Jumat, 20 Januari 2012



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Breakdancer - Faneuil Hall.jpg
Ryan Grasell in Faneuil Hall, Boston, MA.
Genre Hip-hop dance
Inventor N/A - Street dancers from New York City
Year 1970s
Country United States
Competitions Battle of the Year
The Notorious IBE
R-16 Korea
Red Bull BC One
B-Boy Summit [1]
UK B-boy Championships
dien dien tubút chấm đọc
B-boying, often called "breakdancing", is a popular style of street dance that was created and developed as part of hip-hop culture among African Americans and Latino youths in New York City.[2]:125, 141, 153 The dance consists of four primary elements: toprock, downrock, power moves, and freezes. It is danced to both hip-hop and other genres of music that are often remixed to prolong the musical breaks. The musical selection for b-boying is not restricted to hip-hop music as long as the tempo and beat pattern conditions are met. A practitioner of this dance is called a b-boy, b-girl, or breaker. These dancers often participate in battles, formal or informal dance competitions between two individuals or two crews. Although the term "breakdance" is frequently used, "b-boying" and "breaking" are the original terms used to refer to the dance. These terms are preferred by the majority of the art form’s pioneers and most notable practitioners.[3][4]



[edit] Terminology

Although widespread, the term "breakdancing" is looked down upon by those immersed in hip-hop culture. "Breakdancer" may even be used disparagingly to refer to those who learned the dance for personal gain rather than commitment to hip-hop culture.[2]:61 The terms 'b-boys' (or break-boy), 'b-girls', and 'breakers' are the preferred terms to use to describe the dancers. The "b-boys" and "b-girls" were the dancers to DJ Kool Herc's breaks, who were described as "breaking". The obvious connection is to the breakbeat, but Herc has noted that "breaking" was also street slang of the time meaning "getting excited", "acting energetically" or "causing a disturbance".[5] B-boy London of New York City Breakers and filmmaker Michael Holman refer to these dancers as “breakers”.[3] Frosty Freeze of Rock Steady Crew says, “we were known as b-boys”, and hip-hop pioneer Afrika Bambaataa says, “b-boys, [are] what you call break boys... or b-girls, what you call break girls.”[3] The term breaker is gender neutral. In addition, Santiago "Jo Jo" Torres (co-founder of Rock Steady Crew), Mr. Freeze of Rock Steady Crew and hip-hop historian Fab 5 Freddy use the term “b-boy”,[3] as do rappers Big Daddy Kane[6] and Tech N9ne.[7]
The dance itself is properly called "breaking" according to rappers such as KRS-One, Talib Kweli, Mos Def, and Darryl McDaniels of Run-DMC in the breaking documentary The Freshest Kids: A History of the B-Boy. Afrika Bambaataa, Fab 5 Freddy, Michael Holman, Frosty Freeze, and Jo Jo use the original term "b-boying".[3] Purists consider "breakdancing" an ignorant term invented by the media[2]:58[3] that connotes exploitation of the art.[2]:60[3]
Source Quote
Crazy Legs;
Rock Steady Crew
"When I first learned about the dance in ’77 it was called b-boying... by the time the media got a hold of it in like ’81, ’82, it became ‘break-dancing’ and I even got caught up calling it break-dancing too."[3]
New York City Breakers
"You know what, that’s our fault kind of... we started dancing and going on tours and all that and people would say, oh you guys are breakdancers - we never corrected them."[3]
Santiago "Jo Jo" Torres; Rock Steady Crew "B-boy... that’s what it is, that’s why when the public changed it to ‘break-dancing’ they were just giving a professional name to it, but b-boy was the original name for it and whoever wants to keep it real would keep calling it b-boy."[3]
NPR "Breakdancing may have died, but the b-boy, one of four original elements of hip hop (also included: the MC, the DJ, and the graffiti artist) lives on. To those who knew it before it was tagged with the name breakdancing, to those still involved in the scene that they will always know as b-boying, the tradition is alive and, well, spinning."[8]
The Boston Globe "Lesson one: Don't call it breakdancing. Hip-hop's dance tradition, the kinetic counterpart to the sound scape of rap music and the visuals of graffiti art, is properly known as b-boying."[4]
The Electric Boogaloos "In the 80's when streetdancing [sic] blew up, the media often incorrectly used the term 'breakdancing' as an umbrella term for most the streetdancing [sic] styles that they saw. What many people didn't know was [that] within these styles, other sub-cultures existed, each with their own identities. Breakdancing, or b-boying as it is more appropriately known as, is known to have its roots in the east coast and was heavily influenced by break beats and hip hop."[9]
