Jump to content

Hip hop dance: Difference between revisions

This is a good article. Click here for more information.
From Wikipedia, the free encyclopedia
Browse history interactively
← Previous editNext edit →
Content deleted Content added
VisualWikitext
editing per FAC comments
No edit summary
Line 5: Line 5:
| subheader = <small></small>
| subheader = <small></small>
| image1 = [[File:B-boy breakdancing.jpg|250px]]
| image1 = [[File:B-boy breakdancing.jpg|250px]]
| caption1 = A [[b-boy]] performing in a ''cipher'' in [[Turkey]].
| caption1 = A [[b-boy]] perng in a ''cipher'' in [[Turkey]].
| headerstyle = background-color: MediumAquaMarine
| headerstyle = background-color: MediumAquaMarine
<!--| header1 = Identifiers
<!--| header1 = Identifiers

Revision as of 18:52, 1 December 2011

Further information: History of hip-hop dance and the history, social dancing, and worldwide exposure
Hip-hop dance
A b-boy perng in a cipher in Turkey.
Main Styles
Breaking – Locking – Popping
Uprock – Roboting – Boogaloo – Tutting – Gliding – Waving – Liquid – Strobing – Animation
Derivative Styles
StreetTurfing – Jerkin' – Krumping – Memphis Jookin'
StudioNew Style – Jazz Funk – Lyrical hip-hop
Cultural Origins
African Americans – Latino Americans – Turntables – James Brown – South Bronx – Fresno – Los Angeles – United States – Hip-hop culture – Funk – Hip-hop music – Social dancing

Hip-hop dance refers to dance styles primarily performed to hip-hop music or that have evolved as part of hip-hop culture. It includes a wide range of styles notably breaking, locking, and popping which were created in the 1970s by African Americans[note 1] and made popular by breaking, locking, and popping crews. These crews and styles gained mainstream exposure by being showcased in their early stages on the television show Soul Train and in the 1980s films Breakin', Beat Street, and Wild Style. The dance industry responded with a studio based version of hip-hop—sometimes called new style—and jazz funk. These studio styles were developed by technically trained dancers who wanted to create choreography for hip-hop music from the hip-hop dances they saw being performed on the street. Because of this development, hip-hop dance is now practiced at both studios and outside spaces. The commercialization of hip-hop dance continued into the 1990s and 2000s with the production of several other television shows and movies such as The Grind, Dance 360, Planet B-Boy, Rize, America's Best Dance Crew, the Step Up film francise, and The LXD, a web series. Though the dance is established in entertainment, it still maintains a strong presence in urban neighborhoods which has led to the creation of street dance derivatives turfing, krumping, and jerkin'.

Internationally hip-hop dance has a particularly strong influence in France, South Korea, and United Kingdom. France is the home of Juste Debout, an international hip-hop dance competition, and Battle of the Year, the largest team-based breaking competition in the world. South Korea is home to the international breaking competition R16 which is sponsored by the government and broadcast every year live on Korean television. Like France, the UK also hosts two international competitions: The UK B-Boy Championships and the World Street Dance Championships.

What separates hip-hop dance from other forms of dance is that it is often freestyle (improvisational) in nature and hip-hop dance crews frequently engage in battles—formal or informal freestyle dance competitions. These elements—crews, freestyling, and battles—are identifiers of hip-hop dance. To some, hip-hop dance may only be a form of entertainment or a hobby. To others it is a lifestyle: a way to be active in physical fitness or competitive dance and a way to make a living by dancing professionally.

History

Main article: History of hip-hop dance

Hip-hop dance is a broad category that includes a variety of urban dance styles. The older dance styles that were created in the 1970s include uprock, breaking, and the funk styles.[5] These all started independent of each other, two of them in New York and the others in California. Breaking was created in The Bronx, New York. In its earliest form, it began as elaborations on James Brown's "Good Foot" dance[5][6] which came out in 1972. Breaking at this stage was not primarily floor oriented as is seen today; it started out as toprock which is performed while standing up. An influence on toprock was uprock[7] which was created in Brooklyn, New York.[8][9] It looks similar to toprock but it is more aggressive and is meant look like a fight. Unlike toprock, uprock is done with partners but in toprock, and in breaking in general, each person takes turns dancing.[10] In 1973, DJ Kool Herc invented the break beat.[11][12] A break beat is a rhythmic musical interlude of a song that has been looped over and over again to extend that instrumental solo. Kool Herc did this to provide a means for dancers who attended his parties to show their skills.[12] B-boy and b-girl stands for "break-boy" and "break-girl"; b-boys/b-girls dance to the break of a record.[12] Further influenced by martial arts[13] and gymnastics, breaking went from being a purely upright dance style—toprock only—to becoming more floor oriented.

At the same time breaking was developing in New York, other styles were being created in California. The funk styles refers to several street dance styles created in California in the 1970s that were danced to funk music.[14] These styles include roboting, bopping, hitting, locking, bustin', popping, electric boogaloo, strutting, sac-ing, dime-stopping, etc.[15] The most popular and widely practiced of the funk styles are locking and popping. Locking is the older of the two and was created by Don Campbell in the late 1960s.[1] Popping on the other hand was created by Sam Solomon in the 1970s.[1] The television show, Soul Train, helped to spread locking and popping's popularity. Both The Lockers and the Electric Boogaloos—dance crews responsible for the spread of locking and popping—performed on this show.[14]

It would be historically inaccurate to say that the funk styles have always been considered hip-hop. The funk styles were adopted into hip-hop in large part due to the media. Once hip-hop activist and DJ Afrika Bambaataa used the term "hip-hop" in a magazine interview in 1982, "hip-hop dance" became an umbrella term encompassing all of these styles.[16] Due to the amount of attention locking and popping were receiving, the media brought these styles under the "breakdance" label causing a confusion about their origin.[17][18] They were created on the west coast separate from breaking and came out of the funk cultural movement rather than from the hip-hop cultural movement.

As breaking, locking, and popping were emerging in the '70s, hip-hop social (party) dancing was growing as well. Popular novelty and fad dances such as the roger rabbit, the cabbage patch, and the worm appeared in the 1980s followed by the running man and the humpty dance in the 90s.[19] More recent social dances include the cha cha slide, the Soulja Boy, and the dougie. The previously mentioned dances are a sample of the many that have appeared since hip-hop developed into an identifiable dance style. Like hip-hop music, hip-hop social dancing has continued to change as new songs are released and new dances are created to accompany them.

Main styles

A b-boy in an airchair freeze.
A b-boy in an airchair freeze at Street Summit 2006 in Moscow.

Breaking/B-boying

Main article: B-boying

Breaking was created in the South Bronx, New York during the early 1970s.[6] It is the original hip-hop dance style. At the time of its creation it was the hip-hop dance style because it was classified as one of the five pillars of hip-hop culture along with MCing, DJing, graffiti writing, and knowledge by Afrika Bambaataa.[20][21][22][23] While African Americans are responsible for creating breaking,[2][24] Puerto Ricans kept the momentum of breaking alive when it was considered "played out" in the late '70s.[3][4][25][24] Breaking includes four foundational dances: toprock, footwork oriented steps performed while standing up; downrock, footwork performed on the floor using the hands to support your weight; freezes, stylish poses done on your hands;[note 2] and power moves, difficult and impressive acrobatic moves.[note 3] Transitions from toprock to downrock are called "drops."[27]

Traditionally, breakers dance within a cipher or an Apache Line. A cipher is a circular shaped dance space formed by spectators that breakers use to perform in.[15] Ciphers work well for one-on-one b-boy (break-boy) battles; however, Apache Lines are more appropriate when the battle is between two crews—groups of street dancers. In contrast to the circular shape of a cipher, competing crews can face each other in this line formation, challenge each other, and execute their burns[28][29] (a move intended to embarrass the opponent, i.e. crotch grabbing). In 1981, the Lincoln Center for the Performing Arts hosted a breaking battle between the Dynamic Rockers and the Rock Steady Crew.[30] This event was covered by The Daily News and National Geographic.[31]

