A b-boy performing outside Faneuil Hall, Boston, MA, United States
|Origin||New York City|
B-boying or breaking, also called breakdancing, is a style of street dance that originated primarily among African American and Puerto Rican youth, many former members of the Black Spades, the Young Spades, and the Baby Spades, during the mid 1970s. The dance spread worldwide due to popularity in the media, especially in regions such as the United Kingdom, Canada, Japan, Germany, France, Russia, and South Korea. While diverse in the amount of variation available in the dance, b-boying consists of four kinds of movement: toprock, downrock, power moves, and freezes. B-boying is typically danced to hip-hop, funk music, and especially breakbeats, although modern trends allow for much wider varieties of music along certain ranges of tempo and beat patterns.
A practitioner of this dance is called a b-boy, b-girl, or breaker. Although the term "breakdance" is frequently used to refer to the dance in popular culture and in the mainstream entertainment industry, "b-boying" and "breaking" are the original terms. These terms are preferred by the majority of the pioneers and most notable practitioners.
- 1 Terminology
- 2 History
- 3 Worldwide expansion
- 4 Dance elements
- 5 B-boy styles
- 6 Music
- 7 World championships
- 8 Female presence
- 9 Media exposure
- 10 References
- 11 External links
Instead of the term b-boying (break-boying), the mainstream media promoted the artform as breakdancing, causing many to only know it as such. Enthusiasts consider "breakdancing" an ignorant and derogatory term due to the media’s exploitation of the artform. The media displayed a simplified version of the dance, making it seem like the so-called “tricks” were everything, ultimately trading the culture for money and promotion. The term "breakdancing" is also problematic because it has become a diluted umbrella term that incorrectly includes popping, locking, and electric boogaloo,:60 which are not styles of "breakdance", but are funk styles that were developed separately from breaking in California. The dance itself is properly called "breaking" according to rappers such as KRS-One, Talib Kweli, Mos Def, and Darryl McDaniels of Run–D.M.C.
The terms "b-boy" (break-boy), "b-girl" (break-girl), and "breaker" are the original terms used to describe the dancers who performed to DJ Kool Herc's breakbeats. DJ Kool Herc is a Jamaican-American DJ who is responsible for developing the foundational aspects of hip-hop music. The obvious connection of the term "breaking" is to the word "breakbeat". DJ Kool Herc has commented that the term "breaking" was 1970s slang for "getting excited", "acting energetically" or "causing a disturbance". Most breaking pioneers and practitioners prefer the terms "b-boy", "b-girl", and/or "breaker" when referring to these dancers. For those immersed in hip-hop culture, the term "breakdancer" may be used to disparage those who learn the dance for personal gain rather than for commitment to the culture.:61 B-boy London of the New York City Breakers and filmmaker Michael Holman refer to these dancers as "breakers". Frosty Freeze of the Rock Steady Crew says, "we were known as b-boys", and hip-hop pioneer Afrika Bambaataa says, "b-boys, [are] what you call break boys... or b-girls, what you call break girls." In addition, co-founder of Rock Steady Crew Santiago "Jo Jo" Torres, Rock Steady Crew member Marc "Mr. Freeze" Lemberger, hip-hop historian Fab 5 Freddy, and rappers Big Daddy Kane and Tech N9ne use the term "b-boy".
|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 a hold of it in like '81, '82, it became 'break-dancing' and I even got caught up calling it break-dancing too."|||
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 is 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 [sic] blew up, the media often incorrectly used the term 'breakdancing' as an umbrella term for most the streetdancing [sic] 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||"Break dancing 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 break dancing 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 break dancing, it was initially called b-boying or b-girling."|||
|Benjamin "B-Tek" Chung;
|"When someone says break dancing, we correct them and say it's b-boying."|||
|Timothy "Popin' Pete" Solomon;
|"An important thing to clarify is that the term 'Break dancing' 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 'Break dancing' has to be thrown out of the dance vocabulary."|||
|Excerpt from the book New York Ricans from the Hip Hop Zone||"With the barrage of media attention [breaking] received, even terminology started changing. 'Breakdancing' became the catch-all term to describe what originally had been referred to as 'burning', 'going off', 'breaking', 'b-boying', and 'b-girling'… Even though many of hip hop's pioneers accepted the term for a while in the 1980s, they have since reclaimed the original terminology and rejected 'breakdance' as a media-fabricated word that symbolizes the bastardization and co-optation of the art form."|||
|Hip-Hop Dance Conservatory||"Breaking or b-boying is generally misconstrued or incorrectly termed as 'breakdancing.' Breakdancing is a term spawned from the loins of the media's philistinism, sciolism, and naïveté 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 'break dancing.'|||
|American Heritage Dictionary||*"b-boy (bē′boi′) n. A man or boy who engages in b-boying. [b-, probably short for BREAK (from the danceable breaks in funk recordings from which turntablists make breakbeat music to which b-boying is done ) + BOY.]"