Jorge "Popmaster Fabel" Pabon "Break dancing is a term created by the media! Once hip-hop dancers gained the media’s attention, some journalists and reporters produced inaccurate terminology in an effort to present these urban dance forms to the masses. The term break dancing is a prime example of this misnomer. Most pioneers and architects of dance forms associated with hip-hop reject this term and hold fast to the original vernacular created in their places of origin. In the case of break dancing, it was initially called b-boying or b-girling."[10]
Benjamin "B-Tek" Chung; JabbaWockeeZ "When someone says break dancing, we correct them and say it’s b-boying."[11]
Timothy "Popin' Pete" Solomon; Electric Boogaloos "An important thing to clarify is that the term 'Break dancing' is wrong, I read that in many magazines but that is a media term. The correct term is 'Breakin', people who do it are B-Boys and B-Girls. The term 'Break dancing' has to be thrown out of the dance vocabulary."[12]
Excerpt from the book New York Ricans from the Hip Hop Zone "With the barrage of media attention [breaking] received, even terminology started changing. 'Breakdancing' became the catch-all term to describe what originally had been referred to as 'burning', 'going off', 'breaking', 'b-boying', and 'b-girling'... Even though many of hip hop's pioneers accepted the term for a while in the 1980s, they have since reclaimed the original terminology and rejected 'breakdance' as a media-fabricated word that symbolizes the bastardization and co-optation of the art form."[13]
Hip-Hop Dance Conservatory "Breaking of B-boying is generally misconstrued or incorrectly termed as 'breakdancing'. Breakdancing is a term spawned from the loins of the media's philistinism, sociolism, and naivete at that time. With no true knowledge of the hip-hop diaspora but with an ineradicable need to define it for the nescient masses, the term breakdancing was born. Most breakers take great offense to the term."[14]
Jeff Chang "During the 1970s, an array of dances practiced by black and Latino kids sprang up in the inner cities of New York and California. The styles had a dizzying list of names: 'uprock' in Brooklyn, 'locking' in Los Angeles, 'boogaloo' and 'popping' in Fresno, and 'strutting' in San Francisco and Oakland. When these dances gained notice in the mid-'80s outside of their geographic contexts, the diverse styles were lumped together under the tag 'break dancing.'[15]
The term "breakdancing" is also problematic because it has become a diluted umbrella term that incorrectly includes popping, locking, and electric boogaloo.[2]:60[13] Popping, locking, and electric boogaloo are not styles of "breakdance". They are funk styles that were developed separately from breaking in California.[16]

[edit] History

A b-boy practicing downrock at a studio in Moscow.

[edit] Origin

Elements of breaking may be seen in other antecedent cultures prior to the 1980s,[17] but it was not until the 1980s that breaking developed as a street dance style. Street corner DJs would take the rhythmic breakdown sections (or "breaks") of dance records and loop them one after the other. This provided a rhythmic base for improvising and mixing and it allowed dancers to display their skills during the break. In a turn-based showcase of dance routines the winning side was determined by the dancer(s) who could outperform the other by displaying a set of more complicated and innovative moves while maintaining to hit specific beats of the break.

[edit] Korea

B-boying was first introduced to South Korea by American soldiers shortly after its surge of popularity in the US during the 1980s, but it wasn’t until the late 1990s that the culture and dance really took hold.[18] 1997 is known as the "Year Zero of Korean breaking".[15] A Korean-American hip hop promoter named John Jay Chon was visiting his family in Seoul and while he was there, he met a crew named Expression Crew in a club. He gave them a VHS of a Los Angeles b-boying competition called Radiotron. A year later when he returned, Chon found that his video and others like his had been copied and dubbed numerous times, and were feeding an ever-growing b-boy community.
In 2002, Korea's Expression Crew won the prestigious international b-boying competition Battle of the Year, exposing the skill of the country's b-boys to the rest of the world. Since then, the Korean government has capitalized on the popularity of the dance and has promoted it alongside Korean culture. R-16 Korea is the most well-known government-sponsored event, and is hosted by the Korean Tourism Organization and supported by the Ministry of Culture, Sports, and Tourism.