Locking

Main article: Locking

Locking, originally called Campbellocking, was created in Los Angeles by Don Campbell and introduced to the country by his crew The Lockers.[1] Other than Don Campbell, the original members of The Lockers were Fred "Mr. Penguin" Berry, Leo "Fluky Luke" Williamson, Adolpho "Shabba Doo" Quinones, Bill "Slim the Robot" Williams, Greg "Campbellock Jr" Pope, and Toni Basil who also served as the group's manager.[32][33] In honor of her role in giving locking commercial exposure, Basil was honored at the 2009 World Hip Hop Dance Championships as the first female recipient of the Living Legend Award.[34]

Locking looks similar to popping and frequently gets confused with popping to a casual observer. In locking, a dancer holds their positions longer. The lock is the primary move used in locking. It is "similar to a freeze or a sudden pause."[35] A locker's dancing is characterized by consistently locking in place and after a quick freeze moving again.[1] It is incorrect to call locking "pop-locking".[1][36][37] Locking and popping are two distinct funk styles with their own histories, their own set of dance moves, and their own competition categories. Locking is more playful and character driven whereas popping is more illusory where dancers push the boundaries of what they can do with their body.[1] Locking has specific dance moves that identify it from popping and other funk styles. These moves include "the lock, points, skeeter [rabbits], scooby doos, stop 'n go, which-away, and the fancies."[35] A dancer can do one or the other but not both locking and popping at the same time.[1]

Popping

Main article: Popping

Popping was created by Sam Solomon in Fresno, California and performed by his crew the Electric Boogaloos.[1] It is based on the technique of quickly contracting and relaxing muscles to cause a jerk in the dancer's body, referred to as a pop or a hit. Each hit should be synchronized to the rhythm and beats of the music. Popping is also used as an umbrella term to refer to a wide range of other closely related illusionary dance styles[38] such as strobing, liquid,[14] animation, and waving[38] that are often integrated with standard popping to create a more varied performance.[note 4] In all of these sub-genres it appears to the spectator that the body is popping, hence the name. The difference between each sub-genre is how exaggerated the popping is. In liquid the body movements look like water. The popping is so smooth that the movements do not look like popping at all; they look fluid.[14] The opposite of this is strobing (also called ticking) in which the movements are static, sudden, and jerky.[40]

Popping as an umbrella term also includes gliding, floating, and sliding[38][14][note 5] which are lower body dances done with the legs and feet. In gliding, a dancer looks like they are drifting across the floor as if on ice. Opposite from gliding is tutting which is an upper body dance that uses the arms, hands, and wrists to form right angles and make geometric box-like shapes. Tutting can be done primarily with the fingers rather than the arms. This method is called finger tutting. In both variations, the movements are intricate, linear, and form 90° or 45° angles. In practice, tutting looks like the characters on the art of ancient Egypt hence the name—a reference to King Tut.

While popping as an umbrella term is popularly used by hip-hop dancers and in competitive hip-hop dancing, Timothy "Popin' Pete" Solomon of the Electric Boogaloos disagrees with the use of the word "popping" in this way. Many of these related styles (animation, liquid, tutting, etc.) can not be traced to a specific person or group. Popin' Pete states "There are people who wave and there are people who tut. They’re not popping. I say this to give the people who created other styles their just dues and their props."[1]

International competitions

  • Battle of the Year (BOTY) was started in Germany in 1990.[41] It is exclusively a breaking competition for crews. There are several BOTY regional competitions that lead up to the final international championship that is held in Montpellier, France.[41] BOTY was featured in the independent film Planet B-Boy that documented the story of five crews training for the 2005 championship.
  • B-Boy Summit is an international four day conference created in 1994 by b-girl Nancy "Asia One" Yu in San Diego, California.[42][43] The conference includes a breaking competition, panels, workshops, and a marketplace. The B-Boy Summit places a lot of emphasis on the history of hip-hop culture and b-boys/b-girls understanding the roots of where it came from.[42] For this reason the conference brings in rappers and DJs for a talent showcase and graffiti artists to do live paintings so that "each element of Hip-Hop combine[s] together to make the cipher complete."[42] There's also competitions for lockers and poppers as part of the "Soul Fest" portion of the conference.[44]
  • UK B-Boy Championships was started in 1996 in London.[45] There are four world championship titles: breaking crew champions, solo b-boy champion, solo popping champion, and locking 2-on-2 champions.[46] Contrary to what the name may imply, this competition is not exclusive to the British. It is called the UK B-Boy Championships because the international final is always held in the United Kingdom. The world finals also include the "Fresh Awards" (best dressed) which are hosted and judged every year by Richard "Crazy Legs" Colón—the president of Rock Steady Crew.[47]
  • Freestyle Session was started in 1997[48] in Southern California by graffiti writer and DJ Chris "Cros1" Wright.[49] It is the largest breaking competition in the United States.[50] The main competitive event is for b-boy crews but there are also popping and locking competitions for solo competitors.[49]
  • The Notorious IBE is a Dutch based international breaking competition founded in 1998.[51] 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.[51] There are several kinds of events such as the b-girl crew battle, the Seven 2 Smoke battle (8 top ranked b-boys battle each other to decide 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.[51] 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 crowned.[51]
  • Hip Hop International: World Hip Hop Dance Championships is a hip-hop dance competition founded in 2000 in the United States where both crews and soloist compete.[52] For hip-hop crews there are three divisions: junior (ages 7–12), varsity (12–18), and adult.[53] Each crew must have five to eight people and must perform a routine that showcases three styles of hip-hop dance.[53] For the 2009 competition, there were 120 crews representing 30 countries.[53] HHI also runs the USA Hip Hop Dance Championships.
  • Juste Debout is a street dance competition founded in 2002 in Paris[54] by Bruce Ykanji.[14] Competition categories include popping, hip-hop (new style), locking, house, toprock, and experimental. Breaking is not included to put more focus on hip-hop dance styles performed while standing up, hence the name (French for "Just Upright"). There are no group or team trophies at Juste Debout. The experimental and toprock categories are only for solo dancers; popping, new style, locking, and house are for duos.[41] Juste Debout also publishes a free bimonthly hip-hop dance magazine of the same name.[55]
  • United Dance Organization: World Street Dance Championships is a hip-hop dance competition based in the UK that was started in 2002.[56] People can compete as solo dancers, in duos, in quads (4 people), or in teams.[57] UDO also host the European Street Dance Championships and the USA Street Dance Championships.
  • Red Bull BC One brings together the top 16 b-boys from around the world that are chosen by an international panel of experts.[58] It was created in 2004 by Red Bull and is hosted in a different country every year.[58] Past participants include Ronnie Abaldonado from Super Cr3w and Mauro "Cico" (pronounced CHEE-co) Peruzzi.[note 6]
  • R16 Korea is a South Korean breaking competition started in 2007 by Asian Americans Charlie Shin and John Jay Chon.[61] Like BOTY and Red Bull BC One put together, Respect16 is a competition for the top 16 ranked b-boy crews in the world.[62] 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.[61] It is not out of character for the South Korean government to support breaking in this way. The country consistently produces such skillful b-boys that in 2008 the government designated the Gamblerz and Rivers b-boy crews as official ambassadors of Korean culture.[61]
  • World of Dance Tour (WOD) is a traveling hip-hop dance competition founded in 2008 in Pomona, California by Myron Marten and David Gonzales.[63] It differs from other competitions because there is no final championship. WOD travels to different cities around the world and holds a competition in each location which is why it is called a tour. Each event is meant to be a stand alone competition; they are all related to each other in name only. For 2012, WOD established a regional hub in the United Kingdom; the tour will travel to Cardiff, Manchester, and Birmingham.[64]

Impact

Dance crews

A dance crew is a group of street dancers who get together to develop new moves and create dance routines. As hip-hop culture spread throughout New York and California, the more breaking crews got together to practice and battle against each other. It was during this time that the different dance moves within breaking would develop organically.[65][note 7] All styles of hip-hop are rooted in battling.[66] Being a part of a crew was the only way to learn when these styles began because they were not taught in studios. Forming and participating in a crew is how street dancers practiced, improved, made friends, and built relationships.[67] In breaking in particular, battling is how dancers improved the skill.[68] In the '70s, b-boy crews were neighborhood-based and would engage in battles held at local block parties called "jams".[69] Today crews can battle in organized competitions with other crews from around the country and around the world.

