A breakdancer performing in Schildergasse, Cologne, 2017Breaking, also called breakdancing or b-boying/b-girling, is an athletic style of. While diverse in the amount of variation available in the dance, breakdancing mainly consists of four kinds of movement:,. Breakdancing is typically set to songs containing drum, especially in, and music, although modern trends allow for much wider varieties of music along certain ranges of tempo and beat patterns.Breaking was created by African American youth in the early 1970s.
The earliest breakdancers were the 1st Generation Bboys known as Trixie (Lauree Myers), Dancing Doug (Douglas Colon), A1 Bboy Sasa, The Legendary Smith Twins and Clark Kent. The groups included the 'Zulu Kings'. By the late seventies, the dance had begun to spread to other communities and was gaining wider popularity; at the same time, the dance had peaked in popularity among African Americans and Puerto Ricans.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 and are preferred by the majority of the pioneers and most notable practitioners. Contents.Terminology Instead of the original term b-boying ( break-boying), the mainstream media promoted the art-form as breakdancing, by which it came to be generally known.
For bvh files for here is the. Importing a BVH file into Blender Reevan McKay's BVH Python zip ballerina2.zip breakdance. Compiled from the individual CMU index files by B. Files Reviews Support Wiki Support Requests News Donate Git Cvblob Git Clone; Emgu CV Git; Tesseract Ocr Svn2Git clone (obsolete) OpenCV Git Clone; OpenCV. Breakdance (also called breaking, b-boying or b-girling) is a type of dance that is done by people who are part of the hip hop culture. B-boy means boy who dances on breaks ( breakbeats ). Breakdancing was invented in the early 1970s by African American and Latino American inner-city youth in the South Bronx in New York City.The dance style evolved during the 70s and 80s in big cities of the United States.
Some enthusiasts consider 'breakdancing' an ignorant and even 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 that includes, and,: 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' by rappers such as, and of.
Youth breaking during CelebrationsThere are several ways breaking came to Canada. During the late 1970s and early 1980s, films such as, Beat Street (1984), and the overall influence of Hip-Hop culture brought many people over from, and, which in the process, brought over their style from the U.S.
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, Brats and Red Power Squad, led the scene throughout the rest of the past two decades and counting.France Breaking 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 ). In 1984, France became the first country in the world to have a regularly and nationally broadcast television show about Hip Hop—hosted by —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. Japan Breakdancing in Japan was introduced in 1983 following the release of the movie Wild Style. The release of the movie was accompanied by a tour by the Rock Steady Crew and the Japanese were captivated. Other movies such as Flashdance followed and furthered the breakdance craze.
Crazy-A, who currently is the leader of the Tokyo chapter of the Rock Steady Crew, was dragged to see Flashdance by his then girlfriend and walked out captivated by the dance form and became one its earliest and one of the most influential breakers in Japanese history. Groups began to spring up as well, with early groups such as Tokyo B-Boys, B-5 Crew, and Mystic Movers popping up in Harajuku, a district in Tokyo. The breakdancing community in Japan found a home in Tokyo's in Harajuku, which still remains an active area for breakdancers and hip-hop enthusiasts. As hip-hop continued to grow in Japan, so did breakdancing and the breakdancing communities. Following the introduction of international breakdancing competitions, Japan began to compete and were praised for their agility and precision, yet they were criticized in the beginning for lacking originality. The Japanese began to truly flourish on the international stage following the breakdancing career of Taisuke Nonaka, known simply as Taisuke.
Taisuke began to dominate the international scene and led the Japanese team Floorriorz to win the BOTY in 2015 against crew Kienjuice from Belarus. Despite Taisuke’s successful career in group competitions, he failed to win the solo Red Bull BC One competition, an individual breakdancing championship that had continued to evade Japanese bboys.
The first Japanese to win the BC One competition became Bboy Issei in 2016. Issei is widely regarded by many as the best Japanese breakdancer currently and in the eyes of some, the best worldwide.