[edit] Japan

Shortly after the Rock Steady Crew came to Japan, b-boying within Japan began to thrive. Each Sunday b-boys would perform breaking in Tokyo's Yoyogi Park.[19] One of the first and most influential Japanese breakers was Crazy-A, who is now the leader of the Tokyo chapter of Rock Steady Crew.[19] He also organizes the yearly B-Boy Park which draws upwards of 10,000 fans a year and attempts to expose a wider audience to the culture.[20]

[edit] Uprock

A separate but related dance form which influenced breaking is Uprock also called Rocking or Brooklyn Rock. Uprock is an aggressive dance that involves two dancers who mimic ways of fighting each other using mimed weaponry in rhythm with the music.[10] Uprock as a dance style of its own never gained the same widespread popularity as breaking, except for some very specific moves adopted by breakers who use it as a variation for their toprock.[21]:138 When used in a b-boy battle, opponents often respond by performing similar uprock moves, supposedly creating a short uprock battle. Some dancers argue that because uprock was originally a separate dance style it should never be mixed with breaking and that the uprock moves performed by breakers today are not the original moves but poor imitations that only show a small part of the original uprock style [22]
It has been stated that breaking replaced fighting between street gangs.[8] On the contrary, some believe it a misconception that b-boying ever played a part in mediating gang rivalry. Both viewpoints have some truth. Uprock has its roots in gangs.[21]:116, 138 Whenever there was an issue over turf, the two warlords of the feuding gangs would uprock. Whoever won this preliminary battle would decide where the real fight would be.[23] This is where the battle mentality in breaking and hip-hop dance in general comes from.[24] "Sometimes a dance was enough to settle the beef, sometimes the dance set off more beef."[10][21]:116

[edit] Dance techniques

Gravity Benders crew showcasing the four elements of b-boying—toprock, downrock, freezes, and power moves—some crew choreography, and a short battle.

[edit] Four elements

There are four primary elements that form breaking. These include toprock, downrock, power moves, and freezes/suicides.
Toprock generally refers to any string of steps performed from a standing position. It is usually the first and foremost opening display of style, though dancers often transition from other aspects of breaking to toprock and back. Toprock has a variety of steps which can each be varied according to the dancer's expression (ie. aggressive, calm, excited). A great deal of freedom is allowed in the definition of toprock: as long as the dancer maintains cleanness, form and the b-boy attitude, theoretically anything can be toprock. Toprock can draw upon many other dance styles such as popping, locking, or house dance. Transitions from toprock to downrock and power moves are called drops.[25]
Downrock (also known as "footwork" or "floorwork") is used to describe any movement on the floor with the hands supporting the dancer as much as the feet. Downrock includes moves such as the foundational 6-step, and its variants such as the 3-step or other small steps that add style. The most basic of downrock is done entirely on feet and hands but more complex variations can involve the knees when threading limbs through each other.
Power moves are acrobatic moves that require momentum, speed, endurance, strength, and control to execute. The breaker is generally supported by his upper body, while the rest of his body creates circular momentum. Notable examples are the windmill, swipe, and head spin. Some power moves are borrowed from gymnastics and martial arts. An example of a power move taken from gymnastics is the Thomas Flair which is shortened and spelled flare in b-boying.
Freezes are stylish poses, and the more difficult require the breaker to suspend himself or herself off the ground using upper body strength in poses such as the pike. They are used to emphasize strong beats in the music and often signal the end of a b-boy set. Freezes can be linked into chains or "stacks" where breakers go from freeze to freeze to the music to display musicality and physical strength.
Suicides like freezes are used to emphasize a strong beat in the music and signal the end to a routine. In contrast to freezes, suicides draw attention to the motion of falling or losing control, while freezes draw attention to a controlled final position. Breakers 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.