Crews still form based on friendships and neighborhoods. For example, British dance crew Diversity—formed in 2007[70]—is made up of brothers and friends from Essex and London.[71] Crews also form for other reasons such as theme (Jabbawockeez), gender (ReQuest Dance Crew), ethnicity (Kaba Modern), and dance style (Massive Monkeys). Since crews are not exclusive, street dancers can be involved in more than one crew.[note 8] In addition, dance crews are not formed only within the hip-hop realm anymore. The FootworKINGz is a dance crew that performs footwork, a style of house dance, and Fanny Pak does contemporary. Dance crews are more prevalent in hip-hop but hip-hop dance companies do exist in both the United States and abroad. Examples include Culture Shock (USA), Lux Aeterna (USA),[note 9] Boy Blue Entertainment (UK), Bounce Streetdance Company (Sweden), Funkbrella Dance Company (USA), Blaze Streetdance Company (Netherlands), and Zoo Nation (UK).[note 10]

Derivative styles

Main articles: Turfing, Jerkin', and Krumping
See also: Memphis Jookin'

Decades after breaking, locking, and popping became established three new dance styles appeared. Turfing, an acronym for Taking Up Room on the Floor, was created in 2002 by street dancer Jeriel Bey in Oakland, California.[39] Turfing is a fusion of miming and gliding that places heavy emphasis on storytelling (through movement) and illusion. Other than San Francisco bay area pride, turfing maintained its endurance due to local turf dance competitions and local youth programs that promote turfing as a form of physical activity.[75]

On the heels of its exposure another style came out of Los Angeles called jerkin'. Jerkin' was popularized in 2009 by the New Boyz rap song "You're a Jerk"[76][77] which went viral via their YouTube and MySpace pages[76]: 3  before they had a manager or were signed to a record label. After hearing about the song, Los Angeles radio station Power 106 hired the New Boyz to perform at local high schools which eventually led to the song entering the radio's playlist.[76]: 2  Later that year, rap duo Audio Push released the song and video "Teach Me How to Jerk" which showcased the different dance moves within jerkin' including the reject—the running man done in reverse/backwards.[77][78] Aside from the dance itself, what identifies jerkin' from other dance styles is that the dancers who jerk typically wear bright colors, skinny jeans, Mohawks, and Vans sneakers.[76]: 1, 5 [79] This trend echos locking dancers in the '70s who traditionally wore suspenders and black and white striped socks.[1] Of the dance, journalist Jeff Weiss from LA Weekly stated "For a youth culture weaned on the cult of individualism, jerkin’ is its apotheosis."[76] Similar to the '70s styles breaking, locking, and popping, Jerkin's popularity spread through dance crews. For example, the Rej3ctz (crew) created the reject dance move.[76]: 2, 4 

Though nationally known, both turfing and jerkin' have not reached the same zenith as krumping. Krumping was created in the early 2000s by Ceasare "Tight Eyez" Willis and Jo'Artis "Big Mijo" Ratti[80] in South Central, Los Angeles.[81] It was only seen and practiced in the Los Angeles metro area until it gained mainstream exposure by being featured in several music videos[82] and showcased in the krumping documentary Rize. Rize was screened at several film festivals before being commercially released[note 11] in the summer of 2005.[83] Clowning (not to be confused with the clown walk), the less aggressive predecessor to krumping, was created in 1992 by Thomas "Tommy the Clown" Johnson.[82] Tommy and his dancers would paint their faces and perform clowning for children at birthday parties or for the general public at other functions as a form of entertainment.[82] In contrast, krumping focuses on highly energetic battles and movements which Tommy describes as intense, fast-paced, and sharp. "If movement were words, [krumping] would be a poetry slam."[81] Compared to breaking and the funk styles, turfing, jerkin', and krumping are relatively new. The cultural similarities between these street dance styles, the funk styles, and breaking have brought them together under the same subculture of hip-hop.

Dance industry

"Street dancing was never ever ever to a count. You do not count a 1,a 2,a 3,a 4, a 5, a 6 to hip hop. It should be a feeling by making noise like "ou" "ah" "aw" "tsi", that's how we count, right there."

Timothy "Popin' Pete" Solomon;
The Electric Booglaoos[16]

The dance industry responded to hip-hop dance by creating a commercial version of it. This commercial dance or studio hip-hop, often called new style, is the type of hip-hop dance seen in rap, R&B, and pop music videos and concerts. From the point of view of someone deeply immersed in hip-hop culture, anything that looks like hip-hop dance that did not come from the streets is not a true hip-hop dance form. In an interview with Dance magazine, hip-hop dance teacher Emilio "Buddha Stretch" Austin, Jr explains how he sees it:

There are a lot of jazz dancers out there doing pseudo hip hop. A lot of teachers don't know the history, they're just teaching the steps. They're learning from videos, but they don't know the culture. If all you see is Britney Spears, you think that's hip hop, but that's never been hip hop. It's completely watered down. And studios could [sic] care less, because hip hop is one of their biggest moneymakers.[84]

Stage performance can restrain improvisation which defined hip-hop dance early in its development.[5][84][85] Also meshing different dance styles together dissolves their structures and identities.[5] In an interview with The Bronx Journal, choreographer and artistic director Safi Thomas expressed a similar qualm as Buddha Stretch concerning hip-hop instruction within the studio:

In a lot of studios what you find is people just doing movement to hip-hop music. So if there's hip-hop music in the background and they're moving they're calling it a hip-hop class. The problem with that is let's say that I wanted to teach a ballet class and I just come in and I throw on Mozart and I just start moving and I'm not doing any of the foundational elements. I am not doing any of the movement vocabulary of ballet. I can not call that a ballet class and that's what happens in relation to hip-hop... within the studio realm there is no standard for the art form and [the teachers] don't know what the foundational elements of the art are. They know nothing about popping, nothing about locking, nothing about boogaloo, breaking, or the hip-hop dance—the social dances—or any of that. They know none of the history which spans over 30–35 years and so they cut off any type of edification a dancer can have.[86]

From a technical aspect, hip-hop dance (new style) is characterized as hard-hitting involving flexibility and isolations—moving a certain body part independently from others.[87] The feet are grounded, the chest is down, and the body is kept loose so that a dancer can easily alternate between hitting the beat or moving through the beat. This is in contrast to ballet or ballroom dancing where the chest is upright and the body is stiff. In addition, new style hip-hop is very rhythmic and emphasis is placed on self expression, musicality—how sensitive your movements are to the music—and being able to freestyle (improvise). As long as dancers maintain the foundational movements, they can add their own (free)style and have a performance that is still hip-hop.[88] In short, hip-hop dance (new style) is a mixture of freestyle hip-hop movement combined with technique taken from studio dancing.[16]

Another style the dance industry created was jazz funk. Jazz funk (also called street jazz) is a hybrid of hip-hop and jazz dance.[14] This style is used by artists like Beyoncé.[14] Although it borrows from hip-hop dance, it is not considered a style of hip-hop because the foundational movements are jazz. In hip-hop—even in lyrical hip-hop—there are no pirouettes or arabesques and you do not dance on relevé (on the balls of the feet). However, these methods are used in jazz funk and in jazz dance in general.[14] Dance studios responded to these developments by hiring technically trained dancers and offering hip-hop (new style) and jazz funk dance classes. Large scale studios around the world that teach hip-hop and jazz funk dance classes include Millennium (L.A.),[note 12] Broadway Dance Center (New York), Edge Performing Arts Center (L.A.), Pineapple Studios (London), The Vibe – The International Hip Hop Dance Center (Oslo), Boogiezone (L.A.),[note 13] Debbie Reynolds (L.A.), Sunshine Studios (Manchester), DREAM Dance Studio (Vancouver), Ones to Watch (Japan & Hong Kong), and KJD Dance Studio (Sydney).