Many elements of b-boying can be seen in other antecedent cultures prior to the 1970s. B-boy pioneers Richard "Crazy Legs" Colon and Kenneth "Ken Swift" Gabbert, both of Rock Steady Crew, cite James Brown and Kung Fu films as influences to b-boying. Many of b-boying's acrobatic moves, such as the flare, show clear connections to gymnastics. A young street dancer performing acrobatic headspins was recorded by Thomas Edison in 1898. However, it was not until the 1970s that b-boying developed as a defined dance style in the United States.
Beginning with DJ Kool Herc, Bronx-based DJs would take the rhythmic breakdown sections (also known as the "breaks") of dance records and prolong them by looping them successively. The breakbeat provided a rhythmic base that allowed dancers to display their improvisational skills during the duration of the break. This led to the first battles—turn-based dance competitions between two individuals or dance crews judged with respect to creativity, skill, and musicality. These battles occurred in cyphers—circles of people gathered around the breakers. Though at its inception the earliest b-boys were "close to 90 percent African-American", dance crews such as "SalSoul" and "Rockwell Association" were populated almost entirely by Puerto Rican-Americans.
A separate but related dance form which influenced b-boying is uprock also called rocking or Brooklyn rock. Uprock is an aggressive dance that involves two dancers mimicking ways of fighting each other using mimed weaponry in rhythm with the music. Uprock as a dance style of its own never gained the same widespread popularity as b-boying, except for some very specific moves adopted by breakers who use it as a variation for their toprock.:138 When used in a b-boy battle, opponents often respond by performing similar uprock moves, supposedly creating a short uprock battle. Some b-boys argue that because uprock was originally a separate dance style it should never be mixed with b-boying and that the uprock moves performed by breakers today are not the original moves but imitations that only show a small part of the original uprock style.
It has been stated that b-boying replaced fighting between street gangs. On the contrary, some believe it a misconception that b-boying ever played a part in mediating gang rivalry. Both viewpoints have some truth. Uprock has its roots in gangs:116, 138 whose leaders would uprock to help settle turf disputes, the winner deciding the location of the violence that would settle the matter.
Ismael Toledo was one of the first b-boys in Brazil. In 1984, he moved to the United States to study dance. While in the U.S. 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 São Paulo and started to organize b-boys crews and enter international competitions. He eventually opened a hip-hop dance studio called the Hip-Hop Street College.
B-boying was first introduced to South Korea by American soldiers shortly after its surge of popularity in the U.S. during the 1980s, but it was not until the late 1990s that the culture and dance really took hold. 1997 is known as the "Year Zero of Korean breaking". A Korean-American hip hop promoter named John Jay Chon was visiting his family in Seoul and while he was there, he met a crew named Expression Crew in a club. He gave them a VHS tape of a Los Angeles b-boying competition called Radiotron. 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.
In 2002, Korea's Expression Crew won the prestigious international b-boying competition Battle of the Year, exposing the skill of the country's b-boys to the rest of the world. Since then, the Korean government has capitalized on the popularity of the dance and has promoted it alongside Korean culture. R-16 Korea is the most well-known government-sponsored b-boy event, and is hosted by the Korean Tourism Organization and supported by the Ministry of Culture, Sports, and Tourism.
B-boying took off in France in the early 1980s with the creation of groups such as the Paris City Breakers (who styled themselves after the well-known New York City Breakers). In 1984, France became the first country in the world to have a regularly and nationally broadcast television show about Hip Hop—hosted by Sidney Duteil—with a focus on Hip Hop dance. This show led to the explosion of Hip Hop dance in France, with many new crews appearing on the scene.
Shortly after the Rock Steady Crew came to Japan, b-boying within Japan began to thrive. Each Sunday b-boys would perform b-boying in Tokyo's Yoyogi Park. One of the first and most influential Japanese breakers was Crazy-A, who is now the leader of the Tokyo chapter of Rock Steady Crew. He also organizes the yearly B-Boy Park which draws upwards of 10,000 fans a year and attempts to expose a wider audience to the culture.
