in an effort to present these urban dance forms to the masses. The term breakdancing is a prime example of this misnomer. Most pioneers and architects of dance forms associated with hip-hop reject this term and hold fast to the original vernacular created in their places of origin. In the case of breakdancing, it was initially called b-boying or b-girling.”
Benjamin “B-Tek” Chung; JabbaWockeeZ: “When someone says breakdancing, we correct them and say its b-boying.”
Timothy “Popin’ Pete” Solomon; Electric Boogaloos: “An important thing to clarify is that the term ‘breakdancing’ is wrong. I read that in many magazines, but that is a media term. The correct term is ‘breakin’, people who do it are b-boys and b-girls. The term ‘breakdancing’ has to be thrown out of the dance vocabulary.”
Hip-Hop Dance Conservatory: “Breaking or b-boying is generally misconstrued or incorrectly terms as ‘breakdancing’. Breakdancing is a term spawned from the loins of the media’s philistinism, socialism, and naiveté at that time. With no true knowledge of the hip-hop diaspora, but with an ineradicable need to define it for the nescient masses, the term breakdancing was born. Most breakers take great offense to the term.”
Jeff Chang: “During the 1970s, an array of dances practiced by black and Latino kids sprang up in the inner cities of New York and California. The styles had a dizzying list of names: ‘uprock’ in Brooklyn, ‘locking’ in Los Angeles, ‘boogaloo’ and ‘popping’ in Fresno, and ‘strutting’ in San Francisco and Oakland. When these dances gained notice in the mid-‘80s outside of their geographic contexts, the diverse styles were lumped together under the tag ‘breakdancing.’”
The History of B-boying Dance
While precursors to b-boying dance can be found in earlier cultures, its distinct development emerged in the 1970s. Pioneers like Richard “Crazy Legs” Colon and Kenneth “Ken Swift” Gabbert of Rock Steady Crew cite James Brown’s performances as a significant influence. Acrobatic moves within b-boying, such as the flare, also show connections to gymnastics. Interestingly, historical records even include a recording from 1898 by Thomas Edison of an Arab street dancer performing headspins, demonstrating early instances of similar movements. However, it was in the vibrant cultural landscape of 1970s New York City that b-boying dance took shape as a defined and recognizable dance style.
A glimpse into the early days of b-boying dance, depicting a group of b-boys practicing and innovating moves within a cypher in the 1970s.
The birth of b-boying dance is intrinsically linked to DJ Kool Herc’s innovative DJing techniques in the Bronx. Herc extended the “break” sections of dance records by looping them, creating extended rhythmic breaks. These breakbeats provided the sonic canvas for dancers to improvise and showcase their skills. This innovation led to the emergence of battles – turn-based dance competitions between individuals or crews, judged on creativity, skill, and musicality. These battles unfolded within cyphers, circles of people surrounding the breakers, fostering a communal and interactive environment. Initially, the b-boying scene was predominantly African-American, but Puerto Rican-American crews like “SalSoul” and “Rockwell Association” quickly became integral, demonstrating the diverse cultural influences shaping b-boying dance from its inception.
Uprock: A Precursor to B-boying
Uprock, a related but distinct dance form, significantly influenced the development of b-boying dance. Uprock is characterized by its aggressive and confrontational nature, involving two dancers mimicking fighting using stylized, mimed weaponry synchronized to music. While uprock as a standalone style did not achieve the widespread popularity of b-boying, certain uprock moves were adopted by b-boys as variations within their toprock sequences. Uprock is a soulful and competitive street dance performed to soul, rock, and funk music, exemplified by the classic uprock track “It’s Just Begun” by Jimmy Castor. The dance incorporates foot shuffles, spins, turns, freestyle movements, and a signature four-point body movement called the “jerk.” In b-boy battles, uprock moves are sometimes used as a confrontational opening, with opponents responding in kind, creating a brief uprock exchange before transitioning into other b-boying elements. However, some purists argue against mixing uprock with b-boying, maintaining that contemporary uprock moves performed by breakers are diluted imitations of the original style.
Historically, uprock evolved in New York in the late 1960s, with gang culture serving as a precursor and influence. Gangs were prevalent in New York during this period, and the competitive and territorial aspects of gang culture likely contributed to the confrontational dynamics of uprock. As uprock developed, “jerks” (body movements) and “burns” (hand gestures) were incorporated to simulate combat between dancers. Across New York City boroughs, dancers continued to innovate movements and gestures, solidifying uprock as a distinct street dance. Many gang members embraced uprock, and it became common to see them dancing competitively against each other in public spaces.