Other developments in the industry came about in response to the growing popularity of hip-hop dance. On the traveling convention circuit there were tap, ballet, and jazz dance conventions but there were none specifically for hip-hop. The same void also translated to dancewear. There was dancewear for tap, ballet, and jazz dancers but none for hip-hop dancers. Monsters of Hip Hop and Nappytabs dancewear were formed to cater to both needs. Monsters of Hip Hop is the first all hip-hop dance convention.[21] It was founded in 2003 in Baltimore, Maryland by Andy Funk, his wife Becky, and her sister Angie Servant.[89] Its faculty roster includes Dave Scott, Teresa Espinosa, Popin' Pete, and Marty Kudelka among others.[90] Nappytabs is the first line of dancewear made for hip-hop dancers.[91] Because the clothing is made for the urban dance community they do not sell leotards/unitards, tights, or leg warmers. Their line consist of tank tops, shorts, t-shirts, sweat pants, and hoodies. Echoing the move into dance wear is Threader, an online distribution outlet for hip-hop dance inspired streetwear created by hip-hop choreographers and dance crews.[92][93] It was founded in 2009 by Traci Copeland, Marc David, and choreographer Luam Keflezgy. Threader has distributed clothing for brands/dancers such as Shoeture, Poreotics, Wildchild,[note 14] Beat Freaks, Dance2XS, and Laurie Ann Gibson.[92][94]

Lyrical hip-hop

Lyrical hip-hop is a fluid and more interpretive version of new style hip-hop often danced to downtempo rap music or R&B music. British hip-hop choreographer Kate Prince describes it as "hip-hop with emotion."[95] It focuses more on choreography and performance and less on freestyling and battles. Lyrical hip-hop first gained mainstream exposure, and its name, on season four of the reality dance competition So You Think You Can Dance.[96] The actual term is credited to Adam Shankman, a choreographer and judge on the program, who made a comment in reference to a routine choreographed by Tabitha and Napoleon D'umo to Leona Lewis' song "Bleeding Love".[96] Due to Shankman's comment and their subsequent work on seasons four through seven, Tabitha and Napoleon are credited with developing this style.[97][98][99][100][101] According to Dance Spirit magazine what differentiates lyrical hip-hop from standard new style hip-hop is that dancers interpret the beat differently.

"The great thing about this show is that we've really explored a totally new thing which is lyrical hip-hop and [Tabitha and Napoleon] nail it. This show has shown that hip-hop is just a completely legitimate beautiful genre in and of its own and you can tell such beautiful and heart breaking stories."

Adam Shankman [102]

What makes lyrical hip hop unique is that your dance movements have to tell a story to the lyrics of a song. Expect isolations (especially of the chest), slow, fluid movements (like gliding and body waves) and contemporary-inspired turns (but not pirouettes). There’s popping, but not the hard-hitting kind. Dancers are meant to look like they’re unwinding, unraveling and floating.[96]

Some hip-hop purists feel the interpretive and softer style means it is not hip-hop at all.[96] Others, such as hip-hop choreographer Shane Sparks, feel that it is hip-hop but not different enough for it to be in its own genre.[96] Out of all the sub genres of hip-hop dance, lyrical hip-hop is the newest.

Entertainment

See also: Hip-hop theater

The first hip-hop films Wild Style and Beat Street were made in the early '80s. Wild Style was the first movie centered around hip-hop culture; however, Flashdance was the first commercially released film to feature breaking.[note 15] The movies Breakin' and Breakin 2: Electric Boogaloo, also released in the '80s, brought the funk styles to the cinema. Several hip-hop dance films were produced after the millennium. The Freshest Kids: A History of the B-Boy, B-Girl, and Planet B-Boy all showcased breaking. Films such as Honey, You Got Served, How She Move, Step Up, Step Up 2: The Streets, Step Up 3D, StreetDance 3D, and Saigon Electric showcased all forms of hip-hop dance especially new style hip-hop. Rize, The Heart of Krump, and Shake City 101 are documentaries about krumping and the street dancers who developed it. These movies and documentaries are all examples of films where the plot and theme surround hip-hop dance and how it affects the characters' lives.

The hip-hop dance crew JabbaWockeeZ performing in a night club.
The JabbaWockeez, winners of the first season of America's Best Dance Crew.

Before reaching movie audiences, hip-hop dance was already being broadcast on television. Soul Train, which premiered in 1970,[103] was the earliest television show that showcased the funk styles on a consistent basis. During it's 36 year run,[33] the dancers were the highlight of the show.[103] Several other hip-hop dance shows premiered in 1990s and 2000s including Dance Fever, Dance 360, MTV's The Grind, The Wade Robson Project, Nickelodean's Dance on Sunset and Disney's Shake It Up. America's Best Dance Crew (ABDC) is a reality hip-hop dance competition created in 2008 by the founders of Hip Hop International Howard and Karen Schwartz.[53] On the show different crews compete in dance challenges against each other every week. ABDC contributed to the exposure of Jabbawockeez, Quest, Kaba Modern, Beat Freaks, We Are Heroes, Fanny Pak, Poreotics, and I.aM.mE. These crews now have official websites, work with musical artists, and perform at live events. The JabbaWockeeZ have a show in Las Vegas called MÜS.I.C. at the Monte Carlo Resort and Casino.[104] MÜS.I.C. is the first hip-hop dance stage show on the Las Vegas Strip.[104] Both Poreotics and Hokuto "Hok" Konishi from Quest were nominated for a 2011 MTV Video Music Award for Best Choreography.[105] Poreotics was nominated with singer Bruno Mars for his video "The Lazy Song". Hok was nominated for LMFAO's video "Party Rock Anthem"; the rest of Quest crew appeared in the video as featured dancers.[105]

In contrast to ABDC, individual dancers from all backgrounds compete in the reality dance competition So You Think You Can Dance (SYTYCD). It has a similar premise to the American Idol series of singing competitions with nationwide auditions leading to the discovery of the next star. In 2008, poppers Robert "Mr. Fantastic" Muraine and Phillip "Pacman" Chbeeb auditioned during season four. Neither made it to the final "Top 20", but the judges were so impressed with their dancing that both were invited back to participate in a popping battle against each other on the show's live finale. According to Muraine, this was the first popping battle that was nationally televised.[106] After the battle, hip-hop dancer Joshua Allen was declared the winner of season four of the competition.[107] The same year Mona-Jeanette Berntsen, a hip-hop dancer from Norway, won of the first season of So You Think You Can Dance Scandinavia.[108]

Hip-hop dance has also been popular worldwide among viewers of the Got Talent series. In 2006, French hip-hop dancer Salah won the first season of Incroyable Talent.[109] French b-boy Junior won the second season in 2007.[110] In 2008, hip-hop dancer George Sampson won Britain's Got Talent[111] and hip-hop dance crew Quick won the Norwegian version of the show.[112] After George Sampson, street dance crew Diversity won the next season of Britain's Got Talent in 2009.[113][note 16] Also in 2009, Brazilian crew D-Efeitos won Qual é o Seu Talento? (What's Your Talent?).[114] In 2010, Justice Crew won Australia's Got Talent.[115]

The Legion of Extraordinary Dancers (The LXD) is a good versus evil themed web series about a group of dancers who discover they have super powers through their dance moves.[116][note 17] Each character has a specific dance talent ranging from krumping, tutting, breaking, locking, boogaloo, and popping.[116][117] The mojority of the dancing shown in the series is hip-hop; however, other styles have been showcased including contemporary and ballet.[118] AdvertisingAge.com gave the series a good review stating "...each episode of 'LXD' packs a wealth of narrative sophistication into its eight or nine minutes. Combine this with the theater-worthy production values and a cast that exerts itself to an ungodly extent, and the end result is – pun time! – extraordinary."[119] The LXD premiered July 7, 2010 on Hulu.[120]

Though hip-hop dancing is established on film and television, it has not gained the same momentum in theater. This may be due to the fact that the dance is more often performed in film and television than it is in a theatrical setting.[121] B-boy and popper Stefan "Mr. Wiggles" Clemente was involved in hip-hop theater at it's infancy. His dance company, GhettOriginal, produced the first hip-hop stage shows: 1991's off Broadway musical So! What Happens Now? and 1995's Jam on the Groove.[122][123] Both shows were performed by the Rock Steady Crew, Magnificent Force, and the Rhythm Technicians.[124][125] Aside from the pioneers in New York City was Rennie Harris' Puremovement hip-hop theater company founded in 1992 in Philadelphia.[85] Later developments include the Hip-Hop Theater Festival in New York City and the London based Breakin' Convention. In 2008, Into the Hoods became the first hip-hop theater show to perform in London's West End.[74] It eventually went on to become the West End's longest running dance show ever.[126] According to Mr. Wiggles, the future of hip-hop dance is in the theater as he believes it is important for the dance to make this transition in order to be legitimized as an art form.[16]