Born in Thailand and raised in the United States, Tuy "KK" Sobil started a community center called Tiny Toones in Phnom Penh, Cambodia in 2005 where he uses b-boying, hip-hop music, and art to teach Cambodian youth language skills, computer skills, and life skills (hygiene, sex education, counseling). His organization helps roughly 5,000 youths a year. One of these youths include Diamond, who is regarded as Cambodia's first b-girl.
There are several ways Breaking came to Canada. During the late 70's and early 80's, films like Breakin' (1984), Beat Street (1984), and the overall influence of Hip-Hop culture brought many people over from Chicago, New York, Detroit, Seattle, Los Angeles, which in the process, brought over their style from the U.S.. Before we knew it, crews were growing in almost every city. Breaking expanded in Canada from there, with crews like Canadian Floormasters taking over the 80's scene, and from Montreal New Energy opened for James Brown in 1984 at the Paladium. Leading into the 90's, crews like Bag of Trix, Rakunz, Intrikit, Contents Under Pressure, Supernaturalz, Boogie Brats and Red Power Squad, led the scene throughout the rest of the past two decades and counting.
There are four primary elements that form b-boying. They 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. Toprock has a variety of steps which can each be varied according to the dancer's expression (i.e. aggressive, calm, excited). A great deal of freedom is allowed in the definition of toprock: as long as the dancer maintains cleanliness, form, and the b-boy attitude, theoretically anything can be toprock. Toprock can draw upon many other dance styles such as popping, locking, tap dance, Lindy hop, or house dance. Transitions from toprock to downrock and power moves are called "drops".
Downrock (also known as "footwork" or "floorwork") is used to describe any movement on the floor with the hands supporting the dancer as much as the feet. 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 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. Freezes can be linked into chains or "stacks" where breakers go from freeze to freeze to freeze in order to hit the beats of the music which displays musicality and physical strength.
There are many individual styles used in b-boying. Individual styles often stem from a dancer's region of origin and influences. However, some people such as b-boy Jacob "Kujo" Lyons feel that the Internet inhibits individual style. In an 2012 interview with B-Boy Magazine he expressed his frustration:
… 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."
B-boy Luis "Alien Ness" Martinez, the president of Mighty Zulu Kings, expressed a similar frustration in a separate interview three years earlier with "The Super B-Beat Show" about the top five things he hates in b-boying:
Oh yeah, the last thing I hate in breakin'… Yo, all y'all motherfuckin' Internet b-boys... I'm an Internet b-boy too, but I'm real about my shit. Everybody knows who I am, I'm out at every fucking jam, I'm in a different country every week. I tell my story dancing... I've been all around the world, y'all been all around the world wide web... [my friend] Bebe once said that shit, and I co-sign that, Bebe said that. That wasn't me but that's the realist shit I ever heard anybody say. I've been all around the world, you've been all around the world wide web.
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 style of their own. B-boys can therefore be categorized into a broad style which generally showcases the same types of techniques.
- Power: This style of b-boying is what most members of the general public associate with the term "breakdancing". Power moves comprise full-body spins and rotations that give the illusion of defying gravity. Examples of power moves include head spins, back spins, windmills, flares, air tracks/air flares, 1990s, 2000s, jackhammers, crickets, turtles, hand glides, halos, and elbow spins. Those b-boys who use "power moves" almost exclusively in their sets are referred to as "power heads".
- Abstract: A very broad style of b-boying which may include the incorporation of "threading" footwork, freestyle movement to hit beats, house dance, and "circus" styles (tricks, contortion, etc.).
- Blow-up: A style of b-boying which focuses on the "wow factor" of certain power moves, freezes, and circus styles. Blowups consist of performing a sequence of as many difficult trick combinations in as quick succession as possible in order to "smack" or exceed the virtuosity of the other b-boy's performance. The names of some of these moves are air baby, hollow backs, solar eclipse, and reverse air baby, among others. The main goal in blow-up style is the rapid transition through a sequence of power moves ending in a skillful freeze or "suicide". 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, etc. The more painful the suicide appears, the more impressive it is, but breakers execute them in a way to minimize pain.