[edit] B-boy Styles

B-boy Timon doing a baby freeze
There are many different individual styles used in b-boying. Individual styles often stem from a dancer's region of origin and influences. Although there are some generalities in the styles that exist, many dancers combine elements of different styles with their own ideas and knowledge in order to create a unique style of their own. B-boys can therefore be categorized into a specific, broad style which generally showcases the same types of techniques.
  • Power: This style of b-boying is what most members of the general public associate with the term "breakdancing". Power moves comprise full-body spins and rotations that give the illusion of defying gravity. Examples of power moves include headspins, backspins, windmills, flares, airtracks/airflares, 1990s, 2000s, jackhammers, crickets, turtles, hand glide, halos, and elbow spins. Those b-boys who use "power moves" almost exclusively in their sets are referred to as "power heads" or power movers.
  • Abstract: A very broad style of b-boying which may include the incorporation of "threading" footwork, freestyle movement to hit beats, house dance, and "circus" styles (tricks, contortion, etc.).
  • Blowup: A style of b-boying which focuses on the "wow factor" of certain power moves, freezes, and circus styles. Blowups consist of performing a sequence of as many difficult trick combinations in as quick succession as possible in order to "smack" or exceed the virtuosity of the other b-boy's performance. This is usually attempted only after becoming proficient in other styles due to the degree of control and practice required in this type of dancing. The names of some of the moves are: airbaby, airchair, hollow backs, solar eclipse, reverse airbaby, among others. The main goal in blowup-style is the rapid transition through a sequence of power moves ending in a skillful freeze.
  • Flavor: A style that is based more on elaborate toprock, downrock, and/or freezes. This style is focused more on the beat and musicality of the song than having to rely on "power" moves only. B-boys who base their dance on "flavor" or style are known as "style heads".

[edit] Footwork Styles

In edition to the styles listed above, certain footwork styles have been associated with different areas which popularized them. [26]
  • Traditional New York Style: The original style of b-boying from the Bronx, based around the Russian trepak dance, this style of footwork focuses on kicks such as CCs and foundational moves such as 6-steps and variations of it.
  • Euro Style: Created in the early 90's, this style is very circular, focusing not on steps but more on glide-type moves such as the pretzel, deadlegs, undersweeps and fluid sliding moves
  • Canadian Style: Created in the late 90's, also known as the 'Toronto thread' style. Based upon the Euro Style, except also characterized by elaborate leg threads

[edit] Power versus style

Multiple stereotypes have emerged in the breaking community over the give-and-take relationship between technical footwork and physical power. Those who focus on dance steps and fundamental sharpness are labeled as "style-heads." Specialists of more gymnastics-oriented technique and form—at the cost of charisma and coordinated footwork—are known as "power-heads." Such terms are used colloquially often to classify one's skill, however, the subject has been known to disrupt competitive events where judges tend to favor a certain technique over the other.
This debate however is somewhat of a misnomer. The classification of dancing as "style" in b-boying is inaccurate because every b-boy or b-girl has their own unique style developed both consciously and subconsciously. Each b-boy or b-girl's style is the certain attitude or method in which they execute their movements. A breaker's unique style does not strictly refer to just toprock or downrock. It is a concept which encompasses how a move is executed rather than what move is done.

[edit] Music

The musical selection for breaking is not restricted to hip-hop music as long as the tempo and beat pattern conditions are met. Breaking can be readily adapted to different music genres with the aid of remixing. The original songs that popularized the dance form borrow significantly from progressive genres of jazz, soul, funk, electro, and disco. The most common feature of b-boy music exists in musical breaks, or compilations formed from samples taken from different songs which are then looped and chained together by the DJ. The tempo generally ranges between 110 and 135 beats per minute with shuffled sixteenth and quarter beats in the percussive pattern. History credits DJ Kool Herc for the invention of this concept[21]:79 later termed the break beat.