Fitness

Hip-hop dance is recognized by trainers as an alternate form of exercise. Hip Hop International, the organization that runs the USA and the World Hip Hop Dance Championships, was founded as a subsidiary of Sports Fitness International.[127][note 18] In 2007, Beachbody (the makers of the P90X workout) produced Hip Hop Abs[128]—a home fitness program created by dancer and personal trainer Shaun Thompson[128] that uses hip-hop dance, rather than crunches or sit-ups, to tone and sculpt abs. According to Lance Armstrong's health and fitness website LiveStrong.com, hip-hop dancing is helpful in building abdominal muscle:

Many of the hip-hop movements isolate the abs, so this area really gets a good muscle-sculpting workout. There is a great deal of hip rolling, waist and pelvic rolling and popping in hip hop and all of these work the abs. The hip-hop "popping" is a technique that is a quick punch on the emphasis of a beat, many times danced in a combination with arm movements and the abdominal area being "popped" in the same count sequence. Doing these popping movements in repetition is an excellent abdominal workout.[129]

In the mid '90s MTV's The Grind premiered. It was a television program that showcased social hip-hop dancing to rap, R&B, and house music. Due to the show's popularity MTV released two The Grind Workout videos hosted by Eric Neis with assistance from choreographer Tina Landon.[130][131] In 2004, Nike launched an international campaign promoting dance as sport and enlisted the help of choreographer and creative director Jamie King to develop the Nike Rockstar Workout for use in gyms across the United States.[132][133] He later released a companion workout book and DVD titled Rock Your Body.[132][133] Other dancers have used fitness as platform to promote hip-hop dance as a way to stay in shape. For example, in 2010 dance crew Diversity released a work-out DVD titled Diversity: Dance Fitness Fusion.[134]

Education

In 2004, Safi Thomas founded the Hip-Hop Dance Conservatory (HHDC) in New York City.[86] Thomas' aim was to provide a comprehensive education to hip-hop dancers that was comparable to what ballet, modern, and jazz dancers receive at their respective institutions.[135] HHDC provides a formal curriculum with both dance classes (breaking, freestyle, locking, etc.) and academic classes (dance theory, physiology, kinesiology, etc.) to people who want to pursue hip-hop dance as a career.[136][86] It is the only educational institution in the United States that is exclusively dedicated to hip-hop dance education.[136] HHDC does not grant degrees. It is a non-profit organization and repertory company that grants certifications to dancers that complete the three year program.[86] Three years later in 2007, the University of East London's Institute for Performing Arts (IPA) started intake for the only bachelor's degree program in the world specializing in hip-hop, urban, and global dance forms.[137] The IPA's program is also three years but unlike HHDC it is not exclusive to hip-hop. Students also study African dance, kathak, Bollywood, capoeira, and contemporary.[138]

Footnotes

  1. ^ African Americans Don Campbell and Sam Solomon developed locking and popping respectively.[1] Breaking can not be attributed to one specific person. It was created by African Americans, but Puerto Ricans heavily influenced its development with the addition of the more acrobatic moves which is characteristic of breaking today.[2][3] In a 2001 interview Richard "Crazy Legs" Colón, the president of Rock Steady Crew, commented on how Puerto Ricans contributed to b-boying: "I think the difference is when the brothas first started doing [it] and it was at its infancy they weren't doing acrobatic moves. That didn't come into play until more Puerto Ricans got involved in the mid 70s. We then took the dance, evolved it and kept it alive. In '79 I was getting dissed. I would go into a dance and I would get dissed by a lot of brothas who would ask 'Why y'all still doing that dance? That's played out'. By 79, there were very few African American brothas that was doing this... We always maintained the flava. It was like a changing of the guard and all we did was add more flava to something that already existed."[4]
  2. ^ B-boy Robbie Rob from Mighty Zulu Kings (crew) invented the chair freeze.[26]
  3. ^ Head spins, back spins, flares, jackhammers, swipes, and windmills are all examples of power moves.
  4. ^ Two regional sub-styles that developed out of popping are jookin' (also called buckin)[14] from Memphis, TN and turfing from Oakland, California. Turfing borrows heavily from gliding.[39]
  5. ^ The moonwalk, called the backslide in popping context, is an example of sliding.
  6. ^ Cico holds the world record in 1990s. A 1990 is a move in which a breaker spins continuously on one hand—a hand spin as opposed to a head spin. Cico broke the record by spinning 27 times.[59][60]
  7. ^ Crazy Legs invented the windmill (continuous back spin) and 1990 b-boy moves by accident.[4]
  8. ^ Steffan "Mr. Wiggles" Clemente is a member of the Rock Steady Crew and the Electric Boogaloos.[72]
  9. ^ Hip-hop dancer Hokuto "Hok" Konishi is a member of Quest Crew and Lux Aeterna dance company.[73]
  10. ^ Kate Prince, a hip-hop choreographer on So You Think You Can Dance (UK), is the founder and director of Zoo Nation.[74]
  11. ^ Rize had a limited release when shown in theaters.[83]
  12. ^ Out of Millennium's 21 faculty members, 18 are hip-hop or jazz funk dance teachers.
  13. ^ Boogiezone is actually an online dance community akin to Facebook but for the dance world. There are profiles of both unsigned/unrepresented dancers and crews as well as industry professionals (dancers, club promoters, studios, etc.). Boogiezone.com provides downloadable dance classes and also runs "community classes" (held at an actual studio) and Boogiezone University—a series of dance conventions, workshops, dance camps, master classes, and one-on-one private lessons.
  14. ^ Wildchild was founded in 2006 and is owned by Wildchild Nation, the same company that owns Threader.[92]
  15. ^ Wild Style was produced in New York and independently released.[30]
  16. ^ Sampson and Diversity appeared in the film StreetDance 3D.
  17. ^ Jon Chu wrote, directed and produced The LXD. He also directed the movies Step Up 2: The Streets and Step Up 3D.
  18. ^ Howard Shultz, the president of Hip Hop International, is also the president of Sports Fitness International.[127]