Global Expansion of B-boying Dance
B-boying dance, originating in New York City, has transcended geographical boundaries, becoming a global phenomenon with vibrant scenes in numerous countries.
Brazil
Ismael Toledo holds the distinction of being one of the earliest b-boys in Brazil. In 1984, he traveled to the United States to study dance and encountered b-boying. He connected with b-boy legend Crazy Legs, who mentored him for four years. Upon returning to São Paulo, Toledo became instrumental in organizing b-boy crews and participating in international competitions. He further contributed to the growth of b-boying in Brazil by establishing a hip-hop dance studio called Hip-Hop Street College.
South Korea
B-boying dance first reached South Korea through American soldiers stationed there following its initial rise in popularity in the U.S. during the 1980s. However, it wasn’t until the late 1990s that b-boying culture truly flourished in Korea. 1997 is often cited as “Year Zero of Korean breaking,” marking a significant turning point. Korean-American hip-hop promoter John Jay Chon played a key role during a visit to Seoul, where he connected with the Expression Crew and shared a VHS tape of a Los Angeles b-boying competition, Radiotron. Upon his return a year later, Chon discovered that his video and others had been widely copied and disseminated, fueling a rapidly expanding b-boying community.
South Korean b-boys demonstrating their prowess in power moves during a high-stakes b-boying dance competition, highlighting Korea’s dominance in the global b-boying scene.
In 2002, South Korea’s Expression Crew achieved international acclaim by winning the prestigious Battle of the Year competition, showcasing the exceptional skill of Korean b-boys to the global stage. Since then, the South Korean government has actively supported and promoted b-boying dance as part of Korean culture. R-16 Korea, a government-sponsored b-boying event supported by the Korean Tourism Organization and the Ministry of Culture, Sports, and Tourism, has become a prominent international competition.
Japan
Japan’s b-boying scene began to thrive shortly after the Rock Steady Crew’s visit to the country. Yoyogi Park in Tokyo became a central hub where b-boys gathered every Sunday to practice and perform. Crazy-A, one of the earliest and most influential Japanese breakers, now leads the Tokyo chapter of Rock Steady Crew. He also organizes the annual B-Boy Park event, attracting over 10,000 fans annually and aiming to broaden the culture’s reach within Japan.
Cambodia
Tuy “KK” Sobil, born in Thailand and raised in the United States, founded Tiny Toones, a community center in Phnom Penh, Cambodia, in 2005. Through Tiny Toones, KK utilizes b-boying dance, hip-hop music, and art to teach Cambodian youth essential skills, including language, computer literacy, and life skills. His organization provides support and opportunities to approximately 5,000 young people each year. Among them is Diamond, recognized as Cambodia’s first b-girl, demonstrating the global reach and inclusive nature of b-boying dance.
Core Dance Elements of B-boying
B-boying dance is structured around four fundamental elements that define its vocabulary and dynamic expression.
Toprock
Toprock generally encompasses any sequence of steps executed from a standing position. It typically serves as the opening display of style and rhythm, although dancers frequently transition into and out of toprock from other b-boying elements. Toprock is characterized by its versatility, incorporating a wide array of steps that can be adapted to reflect the dancer’s individual expression, whether aggressive, calm, or energetic. The definition of toprock is broadly inclusive, allowing for diverse movements as long as the dancer maintains clarity, form, and embodies the b-boying ethos. Toprock can draw inspiration from various other dance styles, including popping, locking, tap dance, Lindy hop, and house dance. Transitions from toprock to downrock and power moves are known as “drops.”
Downrock
Downrock, also referred to as “footwork” or “floorwork,” describes movements performed on the floor with the hands providing support alongside the feet. Downrock includes foundational moves like the 6-step and its variations, such as the 3-step. Basic downrock primarily utilizes hands and feet, while more complex variations may incorporate knees and involve intricate leg threading.
Power Moves
Power moves are acrobatic and dynamic movements that demand momentum, speed, endurance, strength, and precise control. In power moves, the breaker is typically supported by their upper body while generating circular momentum with the rest of their body. Examples of power moves include windmills, swipes, back spins, and head spins. Some power moves are adapted from gymnastics and martial arts. The flare, for instance, is a power move derived from the gymnastic Thomas Flair, modified and incorporated into b-boying.