Female bboys, or “bgirls”, are also prevalent in Japan and following the introduction of a female BC One competition in 2018, Japanese bgirl Ami Yuasa became the first female champion. Notable Japanese bboy crews include FoundNation, Body Carnival, Floorriorz, and the Heima.
Notable Japanese bgirl crews include Queen of Queens, Body Carnival, and Nishikasai.South Korea Breakdancing 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 took hold. 1997 is known as the 'Year Zero of Korean breaking'. A 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 of a Los Angeles breakdancing 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 breaker community.In 2002, Korea's Expression Crew won the prestigious international b-boying competition, exposing the skill of the country's breakers 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.
Is the most well-known government-sponsored breakdancing event, and is hosted by the and supported by the Ministry of Culture, Sports, and Tourism.Famous breaking crews from Korea include Morning of Owl, Jinjo Crew and Gamblerz.Soviet Union In the 1980s the Soviet Union was in a state of the with the countries of the. Soviet people lived behind the, so they usually learned the new fashion trends emerging in the capitalist countries with some delay.
The Soviet Union first learned of breakdancing in 1984, when videotapes of movies ',' and ' got into the country. In the USSR these movies were not released officially. They were brought home by Soviet citizens who had the opportunity to travel to Western countries (for example, by diplomats).
Originally, the dance became popular in big cities: and, as well as in the (some citizens of these Soviet republics had the opportunity to watch Western television). Attitude of the authorities to the new dance that came from the West was negative. Breaking performance in, 1986The situation changed in 1985 with who came to power and with the beginning of the policy.
The first to legalize the new dance were dancers from the Baltic republics. They presented this dance as the “protest against the arbitrariness of the capitalists”, explaining that the dance was invented by black americans from poor neighborhoods. In 1985 the performance of Czech was shown in the program 'Morning Post', that became one of the first official demonstrations of breakdancing on Soviet television. With the support of the in 1986 breakdance festivals were held in the cities of the Baltic republics (, ).
The next step was the spreading of the similar festivals to other Soviet republics. Festivals were held in (Ukraine), (Belarus), (Russia). Breakdancing could be seen in Soviet cinema: 'Dancing on the Roof' (1985), ' (1986), 'Publication' (1988). By the end of the decade the dance became almost ubiquitous. At almost any disco or school dance one could see a person dancing in the “robot” style.In the early 1990s the country experienced a severe economic and political crisis.
With the breakdance passion was over. Breakdancing has become an association with the past. The next wave of interest for this dance in Russia will occur only in the late 90s. China Although social media such as youtube cannot be used in China, this does not affect the development of breakdancing in China. Many people copy some breakdancing video abroad and distribute them back to the mainland to make Chinese like breakdancing. Although it is still an underground culture in China because of some restrictions, more and more people like breakdancing and join in.In May 2017, K Crush magazin selected the five best Bboys in China, namely Bboy Devil, Bboy Boss, Bboy NoName, Bboy Marbles, and Bboy lil-chao.Dance elements.
Gravity Benders crew showcasing the four elements of b-boying —, and — some crew choreography, and a short battle.There are four primary elements that form breakdancing. They are toprock, downrock, power moves, and freezes.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 breakdancing 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 attitude, theoretically anything can be toprock. Toprock can draw upon many other dance styles such as,. Transitions from toprock to downrock and power moves are called 'drops'.(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, 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.are acrobatic moves that require, speed, endurance, strength, flexibility, 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, 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 which is shortened and spelled in b-boying.are stylish poses that require the breaker to suspend himself or herself off the ground using upper body strength in poses such as the. They are used to emphasize strong beats in the music and often signal the end of a set. 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.Styles. B-Boy performing hand hops in Washington D.C.
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. 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.' 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 breaking: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. Breakers can therefore be categorized into a broad style which generally showcases the same types of techniques.
Power: This style 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 breakers who use 'power moves' almost exclusively in their sets are referred to as 'power heads'.