References

  1. ^ a b c d e f g h i j k Garofoli, Wendy (April 1, 2008). "Urban Legend". DanceSpirit.com. Dance Spirit Magazine. Archived from the original on May 28, 2010. Retrieved October 27, 2009.
  2. ^ a b Cox, Tony (September 20, 2006). "Born in the Bronx: Mambo and Hip-Hop". NPR.org. National Public Radio. Archived from the original on November 23, 2010. Retrieved November 23, 2010. Well, [Blacks and Puerto Ricans] lived, you know, they lived side-by-side. You know, previous to this there had been a gang era and people didn't get around so much because it was dangerous. You know, the kids didn't travel outside of their neighborhood so much. But largely thanks to people like Kool Herc and Afrika Bambaataa, who started holding jams and inviting people from all over and trying to establish peace in the communities, people began to come together... The earliest and first B-boys were black. When Latinos started breaking they were emulating what they saw, you know, the black people doing.
  3. ^ a b Rivera 2003, p.75 "...Puerto Ricans had been and were still key in the development of the b-boy/b-girl dance styles; most of the better known breaking crews (Rock Steady Crew, the Furious Rockers, Dynamic Rockers, New York City Breakers) were primarily Puerto Rican."
  4. ^ a b c Cook, Dave. "Crazy Legs Speaks". DaveyD.com. Archived from the original on May 28, 2010. Retrieved September 6, 2009.
  5. ^ a b c d Pabon, Jorge. "Physical Graffiti... The History of Hip Hop Dance". DaveyD.com. Archived from the original on May 28, 2010. Retrieved July 31, 2009.
  6. ^ a b "Breakdancing, Present at the Creation". NPR.org. October 14, 2002. Archived from the original on November 28, 2010. Retrieved September 8, 2009. 'When you're dealing with the b-boys and b-girls, you can take it... straight back to the Godfather of Soul,' says DJ Afrika Bambaataa, who owns a place in the same musical lineage, as the Godfather of Hip Hop. He says that the song "Get on the Good Foot" inspired crowds to imitate the singer's dance moves.
  7. ^ Chang 2006, p.20 "Toprockin's structure and form fuse dance forms and influences from uprocking, tap, lindy hop, James Brown's "good foot," salsa, Afro-Cuban, and various African and Native American dances."
  8. ^ Schloss 2009, p.14
  9. ^ Chang 2005, p.138
  10. ^ Chang 2006, p.21 "The structure was different from b-boying/b-girling since dancers in b-boy/b-girl battles took turns dancing, while uprocking was done with partners."
  11. ^ Hess, Mickey, ed. (2007). Icons of hip hop: an encyclopedia of the movement, music, and culture. Vol. 1. Westport: Greenwood Press. p. xxi. ISBN 0313339031. Jamaican American DJ Kool Herc creates the beak beat by isolating the most exciting instrumental break in a record and looping that section so that the break played continuously.
  12. ^ a b c Chang 2006, p.19 "DJ Kool Herc, originally from Jamaica, is credited with extending these breaks by using two turntables, a mixer and two of the same records. As DJs could re-cue these beats from one turntable to the other, finally, the dancers were able to enjoy more than just a few seconds of a break! Kool Herc also coined the terms 'b-boy' and 'b-girl' which stood for 'break boys' and 'break girls.' At one of Kool Herc's jams, he might have addressed the dancers just before playing the break beats by saying, 'B-Boys are you ready?! B-Girls are you ready?!' The tension started to mount and the air was thick with anticipation. The b-boys and b-girls knew this was their time to 'go off!'."
  13. ^ Chang 2006, p.20 "Early influences on b-boying and b-girling also included martial arts films from the 1970s."
  14. ^ a b c d e f g h i j Freeman, Santiago (July 1, 2009). "Planet Funk". DanceSpirit.com. Dance Spirit Magazine. Archived from the original on May 28, 2010. Retrieved November 23, 2010.
  15. ^ a b Chang 2006, p.24
  16. ^ a b c d 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. Retrieved July 31, 2009.
  17. ^ Rivera 2003, p.72 "With the barrage of media attention it 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.' Dance styles that originated in the West Coast such as popping and locking were also grouped under the term 'breakdance.'"
  18. ^ Chang 2006, pp.18—19 "Although dance forms associate with hip-hop did develop in New York City, half of them (that is, popping and locking) were created on the West Coast as part of a different cultural movement. Much of the media coverage in the 1980s grouped these dance forms together with New York's native dance forms (b-boying/b-girling and uprocking) labeling them all "breakdancing". As a result, the West Coast "funk" culture and movement were overlooked..."
  19. ^ Pagett, Matt (2008). The Best Dance Moves in the World... Ever. San Francisco: Chronicle Books. ISBN 9780811863032.
  20. ^ Kugelberg 2007, p.17
  21. ^ a b Brown, Lauren (February 18, 2009). "Hip to the Game – Dance World vs. Music Industry, The Battle for Hip Hop's Legacy". Movmnt Magazine. Archived from the original on May 28, 2010. Retrieved July 30, 2009.
  22. ^ Chang 2005, p.90
  23. ^ Schloss 2009, p.37
  24. ^ a b Schloss 2009, p.16
  25. ^ Chang 2005, pp.117, 136—137
  26. ^ Chang 2005, p.118
  27. ^ Chang 2006, p.20 "The transition between top and floor rockin' was also important and became known as the 'drop.'"
  28. ^ Weisbard, Eric, ed. (2007). That's the Joint!: The Hip-Hop Studies Reader. Durham: Duke University Press Books. p. 259. ISBN 0822340410. Uprockers or "Rockers" battle throughout the duration of a complete song—from beginning to the end while in a line formation called the "Apache Line". The Apache Line allows two opposing dancers or Crews (dance groups) to face each other and execute their Burn gestures towards one another. {{cite book}}: Unknown parameter |month= ignored (help)
  29. ^ Chang 2006, p.21 "There were also the 'Apache Lines' where one crew stood in a line facing the opposing crew and challenged each other simultaneously."
  30. ^ a b Kugelberg 2007, p.59
  31. ^ Feuer, Alan (July 7, 2008). "Breaking Out Of the Bronx: A Look Back; A Pioneering Dancer Is the Last of His Breed". NYTimes.com. New York Times. Archived from the original on November 30, 2011. Retrieved August 27, 2002.
  32. ^ "The Lockers". TheLockersDance.com. Retrieved August 28, 2010.
  33. ^ a b Neil Conan (February 9, 2010). "How 'Soul Train' Got America Dancing". NPR.org (Podcast). Talk of the Nation from NPR News. Archived from the original on November 14, 2011. Retrieved November 28, 2011.
  34. ^ Agpawa, Marirose (August 10, 2009). "Just dance: Vegas hosts international competitions". Las Vegas: The Rebel Yell. UNLV. Archived from the original on May 28, 2010. Retrieved August 15, 2009.
  35. ^ a b Chang 2006, p.22
  36. ^ Chang 2006, p.23 "Dancers in Los Angeles also distorted the name by calling it "pop-locking", while in France it was called "The Smurf".
  37. ^ Pope, Greg; Higgins, James. "Is PopLocking a valid term?". LockerLegends.net. Archived from the original on May 28, 2010. Retrieved July 31, 2009.
  38. ^ a b c Chang 2006, p.23 "Sam's creation, popping, also became known as the unauthorized umbrella title to various forms within the dance. past and present. Some of these forms include Boogaloo, strut, dime stop, wave, tick, twisto-flex, and slides."
  39. ^ a b Allen, Stephen (July 23, 2010). "Turf Dancing Makes Comeback in Oakland Where It All Started". OaklandLocal.com. Archived from the original on November 1, 2011. Retrieved November 1, 2011.
  40. ^ Croft, Clare (April 10, 2005). "Hip-Hop's Dynamic New Stage". The Washington Post. Archived from the original on May 28, 2010. Retrieved October 11, 2009.
  41. ^ a b c "History". BraunBattleoftheYear.com. Archived from the original on October 2, 2011. Retrieved July 20, 2011.
  42. ^ a b c "About B-Boy Summit". BBoySummit.com. Archived from the original on May 28, 2010. Retrieved August 3, 2009.
  43. ^ "B.O.S.S. Information". BBoySummit.com. Archived from the original on May 28, 2010.
  44. ^ "History". BBoySummit.com. Archived from the original on October 2, 2011. Retrieved July 20, 2011.
  45. ^ "History". BBoyChampionships.com. Archived from the original on November 18, 2011. Retrieved November 18, 2011.