A b-girl masterfully holding a freeze, showcasing the strength, balance, and control required for this fundamental b-boying dance element.
Freezes
Freezes are stylish, static poses where the breaker suspends themselves off the ground, often utilizing upper body strength in positions like the pike. Freezes serve to punctuate strong beats in the music and frequently signal the conclusion of a b-boy’s set. Freezes can be linked together in sequences or “stacks,” where breakers transition from one freeze to another to precisely hit musical beats, demonstrating both musicality and physical prowess.
Diverse B-boying Styles
B-boying dance encompasses a multitude of individual styles, often influenced by a dancer’s geographical origin and personal inspirations. However, some, like b-boy Jacob “Kujo” Lyons, have observed that the internet can homogenize style. In a 2012 interview with B-Boy Magazine, he expressed concern:
“…because everybody watches the same videos online, everybody ends up looking very similar. The differences between individual b-boys, between crews, between cities/states/countries/continents, have largely disappeared. It used to be that you could tell what city a b-boy was from by the way he danced. Not anymore. But I’ve been saying these things for almost a decade, and most people don’t listen, but continue watching the same videos and dancing the same way. It’s what I call the “international style,” or the “Youtube style.”
Despite this trend, many dancers continue to blend elements from various styles with their own creativity to forge unique personal styles within b-boying dance. Broadly, b-boying styles can be categorized based on their dominant techniques:
Power Style: This style emphasizes dynamic, full-body spins and rotations that create the illusion of defying gravity. Power moves commonly associated with this style include head spins, back spins, windmills, flares, air flares/air tracks, 1990s, 2000s, jackhammers, crickets, turtles, hand glides, halos, and elbow spins. B-boys who primarily utilize power moves are often referred to as “power heads.”
Abstract Style: A broad style incorporating “threading” footwork, freestyle movement synchronized to beats, house dance elements, and “circus” styles, which encompass tricks and contortion.
Blow-up Style: This style prioritizes the “wow factor” of impressive power moves, freezes, and circus-style tricks. Blow-ups involve executing rapid sequences of difficult trick combinations to outdo an opponent’s virtuosity. Examples include air baby, hollow backs, solar eclipse, and reverse air baby. The goal in blow-up style is swift transitions through power move sequences, culminating in a skillful freeze or “suicide.”
Flavor Style: Flavor style emphasizes elaborate toprock, downrock, and/or freezes, prioritizing musicality and rhythm over solely relying on power moves. B-boys who focus on “flavor” or style are known as “style heads.”
Downrock Style Variations
Specific downrock styles have also emerged, often associated with the regions where they gained prominence.
Traditional New York Style: The original b-boying style from the Bronx, rooted in the Russian Tropak dance. This style emphasizes kicks known as “CCs” and foundational moves like 6-steps and their variations.
Euro Style: Developed in the early 1990s, Euro Style is characterized by circularity, focusing on glide-type movements rather than distinct steps. It incorporates moves like pretzels, deadlegs, undersweeps, and fluid sliding motions.
Canadian Style: Also known as the ‘Toronto thread’ style, Canadian Style emerged in the late 1990s. Building upon Euro Style, it is distinguished by intricate leg threads.
Power vs. Style Debate in B-boying
A recurring discussion within the b-boying community revolves around the perceived dichotomy between technical footwork (“style”) and acrobatic power moves. Dancers who prioritize intricate footwork and foundational sharpness are often labeled “style heads,” while those who specialize in gymnastics-oriented power moves, sometimes at the expense of footwork and charisma, are called “power heads.” These labels are used informally to categorize skill sets, but this distinction can become contentious in competitive settings where judges may favor one approach over the other.
However, this “power vs. style” debate is somewhat misleading. The notion of “style” in b-boying is inherently personal; every b-boy and b-girl develops a unique style, consciously and subconsciously. Style in b-boying is not limited to toprock or downrock but encompasses the individual attitude and execution of all movements. It is about how a move is performed rather than what move is performed.
Music in B-boying Dance
While often associated with hip-hop, the musical selection for b-boying dance is not limited to a single genre. The primary criteria are tempo and beat pattern. B-boying can be adapted to various musical genres through remixing. The original music that popularized b-boying drew heavily from progressive genres like jazz, soul, funk, electro, and disco. A defining characteristic of b-boy music is the use of musical breaks, compilations of samples from different songs looped and chained together by DJs. The typical tempo for b-boy music ranges from 110 to 135 beats per minute, featuring shuffled sixteenth and quarter beats in the percussion.