- Flavor: A style that is based more on elaborate toprock, downrock, and/or freezes. This style is focused more on the beat and musicality of the song than having to rely on power moves only. B-boys who base their dance on "flavor" or style are known as "style heads".
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 Ukrainian Tropak dance. This style of downrock focuses on kicks called "CCs" and foundational moves such as 6-steps and variations of it.
- Euro Style: Created in the early 90s, this style is very circular, focusing not on steps but more on glide-type moves such as the pretzel, undersweeps and fluid sliding moves.
- Toronto Style: Created in the mid 90s, also known as the 'Toronto thread' style. Similar to the Euro Style, except characterized by complex leg threads, legwork illusions, and footwork tricks. This style is attributed to three crews, Bag of Trix (Gizmo), Supernaturalz (Leg-O & Dyzee) and Boogie Brats (Megas).
Power versus style
Multiple stereotypes have emerged in the breaking community over the give-and-take relationship between technical footwork and physical power. Those who focus on dance steps and fundamental sharpness are labeled as "style heads." 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 technique over the other.
This debate however is somewhat of a misnomer. The classification of dancing as "style" in b-boying is inaccurate because every b-boy or b-girl has their own unique style developed both consciously and subconsciously. Each b-boy or b-girl's style is the certain attitude or method in which they execute their movements. A breaker's unique style does not strictly refer to just toprock or downrock. 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 110 and 135 beats per minute with shuffled sixteenth and quarter beats in the percussive pattern. History credits DJ Kool Herc for the invention of this concept:79 later termed the break beat.
- Battle of the Year (BOTY) was founded in 1990 by Thomas Hergenröther in Germany. It is the first and largest international breaking competition for b-boy crews. BOTY holds regional qualifying tournaments in several countries such as Zimbabwe, Japan, Israel, Algeria, Indonesia, and the Balkans. 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 (2007) that filmed five b-boy crews training for the 2005 championship. A 3D film Battle of the Year was released in January of 2013. It was directed by Benson Lee who also directed Planet B-Boy.
- Circle Kingz is an international b-boy competition that took place between 2005 and 2012, where the world final location was in Lausanne. This 2vs2 competition that focused on style and character more than acrobatic movements made the fame of most of the well-known actual top b-boys. Circle Kingz started the cypher qualification in Europe. Some qualification to be invited to Circle Kingz started to pop up all over the world called Circle Prinz. This competition set the standard for his era.
- The Notorious IBE is a Dutch-based breaking competition founded in 1998. 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 (eight top ranked b-boys battle each other to determine the overall winner), the All vs. All continental battle (all the American b-boys vs. all the European b-boys vs. the Asian b-boys vs. Mexican/Brazilian b-boys), and the Circle Prinz IBE. The Circle Prinz IBE is a b-boy knockout tournament that takes place in multiple smaller cipher battles until the last standing b-boy is declared the winner. IBE also hosts the European finals for the UK B-Boy Championships.
- Chelles Battle Pro was created in 2001 and it is held every year in Chelles, France. There are two competitions. One is a kids competition for solo b-boys and b-girls who are 12 years old or younger. The other competition is a knock-out tournament for eight b-boy crews. Some crews have to qualify at their country's local tournament; others are invited straight to the finale.
- Red Bull BC One was created in 2004 by Red Bull and is hosted in a different country every year. The competition brings together the top 16 b-boys from around the world. Six spots are earned through six regional qualifying tournaments. The other 10 spots are reserved for last year's winner, wild card selections, and recommendations from an international panel of experts. A past participant of the competition is world record holder Mauro "Cico" (pronounced CHEE-co) Peruzzi. B-boy Cico holds the world record in the 1990s. A 1990 is a move in which a breaker spins continuously on one hand—a hand spin rather than a head spin. Cico broke the record by spinning 27 times. A documentary based on the competition called Turn It Loose (2009) profiled six b-boys training for the 2007 championship in Johannesburg. Two of these b-boys were Ali "Lilou" Ramdani from Pockémon Crew and Omar "Roxrite" Delgado from Squadron.
- Floor Wars is a three-on-three breaking competition founded in 2005 in Denmark. Eight top ranked international crews, referred to as the Great 8, are automatically invited to participate in the final. The other eight crews qualify for the final through regional tournaments.