  46. ^ "What's On: 08". BBoyChampionships.com. 2008. Archived from the original on May 28, 2010. Retrieved August 28, 2009.
  47. ^ "Features: 08". BBoyChampionships.com. 2008. Archived from the original on May 28, 2010. Retrieved August 28, 2009.
  48. ^ "Freestyle Session Europe 2009". FreestyleSession.com. Archived from the original on October 2, 2011. Retrieved July 30, 2009.
  49. ^ a b Bakshani, Maya (September 2, 2008). "Freestyle Session 2008 Coverage". MoreThanAStance.com. Archived from the original on May 28, 2010. Retrieved August 27, 2009.
  50. ^ Bloom, Julie (August 12, 2007). "With Crews and Zoos, a B-Boy World". NYTimes.com. The New York Times. Archived from the original on October 2, 2011. Retrieved July 31, 2010.
  51. ^ a b c d "The Notorious IBE 2009". Style43.com. Archived from the original on May 28, 2010. Retrieved October 8, 2009.
  52. ^ "2010 Rules". HipHopInternational.com. Archived from the original (PDF) on July 31, 2010. Retrieved July 31, 2010.
  53. ^ a b c d Feldberg, Sarah (July 30, 2009). "World Hip Hop Dance Championships return to Las Vegas this weekend". Las Vegas Sun. Archived from the original on May 28, 2010. Retrieved July 30, 2009.
  54. ^ "Juste Debout". Juste-Debout.com. Archived from the original on May 28, 2010. Retrieved August 28, 2009.
  55. ^ "Magazine:List". Juste-Debout.com. Archived from the original on May 28, 2010. Retrieved August 16, 2009.
  56. ^ "United Dance Organisation – Street Dance UK". UnitedDance.co.uk. Archived from the original on July 31, 2010. Retrieved July 31, 2010.
  57. ^ "Rules – United Dance Organization". UnitedDance.co.uk. Archived from the original on May 28, 2010. Retrieved August 1, 2009.
  58. ^ a b "About the Red Bull BC One". RedBullBCOne.com. Archived from the original on May 28, 2010. Retrieved September 20, 2009.
  59. ^ "Cico (Italy)". ProDance.co.uk. 2009. Retrieved December 5, 2010.
  60. ^ "Red Bull BC One – B-Boy Cico". RedBullBCOne.com. 2009. Archived from the original on May 28, 2010. Retrieved August 3, 2009.
  61. ^ a b c Chang, Jeff (June 26, 2008). "So you think they can break-dance?". Salon.com. Salon Media Group. Archived from the original on May 28, 2010. Retrieved August 28, 2009.
  62. ^ "R-16 Korea Sparkling, Seoul". Korea Tourism Organization. July 30, 2009. Archived from the original on October 2, 2011. Retrieved August 28, 2009.
  63. ^ Starr Session (interviewer) and Myron Marten (interviewee) (January 16, 2011). WOD Awards – Myron Marten. DancePlug.com. Retrieved November 10, 2011.
  64. ^ "Events". WorldofDanceTour.co.uk. Archived from the original on November 10, 2011. Retrieved November 10, 2011.
  65. ^ Chang 2005, p.136
  66. ^ Schloss 2009, p.10 "Battling is foundational to all forms of hip-hop and the articulation of its strategy—"battle tactics"—is the backbone of its philosophy of aesthetics."
  67. ^ Schloss 2009, p.54
  68. ^ Schloss 2009, p.111
  69. ^ Schloss 2009, p.116
  70. ^ Phillips, Jayvon (May 30, 2009). "'America's Best Dance Crew' and worldwide Diversity". LATimes.com. LA Times. Archived from the original on November 30, 2011. Retrieved November 28, 2011.
  71. ^ Smith, Lizzie (May 31, 2009). "Dance troupe Diversity in shock victory over Susan Boyle in Britain's Got Talent final". Archived from the original on November 30, 2011. Retrieved November 29, 2011.
  72. ^ "Mr. Wiggles bio". MrWiggles.biz. Archived from the original on May 28, 2010. Retrieved September 21, 2009.
  73. ^ "Artists". LuxAeternaDance.com. Archived from the original on May 28, 2010. Retrieved April 3, 2010.
  74. ^ a b "Kate Prince – back in the Hoods". LondonDance.com. December 8, 2009. Archived from the original on October 2, 2011. Retrieved July 1, 2010.
  75. ^ Hix, Lisa (October 16, 2005). "Clubland". San Francisco Chronicle. Hearst Communications. Archived from the original on May 28, 2010.
  76. ^ a b c d e f Weiss, Jeff (August 5, 2009). "We're Jerkin' (Starring the New Boyz, J-Hawk and Pink Dollaz)". LAWeekly.com. p. 1. Archived from the original on October 2, 2011. Retrieved December 20, 2010. Calling themselves the New Boyz, they failed in their first attempt to make a jerkin' anthem ("I Jerk"), but the duo got it right when Legacy produced "You're a Jerk," the song that is to jerkin' what Chubby Checker was to the Twist.
  77. ^ a b Ducker, Eric (June 12, 2009). "Jerky boys and girls: New Boyz, Rej3ctz and more lead a new youth movement". LATimes.com. Los Angeles Times. Archived from the original on October 2, 2011. Retrieved December 20, 2010.
  78. ^ Weiss, Jeff (July 30, 2009). "Interscope signs Audio Push, attempts to cash in on the jerkin' craze". LATimes.com. Los Angeles Times. Archived from the original on October 2, 2011. Retrieved December 20, 2010.
  79. ^ Stidham, Lindsay (July 31, 2009). "'Skinny Jeans Movement' bringing Jerkin' online". Tubefilter News. Archived from the original on May 28, 2010.
  80. ^ Shiri Nassim (producer) (2005). The Heart of Krump (DVD). Los Angeles: Ardustry Home Entertainment, Krump Kings Inc.
  81. ^ a b Paggett, Taisha (July 2004). "Getting krumped: the changing race of hip hop". BNET. Dance Magazine. Retrieved July 30, 2009.
  82. ^ a b c Reld, Shaheem; Bella, Mark (April 23, 2004). "Krumping: If You Look Like Bozo Having Spasms, You're Doing It Right". MTV.com. Archived from the original on May 28, 2010. Retrieved July 30, 2009.
  83. ^ a b Gleiberman, Owen. "Rize (2005)". EW.com. Archived from the original on October 3, 2011. Retrieved September 3, 2011.
  84. ^ a b Wisner, Heather (2006). "From Street to Studio: Hip Hop Comes Inside". 80 (9): 74–76. ISSN 0011-6009. {{cite journal}}: Cite journal requires |journal= (help)
  85. ^ a b Parker, Janine (August 8, 2009). "Hip-hop dance party at Jacob's Pillow". Boston.com. The Boston Globe. Archived from the original on May 28, 2010. Retrieved August 15, 2009.
  86. ^ a b c d Sandra Garcia (host) Safi Thomas, Yvonne Chow (artistic director and education director of the Hip-Hop Dance Conservatory) (May 20, 2011). The Hip Hop Dance Conservatory Repertory Company (Television production). Bronx, New York: The Bronx Journal. Retrieved October 8, 2011.
  87. ^ Wisner, Heather (2007). "Crash Course: Hip Hop". Dance Magazine. 81 (10). Dancer Publishing: 82–85. ISSN 0011-6009. {{cite journal}}: Unknown parameter |month= ignored (help)
  88. ^ Chang 2006, p.20 "Although toprocking has developed an identifiable structure, there is always room for individual creativity... The same is true of all dance forms associate with hip hop and West Coast funk: as long as dancers represent the root forms of the dances, the rest can be colored in with his or her own flavors."
  89. ^ "About Us". MonstersofHipHop.com. 2007. Archived from the original on May 28, 2010. Retrieved August 1, 2009.
  90. ^ "Faculty". MonstersOfHipHop.com. 2007. Archived from the original on May 28, 2010. Retrieved November 1, 2010.
  91. ^ Krisanits, Tracy (2007). "Keeping Tabs". Dance Retailer News (5). Macfadden Performing Arts Media: 46. {{cite journal}}: Unknown parameter |month= ignored (help)
  92. ^ a b c Wreksono, Asmara (August 20, 2010). "Streetwear Spotlight: Wildchild Nation / Threader Style + GIVEAWAY". SoJones.com. Archived from the original on November 21, 2010. Retrieved November 21, 2010.
  93. ^ Robinson, Tennille (November 1, 2009). "Ready, Set, Grow". BlackEnterprise.com. Archived from the original on November 21, 2010. Retrieved November 21, 2010.
  94. ^ Wreksono, Asmara (May 7, 2009). "Dance2XS Collaborates With Wildchild Nation Streetwear". SoJones.com. Archived from the original on November 21, 2010. Retrieved November 21, 2010.
  95. ^ "Week 1". So You Think You Can Dance UK. Season 1. Episode 2. January 9, 2010. BBC One. {{cite episode}}: Unknown parameter |serieslink= ignored (|series-link= suggested) (help)
  96. ^ a b c d e Levinson, Lauren (2009). "Lyrical Hip Hop". Dance Spirit. 13 (5). Macfadden Performing Arts Media: 48–50. Archived from the original on May 28, 2010. Retrieved April 25, 2009. {{cite journal}}: Unknown parameter |month= ignored (help)