[edit] Gender inequality



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Seorang Breakers sedang melakukan handstand
Breakdance, breaking, b-boying atau b-girling adalah gaya tari jalanan yang muncul sebagai bagian dari gerakan hip hop di antara African American dan anak muda dari Puerto Rico yang dilakukan di bagian selatan New York City yang brutal pada tahun 1970. Pada Umumnya tarian ini diiringi lagu hip hop,rap, atau lagu remix (lagu yang di aransemen ulang).
Seorang breakdancer, breaker, b-boy atau b-girl adalah orang yang memainkan gerakan breakdance.

Daftar isi


[sunting] Asal Mula: Dari Jalan Menjadi Tarian

Breakdancer sedang melakukan gerakan turtle.
One of the major breakdance street culture pushes was Michael Jackson's Robot dance, first performed on television in 1974. The performance received a large following with many later breakdance pioneers further popularizing breakdance in the late 1970s.
Breakdance mulai menunjukan geliatnya ketika DJ Koll Herc mulai menghasilkan musik yang sedikit berbeda dengan musik-musik pada zaman dulu. Sebuah musik Hip Hop dengan beat yang patah-patah atau biasa disebut dengan break beat yang berjasa dalam menghasilkan musik yang dapat menginspirasi para breaker menciptakan gaya-gaya yang atraktif dan unik. Selain sebagai DJ yang menciptakan sebuah musik yang sangat pas untuk breakdance, Koll Herc juga termasuk salah satu senior di dunia musik Hip Hop. yang pada saat itu rela menjadikan tempat tinggalnya sebagai markas untuk komunitas ini.
Michael Jackson adalah orang yang mendorong pertumbuhan Breakdance. Michael Jackson mulai memperkenalkan robot dance atau gerakan yang menyerupai robot pada lagu-lagu yang dibawakannya pada tahun 1974 di penampilan perdananya di televisi. Selain itu, di setiap penampilannya Michael Jackson juga selalu membawakan berbagai macam gerakan yang cukup melegenda, salah satunya ialah moon-walk. Michael Jackson juga selalu menemukan tarian-tarian baru yang membuat siapa saja yang melihatnya langsung penasaran dan mencoba mengikuti gerakan yang dibawakannya. Pada saat itu memang hanya Michael Jackson yang cukup melegenda dengan tarian-tarian yang langsung menyebar seperti virus dan membuat orang-orang berusaha mengikuti gerakan-gerakan yang dibawakanya.
Jika dilihat lebih jauh, jenis tarian ini telah lahir jauh sebelum Michael Jackson tampil di pertunjukan yang menghebohkan dengan robot dance-nya tersebut. Sang legenda musik Funk James Brown telah menunjukan sebuah tarian yang sedikit banyak juga memiliki gerakan yang mirip dengan breakdance.
Perkembangan jenis tarian yang satu ini pun sangat pesat, bahkan beberapa komunitas di Amerika mulai terbentuk. Pada tahun 1980'an, breakdance sudah menjadi seperti fashion di Amerika. Hampir di setiap malam di beberapa bagian kota terdapat beberapa komunitas yang saling menunjukan kebolehannya dalam melakukan jenis tarian ini, walau tidak sedikit yang berujung pada keributan. Cara mereka berkompetisi memang sangat mirip dengan freestyle yang biasa ditemukan pada musik Hip Hop. Tidak hanya di jalan-jalan saja tarian ini ditemukan, karena club dan party pun menjadi lahan empuk bagi para breaker untuk menunjukan kebolehannya.
Setelah sempat menjadi "sampah" di beberapa tempat umum tersebut, akhirnya breakdance mulai menunjukan kelasnya. Pada akhir tahun1980, mulai banyak kompetis breakdance yang resmi bermunculan dan Battle Of The Year merupakan salah satu kompetisi yang sangat berkelas. Kehadiran kompetisi ini langsung diikuti dengan berbagai kompetisi lainnya yang seara tidak langsung mengangkat kelas jenis tarian ini.