- R16 Korea is a South Korean breaking competition founded in 2007 by Asian Americans Charlie Shin and John Jay Chon. Like BOTY and Red Bull BC One put together, Respect16 is a competition for the top 16 ranked b-boy crews in the world. What sets it apart from other competitions is that it is sponsored by the government and broadcast live on Korean television and in several countries in Europe. In 2011, R16 instituted a new judging system that was created to eliminate bias and set a unified and fair standard for the way b-boy battles should be judged. With the new system, b-boys are judged against five criteria: foundation, dynamics (power moves), battle, originality, and execution. There is one judge for each category and the scores are shown on a large screen during battles so that the audience can see who is winning at any given moment.
- World B-Boy Classic is a two-on-two Dutch breaking competition founded in 2009 in Rotterdam. An hour before the competition begins all the participating b-boys are randomly assigned a partner. They may or may not know each other. The purpose of the competition is to judge which duo has the best chemistry when working with someone they have not trained with. World B-Boy Classic takes place during Rotterdam's annual Street Science Festival.
Similar to other hip-hop subcultures, such as graffiti writing, MCing and DJing, men are the prevailing figures in breaking, but this is not to say that women breakers, b-girls, are invisible or nonexistent. Female participants, such as Daisy Castro (also known as Baby Love of Rock Steady Crew), attest that females have been breaking since its inception.
Critics argue that it is unfair to make a sweeping generalization about these inequalities because women have begun to play a larger role in the breaking scene. Both b-boys and b-girls practice the art together, and are judged on their skill and personal expression rather than their gender.
Some people have pointed to a lack of promotion as a barrier, as full-time b-girl Firefly stated in a BBC piece: "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." Growing interest is being shown in changing the traditional image of females in hip-hop culture (and by extension, b-boy culture) to a more positive, empowered role in the modern hip-hop scene.
Because many break dancing movies rely solely on upper body strength, compared to other forms, b-girls are often at a physical disadvantage due to their body structure. "When I first started, I didn't know how far I was gonna take it. It hurt!" says Rok, co-founder of the New York City-based crew Full Circle, recalling the bruises and calluses that marked her education in hip-hop dance. "It's gonna beat you up and it takes spiritual power to deal with that," she says. Having gone through this challenge, exceeding expectations, and breaking down stereotypes, women like Rok show the world and society that b-girls are more than just beauties with beat, they're battling the status quo.
|This section needs additional citations for verification. (November 2007)|
In the past 40 years since b-boying's creation, various films have depicted the dance. In the early 1980s several films depicted b-boying including Wild Style, Flashdance, Breakin', Breakin' 2: Electric Boogaloo, Delivery Boys, Krush Groove, and Beat Street. The 1983 PBS documentary Style Wars chronicled New York graffiti artists, but also includes some b-boying. In 1985, at the height of b-boying's popularity, Donnie Yen starred in a Hong Kong hip-hop film called Mismatched Couples.
The 2000s saw a resurgence of films featuring b-boying. The 2002 documentary film The Freshest Kids: A History of the B-Boy provides a comprehensive history of b-boying including its evolution and its place within hip-hop culture. The 2007 documentary Planet B-Boy follows five crews from around the world in their journey to the international breaking competition Battle of the Year. The award-winning (SXSW Film Festival audience award) 2007 documentary "Inside the Circle" goes into the personal stories of three b-boys (Omar Davila, Josh "Milky" Ayers and Romeo Navarro) and their struggle to keep dance at the center of their lives. The 2010 German documentary Neukölln Unlimited depicts the life of two b-boy brothers in Berlin that try to use their dancing talents to secure a livelihood. B-boying moves are sometimes incorporated into the choreography of films featuring martial arts. This is due to the visually pleasing aspect of the dance, no matter how ridiculous or useless it would be in an actual fight.
- The 2001 comedy film Zoolander depicts Zoolander (Ben Stiller) and Hansel (Owen Wilson) performing b-boy moves on a catwalk.
- The 2004 anime TV series Samurai Champloo features one of the main characters, Mugen using a fighting style based on b-boying.
- The 2009 Thai martial arts film Raging Phoenix features a fictional martial art called meiraiyutth based on a combination of Muay Thai and b-boying..
- The Step Up films (2006–14) are dance movies that focus on the passion and love of dance. B-boying is featured mainly along with isolation, flips, formal dancing and other dances.
