no. 54 (Winter): a mporary America 1 Breaking oston: South End Sally Banes Break dancing isa style of competitive, acrobatic, and pantomimic dancing, t began asa kind of ‘game, friendly contest in which black and Hispanic teenagers outdid one another with outrageous Physical contortions, spins, and back flip, wedded toa fluid, syncopated, circling body rock done lose to the ground. Breaking once meant only dancing on the floor, but now its definition has, widened to include electric boogie, up-rock, aerial gymnastics, and all sorts of other fancy variations, Although breaking is the newest part of hip-hop culture, it’s the part that has made hip hop a media obsession. Five years ago the only people who had ever heard of breaking were the kids in New York’s ghettos who did it. They didn’t even have a definite name for the form—they sometimes called it “breaking,” but they also referred to it as “rocking down,” “b- boy.” or just “that kind of dancing you do to rap music.” By 1980—when the form had already been around for a few years—they weren't even very interested in it anymore. This kind of dancing was a passing fad, they flt, that would soon be replaced by roller disco. But history ‘was to prove them wrong. Not since the twist, in the early sixties, has a dance craze so captured. the attention of the media. By 1984 only a hermit could not have known about breaking. It had arrived, not only in the United Sate bt su in Canad, rope, nd pen, Breakng hed been turin the 1309 Hollywood film Flashdance, the independent hip-hop musical film Wild Style and the docu “Tentary Sivle Wars which aired on PBS), served as the inspiration for the 1984 films Breakin’ and Beat Street, and was rumored to be the subject of fifteen forthcoming Hollywood movies. Gountess howto book nd videos hd it the mare. Breaking had bean aptighted on | national news shows, talk shows, and ads for Burger King, Levi's, Pepsi-Cola, Coca-Cola, and. Panasonic. One hundred break dancers heated up the closing ceremonies of the 1984 summer Olympics in Los Angeles. And Michael Jackson had given the form national currency. Breaking made the cover of Newsweek in 1984. Newspapers all over the country regularly carried stories on its latest ups and downs. The paradox emerged, as you flipped the pages of the Washington Post or the Los Angeles Times, that break dancers who'd come up in the ghetto were banned from city streets and shopping malls for causing disturbances and attracting undesirable crowds, while at the same time middle-class housewives and executives could learn to break dance in their spare time at classes proliferating throughout the suburbs. Doctors added to the form's acceptability by giving medical advice on how to survive it tunbruised. And the New York Times began using breaking as a metaphor even in articles that, had nothing to do with hip hop.xce recitals, high- Broadway, as well and on the streets the New York City reaning, So to talk media. Before the 15 game, a form of performance had reak dancing was icing had become ald be refined and onger a battle for 5” (tee-shirt with urs were at stake. was a mixture of d even becoming oric vogue of hip jgrapher who had a riot” and found st 175th Street — iid demonstrated ) a head spin.” he ch crew member irouette across a ements of both), —the Post never logical form. ick and Hispanic acrobatics, and e other elements h of virility, wit, ray even beyond vinning fame by th physical pres- he city, to flaunt akes breaking an nt and the boast. ile the bragging of physical and dasan arena for e code to flaunt reaking captured re. Breaking may es, at times, into BREAKING © 15 actual violence. Peace is volatile when honor is at stake, and the physical heat of the form itself ‘makes for situations that are highly combustible, as scenes from both Breakin’ and Beat Siret show. Until breaking became frozen and legitimated by media hype, it was, like much of kids’ culture in our cities, self-generated and nearly invisible to outsiders, especially adults—who just didn't want to even think about it or know about it, much less watch it. It was both liter~ ally and figuratively an underground form, happening in the subways as well as in parks and «ity playgrounds, but only among those in the know. Its invisibility and elusiveness had to do with the extemporaneous nature of the original form and also with its social context. Breaking, jams weren't scheduled; they happened when the situation arose. You didn't get advance notice of a breaking “performance”; you had to be in the right place at the right time. In other words, you had to be part of the crew system that provided social order among the kids of the Bronx, Manhattan, and Brooklyn ghettos. jince May 1981, when Henry Chalfant presented the Rock Steady Crew at Common Ground in SoHo as part of a graffiti rock shove, breaking has taken to theatrical presentation like a duck to water. The first