Abstract: A very broad style 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 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 breaker'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. Breakers who base their dance on 'flavor' or style are known as 'style heads'.Downrock styles In addition to the styles listed above, certain footwork styles have been associated with different areas which popularized them. Traditional New York Style: The original style from the Bronx, based around the Ukrainian 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).Music The musical selection for breaking is not restricted to as long as the tempo and beat pattern conditions are met. Breaking can be readily adapted to different music genres with the aid of. The original songs that popularized the dance form borrow significantly from progressive genres of,.
The most common feature of breakdance music exists in musical, or compilations formed from 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 and beats in the percussive pattern. History credits DJ for the invention of this concept later termed the.World championships. A b-boy does an in a cypher at R16 Korea 2014.
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. 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 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, breakers 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 breakers 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 Eindhoven's Urban Culture Festival E-Moves and had 13 worldwide qualifiers in 2015.
Solverde World Battle is an annual Portuguese breaking competition founded in 2014 and hosted in. B-boy B-girl Africa is an African breakdancing championship founded in 2012 by b-boy Salifus of Burkina Faso and hosted in Senegal. The will incorporate breakdancing as part of its programme, starting with the in. Breakdancing is eligible for inclusion as it is a discipline of, which is recognised by the. The competition will feature men's, women's and mixed-team events in a one-on-one battle format. BBIC (Buncheon B-Boy International Championship) is a breaking and popping competition founded in 2016 by Jinjo Crew from Korea. It features solo and crew dances along with performances by many dancers.Female presence Similar to other hip-hop subcultures, such as writing, and, breakers are predominantly male, 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.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 (and by extension, b-boy culture) to a more positive, empowered role in the modern hip-hop scene.In 2018, Japan's B-Girl Ami became the first B-Girl world champion of Red Bull BC One. Although B-Girl Ayumi had been invited as a competitor for the 2017 championship, it was only until 2018 that a 16 B-Girl bracket was featured as part of the main event.Media exposure. History of Hip Hop. Bronxboy100. ^ Okumura, Kozo.
Global Darkness. ^ Israel (director) (2002). The Freshest Kids: A History of the B-Boy (DVD). USA: QD3 Entertainment. ^ Adam Mansbach (May 24, 2009).
The Boston Globe. Spot, The Bboy. Retrieved September 30, 2015. 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:. ^ 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. Freeman, Santiago (July 1, 2009). Dance Spirit Magazine. Archived from on May 28, 2010.
Retrieved September 9, 2009. Youtube.com. Kool Herc, in Israel (director), The Freshest Kids, QD3, 2002. Edwards, Paul, 2009,: 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. October 14, 2002.
From the original on April 21, 2010. Retrieved May 28, 2010. Retrieved August 24, 2009. ^ Jorge 'Popmaster Fabel' Pabon (September 10, 2009). Dancer Universe. Archived from on January 14, 2012. Retrieved September 28, 2009.
Bloom, Julie (June 8, 2008). The New York Times.
Retrieved September 20, 2010. Klopman, Alan (January 1, 2007). Dancer Publishing. Archived from on May 28, 2010.
Archived from on February 3, 2012. Retrieved October 9, 2011.
^. June 26, 2008.
Retrieved November 8, 2011. Retrieved December 10, 2012. Cook, Dave (2001).
From the original on May 28, 2010. Retrieved September 6, 2009.
Delgado, Julie (September 26, 2007). WireTap Magazine. Archived from on October 11, 2011. Retrieved October 11, 2011. (MP4) (MP4). Edison Manufacturing Company.
October 6, 1894. Retrieved December 3, 2012.
(MPG) (MPG). April 21, 1898. Retrieved November 10, 2009.
Nigeria: Huntley Film Archives. August 30, 2013. Retrieved April 3, 2019.
^ (2005). Can't Stop Won't Stop: A History of the Hip-Hop Generation. New York: St.
Martin's Press. Coudntpickname (January 1, 2007). Retrieved November 8, 2011. Edwards, Bob (April 25, 2003). Morning Edition.
Archived from on February 25, 2016. Retrieved August 22, 2009. ^ Jenkins, Greg (April 1, 2011). Archived from on May 10, 2011. Retrieved May 8, 2012.