[sunting] Tarian

Seorang Breaker dalam posisi downrock.
Toprocks menampilkan gerakan yang membtuhkan fleksibilitas, gaya , dan yang paling penting irama. Tarian ini biasa digunakan pada awal pertunjukkan sebagai pemanasan beberapa gaya akrobatik lain. Dowrock biasanya ditampilan dengan posisi tangan dan kaki pada lantai. Pada downrock, seorang breaker menampilkan perputaran tubuh dengan kecepatan kaki dan kontrol dengan cara mengkombinasi gerakan kaki. Kombinasi ini akan menampilkan gaya yang disebut power moves;;
adalah gerakan populer daripower move.]]
Power Move adalah gerakan yang membutuhkan momentum dan kekuatan fisik untuk menjalankannnya. pada power move, breaker lebih bergantung pada kekuatan tubuh bagian atas untuk menari, menggunakan tangan untuk bergerak. Power Move terdiri dari Windmill, Swipe, dan Flare. Beberapa gerakan meminjam dari bela diri seperti buttertfly kick.
Sebuah gaya handstand dengan satu tangan ,biasanya digunakan sebagai bagian freeze.
Freeze adalah menahan gerakan dengan pose yang bagus. Semakin sulit freeze, membutuhkan kekuatan tubuh breaker untuk menahan dirinya, dengan pose seperti Handstand .
Suicide adalah tarian penutup sebagai kebiasaan breaker. Breaker akan membuat dirinya terhilat kehilangan kendali dan jatuh dengan punggung, perut, dll. Semakin sakit penampilan suicide terlihat, semakin bagus tarian tersebut, tetapi breaker akan melakukannya dengan sebuah trik untuk mengurangi sakit. Biasanya tarian ini juga digunakan untuk menarik penonton setelah gerakan freeze.
Pertandingan kompetisi antar breaker dilakukan di arena terbuka(pada panggung atau sebuah lapangan). Pemenang ditentukan dari kombinasi dari berbagai variasi gaya.

[sunting] Pada budaya Pop

Sebuah kartun memperagakan Breaker yang melakukan gerakan freeze, di sebelah tape.
Walaupun, breakdance dimulai pada golongan muda di gang jalanan. Sekarang, budaya breakdance menjadi sebuah disiplin yang baru di antara penari dan atlet. Budaya breakdance sekarang bebas dipelajari oleh ras, jenis kelamin , umur apa saja dan diterima secara mendunia.

[sunting] Pandangan Dunia

[sunting] Musik

Musik menjadi salah satu elemen penting dalam breakdance, karena para breakers tentu tidak akan bisa menari tanpa musik. Bahkan kadang-kadang musik-musik yang seru dapat menjadi sebuah inspirasi tersendiri bagi para breakers ini. Musik-musik dengan irama break beat merupakan menu wajib di sini, yaitu dengan campuran musik-musik lain seperti Jazz, Soul, Funk, Electro, Electro Funk, Disco, Hip Hop, sampai R&B. Musik-musik ini tidak dibiarkan murni begitu saja, karena ada DJ yang bertugas mengolah musik tersebut sehingga akan terdengar sangat serasi dengan gerakan-gerakan yang ada.
Tempo pada musik yang dimainkan disini berkisar antara 110 hingga 135 beats per minute (BPM), sedangkan di Eropa untuk urusan musik memang sedikit berbeda jika dibandingkan dengan Amerika. Kalu di Amerika para breakers menggunakan black music untuk mengiri tarian mereka, maka Eropa memilih jenis musik electronica dan rock untuk mengiringi mereka. Musik yang berbeda tersebut menjadi sebuah warna tersendiri di dunia ini, dan gerakan-gerakan yang mereka mainkan pun terlihat lebih extreme dibandingkan dengan gerakan para breakers yang menggunakan musik-musik pada umumnya.