  97. ^ Cronick, Scott (December 30, 2009). "Everyone has a story: Galloway woman choreographs 'Rockin' Eve'". pressofAtlanticCity.com. Archived from the original on May 28, 2010. Retrieved March 9, 2010.
  98. ^ Cheng, Peter. "Lovers of Hip Hop". glossmag.com. Archived from the original on May 28, 2010. Retrieved April 4, 2009.
  99. ^ "Lyrical Hip-Hop Takes Center Stage". theexpressionist.com. June 25, 2008. Archived from the original on May 18, 2010. Retrieved April 12, 2009.
  100. ^ Wolfson, Julie (September 9, 2009). "Talking about the Impact of Dance with Tabitha and Napoleon D'umo of So You Think You Can Dance". Gothamist LLC. Archived from the original on May 28, 2010. Retrieved September 11, 2009.
  101. ^ Colbert, Quantrell (November 20, 2009). "So You Think Jennifer Lopez Can Dance? She Can!". People.com. Archived from the original on May 28, 2010. Retrieved February 2, 2010.
  102. ^ "The Top 16 Perform". So You Think You Can Dance. Season 4. Episode 10. June 25, 2008. Fox. {{cite episode}}: Unknown parameter |serieslink= ignored (|series-link= suggested) (help)
  103. ^ a b Stelter, Brian (June 17, 2008). "After 38 Years, 'Soul Train' Gets New Owner". NYTimes.com. The New York Times. Archived from the original on November 2, 2011. Retrieved November 18, 2011.
  104. ^ a b Palopoli, Steve (April 21, 2011). "Fingerz on the Pulse". MetroActive.com. Archived from the original on October 2, 2011. Retrieved August 12, 2011.
  105. ^ a b "2011 MTV VMA Nominees For Best Choreography Are". DanceTrackMagazine.com. Archived from the original on October 2, 2011. Retrieved September 29, 2011.
  106. ^ Robert Muraine, Phillip Chbeeb (poppers) (August 7, 2008). "Finale". So You Think You Can Dance. Season 4. Episode 23. Fox. I want to give much respect to Phillip and to everyone that had us here and everything. This is the first televised popping battle and it's a honor to be apart of that and I want to thank everybody. {{cite episode}}: Unknown parameter |serieslink= ignored (|series-link= suggested) (help)
  107. ^ Hopkins, Pz (June 2009). "He's So Much More Than Dancing". pzpower.com. Natural Muscle Magazine. Archived from the original on May 28, 2010. Retrieved August 24, 2009.
  108. ^ "Finale". So You Think You Can Dance Scandinavia. Season 1. Episode 8. Oslo. May 29, 2008. TV Norge. {{cite episode}}: Cite has empty unknown parameters: |episodelink= and |seriesno= (help); Unknown parameter |serieslink= ignored (|series-link= suggested) (help)
  109. ^ "Finale". Incroyable Talent. Season 1. Episode 7 (in French). December 12, 2006. M6. {{cite episode}}: Unknown parameter |serieslink= ignored (|series-link= suggested) (help)
  110. ^ "Finale". Incroyable Talent. Season 2. Episode 6 (in French). December 11, 2007. M6. {{cite episode}}: Unknown parameter |serieslink= ignored (|series-link= suggested) (help)
  111. ^ "Finale". Britain's Got Talent. Season 2. Episode 13. May 31, 2008. ITV. {{cite episode}}: Unknown parameter |serieslink= ignored (|series-link= suggested) (help)
  112. ^ "Finale". Norske Talenter. Season 2. Episode 12 (in Norwegian). May 8, 2008. TV 2. {{cite episode}}: Unknown parameter |serieslink= ignored (|series-link= suggested) (help)
  113. ^ "Finale". Britain's Got Talent. Season 3. Episode 13. May 30, 2009. ITV. {{cite episode}}: Unknown parameter |serieslink= ignored (|series-link= suggested) (help)
  114. ^ "Final". Qual é o Seu Talento?. Season 1. Episode 20 (in Portugese). December 16, 2009. SBT. {{cite episode}}: Unknown parameter |serieslink= ignored (|series-link= suggested) (help)CS1 maint: unrecognized language (link)
  115. ^ "Finale". Australia's Got Talent. Season 4. Episode 10. June 15, 2010. Seven Network. {{cite episode}}: Unknown parameter |serieslink= ignored (|series-link= suggested) (help)
  116. ^ a b Pincus-Roth, Zachary (July 4, 2010). "'The Legion of Extraordinary Dancers' is ready to battle with flips, spins and dance steps". LATimes.com. Los Angeles Times. Archived from the original on August 31, 2010. Retrieved August 31, 2010.
  117. ^ Rolnick, Katie (April 1, 2010). "It's A Bird, It's A Plane, It's The LXD!". DanceSpirit.com. Dance Spirit Magazine. Archived from the original on October 2, 2011. Retrieved August 1, 2010.
  118. ^ Yamato (July 9, 2010). "On the Set of 'The LXD,' Where Dancers Are Superheroes". MovieFone.com. Archived from the original on November 25, 2011. Retrieved November 25, 2011. {{cite news}}: Unknown parameter |yen= ignored (help)
  119. ^ Dobrow, Larry (July 15, 2010). "A Web Series so Good, It (Almost) Makes Dobrow Want to Dance". Adage.com. Archived from the original on August 31, 2010. Retrieved August 31, 2010.
  120. ^ "The Legion of Extraordinary Dancers to Premiere July 7 on HULU". Seat42f.com. June 25, 2010. Retrieved November 18, 2011.
  121. ^ Chang 2006, p.24 "As relatively new dance forms, b-boying/b-girling, uprocking, locking, and popping are rarely seen in a theatrical setting. They are usually performed in music videos, commercials, or films..."
  122. ^ Chang, Jeff. "Dancing on the Through-Line". Colum.edu. Archived from the original (PDF) on November 30, 2011. Retrieved November 29, 2011.
  123. ^ Chang 2006, p.26
  124. ^ Milosheff, Peter (July 7, 2008). "Rock Steady Crew 32nd Anniversary". Bronx.com. The Bronx Times. Archived from the original on May 28, 2010. Retrieved August 25, 2009.
  125. ^ Pareles, Jon (November 18, 1995). "Theater In Review". NYTimes.com. The New York Times. Archived from the original on May 28, 2010. Retrieved August 24, 2009.
  126. ^ "ZooNation Dance Company — Some Like It Hip Hop". SadlersWells.com. Archived from the original on October 2, 2011. Retrieved September 27, 2011.
  127. ^ a b "USA, Canada & The Netherlands Win Gold at the 1st World Hip-Hop Championship". DancerUniverse.com. Dancer Publishing. March 1, 2003. Archived from the original on May 28, 2010. Retrieved August 15, 2009.
  128. ^ a b "About Shaun T". Beachbody.com. Archived from the original on October 2, 2011. Retrieved November 1, 2010.
  129. ^ Debra McCord. "Facts on Hip Hop For Abs". LiveStrong.com. Archived from the original on May 28, 2010. Retrieved August 15, 2009.
  130. ^ Eric Neis and Tina Landon (hosts) (December 26, 1995). Grind Workout: Fitness With Flava (VHS). 6303923453 (ASIN).
  131. ^ Eric Neis (host) (May 16, 1995). Grind Workout: Hip Hop Aerobics (VHS). 6303421091 (ASIN).
  132. ^ a b "Rock Your Body with Jamie King". Archived from the original on May 28, 2010. Retrieved August 15, 2009.
  133. ^ a b Hill, Shelby (July 21, 2011). "Expanding the King brand into the fitness realm". Variety. Variety. Retrieved November 22, 2011.
  134. ^ "Diversity fitness DVD renamed Diversity: Dance Fitness Fusion – DVD artwork released". AllStreetDance.co.uk. October 30, 2010. Archived from the original on October 2, 2010. Retrieved November 9, 2010.
  135. ^ "Biography". HDCNY.com. Retrieved September 27, 2011.
  136. ^ a b Daren Jaime (host) Safi Thomas, Yvonne Chow (artistic director and education director of the Hip-Hop Dance Conservatory) (April 27, 2011). Hip Hop Dance Conservatory Repertory Company.mov (Television production). Bronx, New York: BronxnetOPEN. Retrieved October 8, 2011.
  137. ^ "IPAD Programmes". 2006. Archived from the original on May 28, 2010. Retrieved August 23, 2009.
  138. ^ "Programme summary for BA Dance: Urban Practice". UEL.ac.uk. Archived from the original on November 22, 2011. Retrieved November 21, 2011.

Bibliography

  • Chang, Jeff. Can't Stop Won't Stop: A History of the Hip-Hop Generation. New York City: St. Martin's Press., 2005. ISBN 0-312-30143-X
  • Chang, Jeff. Total Chaos: The Art and Aesthetics of Hip-Hop. New York City: BasicCivitas., 2006. ISBN 0-465-00909-3
  • Kugelberg, Johan. Born in the Bronx. New York City: Rizzoli International Publications Inc., 2007. ISBN 978-0-7893-1540-3
  • Rivera, Raquel. New York Ricans from the Hip Hop Zone. New York City: Palgrave MacMillan., 2003. ISBN 1-403-96043-7
  • Schloss, Joseph. Foundation: B-Boys, B-Girls and Hip-Hop Culture in New York. New York City: Oxford University Press., 2009. ISBN 978-0-1953-3405-0
Wikimedia Commons has media related to Hip hop dance.

Template:Link FA

Retrieved from "https://wiki.riteme.site/w/index.php?title=Hip_hop_dance&oldid=463538637"