article on the form, by Sally Banes with photos by Martha Cooper, appeared in the Village Voice just before the concert, giving breaking instant visibility. By the end of that summer, break dancers had appeared outdoors at Lincoln Center and at other festivals, and endless filming had begun. The Rock Steady Crew signed up for an appear- ance in Flashdance, and kids were already learning to break not from older brothers and ‘cousins on the street, but from watching Rock Steady on TV. Breaking had entered the public «ye and left the underground for the mainstream, and this new theatrical context, with a style largely disseminated by the Rock Steady Crew, quickly crystallized the form for spectators. ‘Through breaking, in its original form, all the pleasures, frustrations, hopes, and fears of adolescence were symbolically played out in public spaces. Breaking was inextricably tied to rapping, both in terms of its style and content and because the rap provides the insistent percussion that drives the dance. The format of the dance was at first quite fixed. The dancers and onlookers formed an impromptu circle. Each person’s turn in the ring was very brief—ten to thirty seconds—but packed with action and meaning. It began with an entry, a hesitating walk that allowed him time to get in step with the music for several beats and take his place “onstage.” Next the dancer “got down” to the floor to do the footwork, a rapid, slashing, circular scan of the floor by sneakered feet, in which the hands support the body’s weight while the head and torso revolve ata slower speed, a kind éf syncopated, sunken pirouette, also known as the helicopter. ‘Acrobatic transitions such as head spins, hand spins, shoulder spins, fips, and the swipe—a flip of the weight from hands to feet that aso involves a twist in the body's direction—served as bridges between the footwork and the freeze. The final element was the exit, a spring back to verticality or special movement that returned the dancer to the outside of the circle. The entry, the footwork, and the exit were all pretty formulaic, with very little room for showing off personal style, although some dancers created special versions of these elements—Frosty Freeze, for instance, often exited “on point,” walking on the tips of his sneakers. The entry, the footwork, and the exit were like the stock expressions and nonsense syllables that sandwich narrative content in a rap. They provided a rhythmic frame for the freeze, an improvised pose or movement, which broke the beat. They also provided a nicely textured, comfortably predictable backdrop against which the freeze stood out in bold relief. ‘And besides thei aesthetic function, these segments were @ way for the dancer to “tread water” between strokes, to free the mind for strategizing while the body went through familiar, unin- ventive paces. The simplest combination of a breaking sequence was entry-footwork-spin-freeze-exit. But turns in the center could be extended by inserting more footwork-spin-freeze segments.eeze-exit. And so ‘onal style, which vas that it should ead on your arm youspin on your of your head out - He would quote tin a gesture of en more graphi the other guy he Sometimes the lines. » b-boys. Several ggested the mili- ‘male adolescent the gun imagery 1 grab his crotch of body states in comparing and Is (dogs, horses, ryor’s routines), »metimes in the way of walking for the W, both ing moved from nt that has been spot; they were ¢ of individual xtemporaneous echniques, such ist painters and ss graffiti—was ed, 2 virtuosic his turn and, f complicated, up. ies into crews, dancing, held iendly compe- d set up a chal- him. The erew Out of moves. by consensus, other as father BREAKING © 17 and son—even though the “father” was usually only afew years older than his “son"!—and even ‘chose names that reflected their relationship, like Ty Fly and Kid Ty Fly. In those days, although there were some girls who joined in, most of the break dancers were boys from the ages of about eight to sixteen. One reason that girls were the exception was that breaking was a specific expression of machismo. Part of its macho quality comes from the physical risk involved—not only the bruises, cuts, scratches, and scrapes, but also the risk of real fighting that might erupt. And part of itis the deliberate attempt to impress the girls, Breaking was one kind of “rocking,” which also included up-rock, a more pantomimic, narrative style of dancing done jumping down and up to standing level, kicking, jabbing, and punching right in a rival’s face, without actually touching. In up-rock every move is intended to insult the opponent, and besides actual fighting gestures, a dancer might mime grabbing his rival’s private parts, smelling his hand, making a face, and then throwing the offending odor back. Up-rock is funny, but like a rapper's boast it has a mean edge. ‘The break dancer's “costume” was born of necessity as well a style. Tee-shirts and net over shirts provide traction on the spins, and sneakers are important to the footwork. Their crit- ical role in the dance is emphasized by making the feet look gigantic and by nearly etishizing the shoes with embellishments like wide, bright laces loosely tied so that the tongues stick out. ‘The insignia of the crew, as well as colors and outfits that coordinate with those of fellow crew members, play a part in intensifying group solidarity. And the overall look of militarized athleticism creates an image of power and authority. The other accessory for break dancing is. a mat, made of cardboard or linoleum, that originally protected the dancers from scraping. against concrete For the current generation of b-boys, it doesn’t really matter that the breakdown is an old zname in Afro-American dance for both rapid, complex footwork and a competitive format. Or that a break in jazz means a soloist’s improvised bridge between melodies. Or that break is a technical term in Haitian voodoo, referring to both drumming and dancing, that marks the point of possession. Katherine Dunham defines the term as “convulsive movements and sharp temporary changes in a ceremonial ... rhythm.” Or that in a different Afro-American culture, in French Guiana, there is an old dance called, in Creole, casé ko (translation: breaking the body) Ail these connections have obvious links with break dancing as we now know it. For the b- boys, memory is short and history is brief; breaking started in the mid-seventies, maybe in the Bronx, maybe in Harlem. It started with Afrika Bambaataa’s Zulus. Or with Charlie Rock. (Or with Joe, from the Casanovas, from the Bronx, who taught it to Charlie Rock. “Breaking means going crazy on the floor,” one b-boy explained back in 1980. “It means making a style for yourself.” As Fab Five Freddy (Fred Braithwaite) the musical director for Wild Style, remembers it, breaking began when rapping did, as an intuitive physical response to the music. “Everybody ‘would be ata party in the park in the summer, jamming. Guys would get together and dance with each other, sort of a macho thing where they would show each other who could do the best moves. They started going wild when the music got real funky “—music by groups like SuperSperm and Apache. As the beat ofthe drummer came to the fore, the music et you know it was time to break down, to freestyle.” The cadenced, rhyming, fast-talking epic mode of rapping, with its smooth surface of sexual braggadocio, provided a perfect base for a dance style that was cool, swift, and intricate. The structure of the rap, with its play of quick, varying shythms going on and off the beat within a steady four-square pulse, is lke the off-balance, densely packed, lightning-speed pace of the breaking routine. The sense of inclusiveness, ofall being in on a fun time together (“Everybody say ho!” “This is the way we rock the house!” “I am! We are!”), of turn-taking, is there both in the rap and in the dance. At times the lyrics of+ of the dancers konly to recent e the history of im. Breaking is and (in its latest Afro-American ances from the ince slaves were resemblance to anist Robert F lance. But while lever have seen orms, the two of music that kand Hispanic rest of hip hop, ing in its path. he Harlem ball charleston, and popular in the isalso the way nd the interac » hop, breaking style graffiti, it the freeze. The treet galleries, act of obscene lenge, a call to i, rapping, and d other comic- ters, and great rately) nearly e thicket of rap ecombined in n the aesthetic mselves, either Flip—or, like Nell, Kip Dee. amic Breakers, -kers, Furious tags, breakers g Public space to wear torn its and other , vivid, proud, used as main- BREAKING + 19 stream culture adopts them. Instead of dreaming of becoming revolutionaries, as they might have in the sixties, in the eighties the b-boys aspire to be stars. And atleast for some of them, the dream has already come true. ‘After media exposure, the form of break dancing immediately began to change as theatrical and other experiences—such as a panel at a conference on the folklore of the Bronx—were brought back to “home base.” The folklore conference arranged a jam at a roller disco in the Bronx, and soon after, Henry Chalfant and Tony Silver, the directors of Siyle Wars, shot a battle between the Rock Steady Crew and the Dynamic Rockers (later Dynamic Breakers) ata roller disco in Queens. The stage was set for the scene at the Roxy, a roller disco in Chelsea, in Manhattan, that soon replaced the Negril as the venue for Wheels of Steel hip-hop nights. ‘When Style Wars was being filmed, the owner of the Queens disco kept clearing out the circle so the cameramen could get in. The next time Rock Steady was break dancing in the park, the crew's president, Crazy Legs, was walking back and forth saying, “Open up the circle.” By