In the United States, the dance shows So You Think You Can Dance and America's Best Dance Crew arguably presented b-boying back to the forefront of America's pop culture, similar to the popularity it had in the 80s. B-boying is widely referenced in TV advertising, as well as news, travelogue, and documentary segments, as an indicator of youth/street culture. From a production point of view the style is visually arresting, instantly recognizable and adducible to fast-editing, while the ethos is multi-ethnic, energetic and edgy, but free from the gangster-laden overtones of much rap-culture imagery. Its usability as a visual cliché benefits sponsorship, despite the relatively small following of the genre itself beyond the circle of its practitioners. In 2005, a Volkswagen Golf GTi commercial featured a partly CGI version of Gene Kelly popping and b-boying to a remix of "Singin' in the Rain", by Mint Royale. The tagline was, "The original, updated."
Since b-boying's popularity surge in South Korea, it has been featured in various TV dramas and commercials. Break is a 2006 mini series from Korea about a b-boying competition. Over the Rainbow (Drama series 2006) centers on different characters who are brought together by b-boying.
- In 1997, Kim Soo Yong began serialization of the first b-boying themed comic, Hip Hop. The comic sold over 1.5 million books and it helped to introduce breaking and hip-hop culture to Korean youth.
- The first b-boying themed novel, Kid B, was published by Houghton Mifflin in 2006. The author, Linden Dalecki, was an amateur b-boy in high school and directed a short documentary film about Texas b-boy culture before writing the novel. The novel was inspired by Dalecki's b-boy-themed short story The B-Boys of Beaumont, which won the 2004 Austin Chronicle short story contest.
- Breakin' the city, a photo book by Nicolaus Schmidt, portrays b-boys from the Bronx and Brooklyn wheeling around on subway cars, in city plazas, and on sidewalks in New York City. Published in 2011, it features six New York based b-boy crews photographed between 2007 and 2009.
- Breakdancing: Mr. Fresh and the Supreme Rockers Show You How (Avon Books, 1984) was an introductory reference for newcomers to the "breakin'" style of dance as it evolved in North America in the 1970s and 1980s.
- In 2013, Wojciech Dziedzic B-Boy Foundation, the first Polish book on the philosophy of B-Boying.
There have been only few video games created that focus on b-boying. The main deterrence for attempting to create games like these is the difficulty of translating the dance into something entertaining and fun on a video game console. Most of these attempts had low to average success.
- Break Dance was an 8-bit computer game by Epyx released in 1984, at the height of breaking's popularity.
- B-boy is a 2006 console game released for PS2 and PSP which aims at an unadulterated depiction of breaking.
- Bust a Groove is a video game franchise whose character "Heat" specializes in breaking.
- Pump It Up is a Korean game that requires physical movement of the feet. The game involves b-boying and people can accomplish this feat by memorizing the steps and creating dance moves to hit the arrows on time.
- Breakdance Champion Red Bull BC One is an iOS and Android rhythm game that focuses on the actual b-boying competition Red Bull BC One.
- In The Urbz: Sims in the City, an urban game based on The Sims franchise, inside the game, you can use the hip hop truck in the district Cozmo Street, and your character will start breakdancing.
- April, Matthew (2009). Foundation: B-boys, B-girls, And Hip-Hop Culture In New York. Oxford University Press. pp. 125, 141, 153.
- Israel (director) (2002). The Freshest Kids: A History of the B-Boy (DVD). USA: QD3 Entertainment.
- Adam Mansbach (May 24, 2009). "The ascent of hip-hop: A historical, cultural, and aesthetic study of b-boying (book review of Joseph Schloss' "Foundation")". The Boston Globe.
- Spot, The Bboy. "History of the word "Breakdancing" by Crazy Legs". Retrieved 2015-09-30.
- Fuhrer, Margaret (2014). American Dance. Minneapolis: Voyageur. p. 253.
- Fogarty, Mary (2008). What Ever Happened to Breakdancing?': Transnational B-Boy/b-Girl Networks, Underground Video Magazines and Imagined Affinities. Ottawa: Library and Archives Canada.
- Schloss, Joseph (2009). Foundation: B-boys, B-girls, And Hip-Hop Culture In New York. Oxford University Press.:58
- Rivera, Raquel (2003). "It's Just Begun: The 1970s and Early 1980s". New York Ricans from the Hip Hop Zone. New York City: Palgrave MacMillan. p. 72. ISBN 1-4039-6043-7.
- Freeman, Santiago (July 1, 2009). "Planet Funk". Dance Spirit Magazine. Retrieved September 9, 2009.
- The Freshest Kids. youtube.com.