Dwyer, Alex (February 19, 2012). From the original on July 26, 2012.
Retrieved July 26, 2012. From the original on July 26, 2012. Retrieved July 26, 2012. 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. ^ Condry, Ian.
Retrieved September 9, 2009. Charles Usher (July 5, 2011). Retrieved November 8, 2011. ^. January 5, 2017. Retrieved November 3, 2018.
The World of Chinese. September 17, 2013. Retrieved April 25, 2019. K Crush America Magazine.
Retrieved April 25, 2019. Chang, Jeff (2006). Total Chaos: The Art and Aesthetics of Hip-Hop. New York City: BasicCivitas. The transition between top and floor rockin' was also important and became known as the 'drop.' . Lyons, Jacob 'Kujo' (February 15, 2012).
B-Boy Magazine. Archived from on December 6, 2017. Retrieved March 21, 2012. Luis 'Alien Ness' Martinez (Interviewee) (March 2009).
Event occurs at 3:00. Retrieved March 21, 2012. Won, Profo., FLOOR GANGZ,. Retrieved April 4, 2019. March 24, 2014.
Retrieved April 4, 2019. Unknown (June 9, 2016). Break dancing. Retrieved April 4, 2019.
^. Archived from on October 2, 2011. Retrieved July 20, 2011. Walker, Susan (May 30, 2008). 'Wide world of break-dancing sports'. Archived from on June 3, 2012. Retrieved June 3, 2012.
^. Archived from on May 28, 2010. Retrieved October 8, 2009. DJ Hooch (2011).
B-Boy Championships: From Bronx to Brixton. London: Virgin Books. Urban-Culture.fr (in French).
March 14, 2013. Archived from on February 28, 2014. Retrieved February 28, 2014. ^. Archived from on May 28, 2010. Retrieved September 20, 2009. Archived from on December 21, 2010.
Retrieved December 5, 2010. Archived from on May 28, 2010. Retrieved August 3, 2009. Retrieved October 9, 2012. Retrieved June 3, 2012. ^ (June 26, 2008).
From the original on May 28, 2010. Retrieved August 28, 2009. July 30, 2009. From the original on October 2, 2011. Retrieved August 28, 2009. June 23, 2011. From the original on June 3, 2012.
Retrieved June 4, 2012. From the original on June 3, 2012.
Retrieved June 3, 2012. Retrieved January 12, 2013. Archived from on August 23, 2012. Retrieved January 12, 2013.
Retrieved October 18, 2018. Bba-events.com (in French). Retrieved December 28, 2017.
Olympic.org - Official website of the Olympic Movement. Retrieved August 25, 2017. Nancy Guevara (1996). 'Women Writin' Rappin' Breakin '. In Perkins, William Eric (ed.).
Free Bvh Files For Blender
Droppin' science: critical essays on rap music and hip hop culture. Philadelphia: Temple University Press. Pp. 49–62. La Rocco, Claudia (August 6, 2006). New York Times.
Retrieved September 9, 2009. Retrieved September 9, 2009. BBC Living section. Retrieved September 9, 2009. The Independent: Independent News and Media. March 18, 2005.
Retrieved September 9, 2009. Ayanna. Retrieved September 9, 2009. Arce, Rose (March 4, 2005).
Dance Bvh Files Free Download
Retrieved September 9, 2009. Shepherd, Julianne (June 1, 2005). Archived from on August 5, 2011. Retrieved September 9, 2009. Kawalik, Tracy (October 2, 2018). From the original on October 29, 2018. Retrieved October 29, 2018.
Archived from on January 7, 2010. Retrieved January 21, 2010. Retrieved November 8, 2011.
Retrieved November 8, 2011. Archived from on October 2, 2009. Retrieved September 9, 2009.
Retrieved November 25, 2011. Retrieved February 25, 2018. Retrieved February 25, 2018. Plunkett, Luke.
Retrieved February 25, 2018.Further reading.