now, the circular format has opened up so far it’s become linear, for greater theatrical legibility. Less improvisation takes place as well-worn popular moves become standard. AS is often the case in the development of a dance form, acrobatic transitions are elaborated, while the freeze, which once concentrated personal expression, competitive gestural dialogue, and. ‘group style into a single significant image, has dwindled away to almost nothing and sometimes, even merges with the exit. What once was a dance for adolescents is now the terrain of young adults, professionals whose bodies are less gangly and whose higher level of skill is commen. surate with their years of practice. Group choreography and aerial spins, reminiscent of the spectacular balancing acts of circus gymnasts, have added to breaking’s theatrical brilliance, as has the influx of electric boogie, popping, locking, ticking, King Tut, the float, and other moves, that are not break dancing per se, into the genre. Locking is a comic dance that creates the illusion that a person's joints are stuck in one place while his extremities are swinging in wild, rapid circles. It was originally popularized in the early seventies by dancers on the popular black dance television program Soul Train, which spawned a dance group called the Lockers, whose flamboyance made locking and the related popping—where one segment of the body moves while others stay still —nationally known. Fred Berry, star of the seventies television comedy series What's Happening!!, Jeffrey Daniels, ex-member of the pop-funk vocal group Shalamar, and choreographer Toni Basil were key members of the dance troupe. Berry’s bouncy body and beefy face were symbolic of locking’s ‘comic appeal. Daniels, a willowy stick figure with an enormous Afro, not only locked and popped, but did a mean robot (the moves look like they sound)—and, along with Michael Jackson, helped spread the moonwalk, a pantomimed illusion of walking backwards, via Shalamar tours and videos. Basil, a choreographer since the sixties, when she worked on the television series Shindig! and the legendary film The T.A.MLI. Show, worked throughout the seventies and eighties integrating the Lockers’ moves into progressive film and video projects, such as her contribution to the Talking Heads’ trailblazing “Once in a Lifetime” video. Another noteworthy ex-Locker is the Latin dancer Shabbadoo, who went on to star in the break dance film Breakin’. ‘The electric boogie is a mimelike movement of the entire body, fll of wiggles and robotic head turns, that refined the Lockers’ movements into a more fluid, less jerky style. It was inspired by moves seen on a summer replacement television show hosted by mimes Shields and Yarnell, Kids picked up on it from TY, as they had locking, and embellished it, though the mime artists’ white gloves are often worn by street dancers. Also via television came the King, ‘Tut and its kissing cousin the Egyptian after comedian Steve Martin appeared on Saturday Night Live in mock Egyptian garb to perform his hit single “King Tut.” With his arms aimed ‘out at sharp right angles, Martin resembled a talking stone carving, and this move was quickly assimilated by youngsters.401 doy woy 1019 dep (peo 2134 3105 P30 sa pur qgoy sou, 24. ind yey suon 3 ded | 30% qyes8 Sunn opto Pre, soto sremaLampy smy2o] uaagd 1 quo posseq nuodsa amy eo[0H Aol is OW VL Iis100) 249 Ut oowzoquion nasin0d 305 PS 1 WU Surkeads skep n ue sem DRL 2ujuutap 0} > oq posnoze uss dg iam se oqod nyyesd wutzeeur put unex Uf ayy uo sjusut p pu postop 2 Surmor.o5 gus 7261 UI «HT 386} w 5 9H SPAEE JOS sp UH INE SEIT “TPH oop WED kpogon apéas Mau ® dopsaap {4,809 ayn 9g 01 42107 3G “194 31H 94 oF NOK Ho asnssoid reKr—PoO8 Os Pap SOYEUE TEIN saeqn uevodwy os 3 syeur yey 5304, 24"y NOK Tes PEM Bans axp UL woNNsOd sTy puE soot sn w 1 ayes 84a SpU>tH| NOK prmoze 218 NOK OM Buz>q “Nox Buraq snl oge Ire st pans ayy wo ay rey Sey, 2phs su w ayeur nog, “1 sind Appaxy aAKI GEA SY “ATL {aoa 120 01 staoos ymp af © Jo ano Faadurod éqzoun pu ‘Tear#0 ‘onbyun ‘Tesads Sum -awos ayear or Age [rysemosaxv Jo wiog—asminy axp 10j ado sazoquas 945 2938 “soup uedogureg ‘pray si Jo anesaq APpspoud 2p ans spy NET PUE Ye Aq parwUPsH 1 Aayrnoo agp Jo 91 tp eayoUry ty =Bys T9}ua> Suge use sy aanyym> yAOK Lago IaH eV se BPO 514 Wo suds Sone dp, ‘Shes 94 pH Aus ay ,zod| ws OUD AV, ‘shes pp sono aL sorrop ws sone Ap, S48 PI 2UO, PDH sy pa Aepottos omesD4H09 ujaey wos wi pur wos e Buyaey purse ‘pjo sak uaoIxs moods PHY SOMAZ OK ‘voy aqp 4a pamazasaguy “uonpen pasouoy we auio>9q ‘eq Ax 38q IMO 2IP 1949 [4 erp moa shog-q “wayp £q paneydas aq sjsu Bama] wows 29yRes SBAOWE MOU 32410 PLE 21004 ayia poresodsoour 1 Ae ath us 1Uopta2 s| Supyeaug Jo sou s02 pur Any MLL “souruioyiod aygnd Suze -auout » se nq ‘9pous apnaduo> feuySts0 axp uy Y0Kr‘sx9409 20218 WO uaHD PUP ‘SWOO! 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