- Kool Herc, in Israel (director), The Freshest Kids, QD3, 2002.
- Edwards, Paul, 2009, How to Rap: The Art & Science of the Hip-Hop MC, Chicago Review Press, p. 302
- Edwards, Paul, 2009, How to Rap: The Art & Science of the Hip-Hop MC, Chicago Review Press, p. 293.
- "Breakdancing, Present at the Creation". NPR.org. National Public Radio. October 14, 2002. Archived from the original on April 21, 2010. Retrieved May 28, 2010.
- "'Funk Styles' History And Knowledge". ElectricBoogaloos.com. 2008. Retrieved August 24, 2009.
- Jorge "Popmaster Fabel" Pabon (September 10, 2009). "25 Things You Should Know About Hip Hop". Dancer Universe. Retrieved September 28, 2009.
- Bloom, Julie (June 8, 2008). "Street Moves, in the TV Room". The New York Times. Retrieved September 20, 2010.
- Klopman, Alan (January 1, 2007). "Interview with Popin Pete & Mr. Wiggles at Monsters of Hip Hop – July 7–9, 2006, Orlando, Fl.". DancerUniverse.com (Dancer Publishing). Archived from the original on May 28, 2010.
- "About HDC". HDCNY.com. Retrieved October 9, 2011.
- "The World’s Best Dance Crew :: How Korean B-Boys Conquered Planet Rock « Can’t Stop Won’t Stop". Cantstopwontstop.com. June 26, 2008. Retrieved November 8, 2011.
- "b-boy". AHDictionary.com. Retrieved December 10, 2012.
- Cook, Dave (2001). "Crazy Legs Speaks". DaveyD.com. Archived from the original on May 28, 2010. Retrieved September 6, 2009.
- Delgado, Julie (September 26, 2007). "Capoeira and Break-Dancing: At the Roots of Resistance". Capoeira-Connection.com (WireTap Magazine). Archived from the original on October 11, 2011. Retrieved October 11, 2011.
- A Street Arab (MPG) (MPG). Thomas A. Edison Inc. April 21, 1898. Retrieved November 10, 2009.
- Chang, Jeff (2005). Can't Stop Won't Stop: A History of the Hip-Hop Generation. New York: St. Martin's Press. ISBN 0-312-30143-X.
- Coudntpickname (January 1, 2007). "Bboy/Bgirl Foundations: Toprock". YouTube. Retrieved November 8, 2011.
- Edwards, Bob (April 25, 2003). "Profile: Rerelease of the classic hip-hop documentary "Style Wars"". Morning Edition (NPR). Retrieved August 22, 2009.
- Jenkins, Greg (April 1, 2011). "São Paulo’s Original B-Boy". WeRClassic.com. Archived from the original on May 8, 2012. Retrieved May 8, 2012.
- Charles Usher (July 5, 2011). "South Korea: World breakdancing capital?". CSMonitor.com. Retrieved November 8, 2011.
- Meghelli, Samir (2012). Between New York and Paris: Hip Hop and the Transnational Politics of Race, Culture, and Citizenship. New York, NY: Ph.D. Dissertation, Columbia University.
- Spady, James G.; Alim, H. Samy; Meghelli, Samir (2006). The Global Cipha: Hip Hop Culture and Consciousness. Philadelphia, PA: Black History Museum Press. ISBN 978-0-9671741-1-2.
- Condry, Ian. "Japanese Hip-Hop". mit.edu. MIT. Retrieved September 9, 2009.
- "Tokyo Rock Steady Crew". msu.edu. Retrieved September 9, 2009.
- Dwyer, Alex (February 19, 2012). "Samsonite Man: Breaking The Cycle With Cambodia, Crips & Education". HipHopDX.com. Archived from the original on June 25, 2012. Retrieved July 26, 2012.
- "History". TinyToones.org. Archived from the original on July 26, 2012. Retrieved July 26, 2012.
- Chang, Jeff (2006). Total Chaos: The Art and Aesthetics of Hip-Hop. New York City: BasicCivitas. p. 20. ISBN 0-465-00909-3.
The transition between top and floor rockin' was also important and became known as the 'drop.'
- Lyons, Jacob "Kujo" (February 15, 2012). "Krazy Kujo Interview". B-Boy Magazine. Retrieved March 21, 2012.
- Luis "Alien Ness" Martinez (Interviewee) (March 2009). Alien Ness's TOP 5 THINGS HE HATES IN BREAKIN. Mane One. Event occurs at 3:00. Retrieved March 21, 2012.