World Championships of B-boying
Numerous international competitions celebrate and showcase the global talent within b-boying dance.
Battle of the Year (BOTY)
Founded in Germany in 1990 by Thomas Hergenrother, Battle of the Year (BOTY) is the first and largest international b-boy crew competition. BOTY hosts regional qualifying tournaments in various countries, including Zimbabwe, Japan, Israel, Algeria, Indonesia, and the Balkans. Winning crews from these regional events advance to the final championship in Montpellier, France. BOTY was the subject of the documentary “Planet B-Boy” (2007), which followed five crews preparing for the 2005 championship. A 3D film, “Battle of the Year: The Dream Team,” directed by Benson Lee (director of “Planet B-Boy”), was released in 2013.
The Notorious IBE
The Notorious IBE (International Breakdance Event), a Dutch competition founded in 1998, deviates from traditional competition formats. IBE events are held in large, multi-tiered cyphers where audience approval, rather than judges, determines winners in timed competitive events. IBE features various event types, including b-girl crew battles, Seven 2 Smoke battles, All vs. All continental battles (America vs. Europe vs. Asia vs. Mexico/Brazil), and the Circle Prinz IBE, a knockout tournament within smaller cipher battles. IBE also hosts the European finals for the UK B-Boy Championships.
Chelles Battle Pro
Chelles Battle Pro, established in 2001 and held annually in Chelles, France, features two competitions: a kids’ competition for solo b-boys and b-girls (12 years and under) and a knock-out tournament for b-boy crews. Some crews qualify through national tournaments, while others receive direct invitations to the finale.
Red Bull BC One
Red Bull BC One, created by Red Bull in 2004, is hosted in a different country each year, bringing together the top 16 b-boys globally. Six spots are earned through regional qualifying tournaments, while the remaining ten are reserved for the previous year’s winner, wild card selections, and expert panel recommendations. Past participants include world record holder Mauro “Cico” Peruzzi, who holds the record for consecutive 1990s (hand spins). The documentary “Turn It Loose” (2009) profiled six b-boys training for the 2007 championship in Johannesburg.
Floor Wars
Floor Wars, a three-on-three b-boying competition founded in Denmark in 2005, automatically invites eight top-ranked international crews, known as the Great 8, to the final. An additional eight crews qualify through regional tournaments.
R16 Korea
R16 Korea, a South Korean competition founded in 2007 by Asian Americans Charlie Shin and John Jay Chon, is a government-sponsored event that, like BOTY and Red Bull BC One, features the top 16 b-boy crews worldwide. Unique to R16 Korea is its live broadcast on Korean television and in several European countries. In 2011, R16 Korea introduced a new judging system designed to eliminate bias and standardize b-boy battle judging, using five criteria: foundation, dynamics (power moves), battle, originality, and execution, each judged by a dedicated judge with scores displayed in real-time for audience transparency.
World B-Boy Classic
World B-Boy Classic, a Dutch two-on-two competition founded in Rotterdam in 2009, emphasizes chemistry between dancers. An hour before the competition, duos are judged on their ability to collaborate effectively with unfamiliar partners. World B-Boy Classic is part of Rotterdam’s annual Street Science Festival.
Gender Inequality in B-boying
Similar to other elements of hip-hop culture like graffiti writing, MCing, and DJing, b-boying has historically been male-dominated. However, the increasing presence and prominence of b-girls are challenging this gender imbalance. While some argue against generalizations about inequality, citing the growing role of women in b-boying, others point to a lack of promotion for female breakers.
B-girls commanding the stage at a b-boying dance event, demonstrating the growing presence and impact of women in the b-boying scene and challenging traditional gender norms.
As b-girl Firefly notes, “It’s getting more popular. There are a lot more girls involved. The problem is that promoters are not putting on enough female-only battles.” Efforts are underway to shift traditional perceptions of women in hip-hop and b-boying culture toward more empowered roles. The lower visibility of female dancers is likely due to fewer female breakers compared to males, rather than conscious discrimination. Importantly, both male and female breakers practice and compete together, judged solely on skill and personal expression, irrespective of gender.
DJ Fleg Classic Breaks Mix Vol
DJ Fleg Loz Strife TV Mixtape
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