[sunting] Fashion

Breaker sedang melakukan headstand.
Bagi para breakers, selain musik, fashion atau wardrobe juga bagian yang sangat penting, karena menurut mereka fashion merupakan identitas diri mereka sendiri. Breakers pada tahun 1980'an memilih brand Adidas, Puma atau Fila untuk sepatu yang mereka gunakan, karena sepatu dari brand ini memiliki tingkat kelenturan yang sangat nyaman dan cukup menunjang mereka dalam melakukan gerakan-gerakan pada tarian ini. Beberapa breakers bahkan sengaja menggunakan topi, t-shirt dan sepatu dengan brand yang sama sehingga terlihat lebih serasi. Sebagai aksesori tambahan beberapa Breaker membawa tape sebagai pemutar musik. Pada akhir-akhir ini para b-boys juga sering mengenakan kostum seperti b-boys pada era tahun 80'an, karena fashion para b-boys pada tahun tersebut benar-benar sangat nyaman dan cukup sederhana, sehingga mempermudah ruang gerak mereka.
Selain identitas dari para b-boys, ternyata beberapa atribut yang mereka gunakan ini juga memiliki fungsi ganda, yaitu sebagai pelindung ketika mereka melakukan gerakan-gerakan yang cukup extreme. Walaupun berfungsi sebagai pelindung, namun tetap saja bagian dari fashion ini sangat menarik untuk diperhatikan dan tentunya tetap menunjang fashion dari para b-boys tersebut. Headwear seperti helm skateboard atau topi menjadi pelindung kepala mereka ketika melakukan gerakan headspins (berputar dengan kepala sebagai tumpuan dan kaki diatas). Selain itu bandana yang mereka kenakan pada kening mereka juga berguna untuk menahan rambut mereka sehingga tidak menutupi mata mereka ketika sedang menari.
Jika pada umumnya kita melihat dandanan para b-boys sangat mirip dengan dandanan para jamers atau skateboarder, Anda tidak perlu heran jika melihat para b-boys dengan dandanan a la punk atau gothic sekalipun, karena sebenarnya hal itu sah-sah saja, karena fashion-lah yang menjadi identitas mereka.
Indonesia pun nampaknya tidak kalah dalam jenis tarian ini. Beberapa breakers di Indonesia juga pernah menjuarai kompetisi-kompetisi breakdance yang diadakan di luar negeri. Perkembangan breakdance di sini pun bisa dibilang cukup pesat, namun sayangnya beberapa breakers masih kurang dalam urusan penampilan , seperti pemilihan tempat yang salah untuk melakukan gerakan-gerakan anehnya, entah karena ingin pamer atau memang tidak ada tempat lagi.

[sunting] Breakdance sebagai tarian rakyat

Ada beberapa akademisi yang tertarik apakah Breakdance bisa disebut sebagai tarian rakyat. Yang pada aslinya berasal dari Angola yang dibawa ke Brazil melalui perdagangan budak.

asal mula break dance juga dari tarian bela diri dari brasil yaitu CAPOERA

[sunting] Ekspos media

Pada 1980, dengan bantuan budaya pop dan MTV, breakdance dibawa dari Amerika menuju bagian dunia yang lain sebagai fenomena budaya yang baru. Musisi seperti Michael Jackson populer karena beberapa gaya breakdance di video musik, dan film seperti Flashdance, Wild Style, Beat Street, Breakin', dan Breakin' 2: Electric Boogaloo yang juga mendukung penampilan breakdance. Sekarang, banyak b-boy dan b-girl tidak senang media karena perubahan fokus breakdance untuk uang dan berlebihan menggunakan power move. Breakdance juga di buat pada dokumenter film: The Freshest Kids: A History of the B-Boy, film ini merekam budaya, asal, perubahanm dan gaya-gaya breakdance diiringi musik Hip Hop.

[sunting] Kontroversi

Dengan tujuan rekreasi dan hiburan, tarian ini tidak mempunyai perdebatan atau kontroversi.

[sunting] Asosiasi Geng

Orang sering menyatakan bahwa breakdance menggantikan pertarungan antara geng jalanan, karena beberapa percaya sebuah konsepsi yang salah mengenai b-boy yang memainkan peran mendamaikan persaingan antar geng. Keributan antar geng kelihatannya menjadi sebuah kontroversi pada awal sejarah breakdance.

[sunting] Resiko Cedera

Breakdance mempunyai risiko cedera karena terlalu banyak berlatih atau tanpa pengawasan profesional. Breaker pemula harus berlatih dengan pengawasan profesional untuk mengurangi risiko cedera.

[sunting] Rujukan

[sunting] Referensi