- Won, Profo., FLOOR GANGZ, "Footwork Styles",
- "History". BraunBattleoftheYear.com. Archived from the original on October 2, 2011. Retrieved July 20, 2011.
- Walker, Susan (May 30, 2008). "Wide world of break-dancing sports". Toronto Star. ISSN 0319-0781.
- "Meeting the Dream Team". BraunBattleOfTheYear.com. Archived from the original on June 3, 2012. Retrieved June 3, 2012.
- "The Notorious IBE 2009". Style43.com. Archived from the original on May 28, 2010. Retrieved October 8, 2009.
- DJ Hooch (2011). B-Boy Championships: From Bronx to Brixton. London: Virgin Books. p. 185. ISBN 0-7535-4001-0.
- "Report du Chelles Battle Pro #2 – L'édition 2013 vue de l'intérieur". Urban-Culture.fr (in French). March 14, 2013. Archived from the original on February 28, 2014. Retrieved February 28, 2014.
- "About the Red Bull BC One". RedBullBCOne.com. Archived from the original on May 28, 2010. Retrieved September 20, 2009.
- "Cico". ProDance.co.uk. Retrieved December 5, 2010.
- "Red Bull BC One – B-Boy Cico". RedBullBCOne.com. Archived from the original on May 28, 2010. Retrieved August 3, 2009.
- "About". TurnItLoose.com. Retrieved October 9, 2012.
- "About". FloorWars.dk. Retrieved June 3, 2012.
- Chang, Jeff (June 26, 2008). "So you think they can break-dance?". Salon.com. Archived from the original on May 28, 2010. Retrieved August 28, 2009.
- "R-16 Korea Sparkling, Seoul". VisitKorea.or.kr. July 30, 2009. Archived from the original on October 2, 2011. Retrieved August 28, 2009.
- "The Blessings from New York City for a New Judging System for Bboy Battles". R16Korea.com. June 23, 2011. Archived from the original on June 3, 2012. Retrieved June 4, 2012.
- "O.U.R. System". OurBBoys.com. Archived from the original on June 3, 2012. Retrieved June 3, 2012.
- "History". WorldBBoyClassic.com. Retrieved January 12, 2013.
- "WBC". StreetScience.nl. Retrieved January 12, 2013.
- Nancy Guevara (1996). "Women Writin' Rappin' Breakin'". In Perkins, William Eric. Droppin' science : critical essays on rap music and hip hop culture. Philadelphia: Temple University Press. pp. 49–62. ISBN 1-56639-362-0.
- La Rocco, Claudia (Aug 6, 2006). "A Breaking Battle Women Hope to Win". New York Times. Retrieved September 9, 2009.
- "Girl Power Dances to It's [sic] Own Groove". Yuku.com. Retrieved September 9, 2009.
- "Firefly aka female breaker". BBC Living section. Retrieved September 9, 2009.
- "Women Get the Breaks". The Independent: Independent News and Media. March 18, 2005. Retrieved September 9, 2009.
- Ayanna. "The Exploitation of Women in Hip-Hop Culture". MySistahs.org. Retrieved September 9, 2009.
- Arce, Rose (March 4, 2005). "Hip-Hop Portrayal of Women Protested". CNN. Retrieved September 9, 2009.
- Shepherd, Julianne (June 1, 2005). "Hip Hop's Lone Ladies Call for Backup: The B-Girl Be Summit preaches strength in numbers". Retrieved September 9, 2009.
- Mayo, Jenny (2002). "B-Girls: Girls Will". Dance Spirit 3 (6).
- "SXSW Film Festival Jury and Audience Award Winners". sxsw.com. Archived from the original on January 7, 2010. Retrieved January 21, 2010.
- "New York Breakdancing Project on the photographers web site". Nicolaus-schmidt.com. Retrieved November 8, 2011.
- "Announcement of the book for the US release". Artbook.com. Retrieved November 8, 2011.
- "B-boy article". psp411.com. Archived from the original on October 2, 2009. Retrieved September 9, 2009.
- "Breakdance Champion Red Bull BC One, iTunes App Store". Retrieved November 25, 2011.
|Wikimedia Commons has media related to B-boying.|
- Fat Laces Canadian Street Dance
- Street Dance
- History of B-boying
- B-boy community and news outlet
- B-boying media source