![]() ![]() The article first contextualizes Hip-Hop studies in Hawai‘i and emphasizes heretofore overlooked spatial dimensions of ethnicity and race through the case study of The Monarchy dance competition (2007), Oʻahu’s largest Hip-Hop dance event. In Oʻahu, Hawai‘i, youth simultaneously engage local, native Hawaiian, and Filipino referents, while navigating tensions around authenticity and competition shared across global Hip-Hop cultural communities. Hip-Hop, especially its dance culture, is a tremendous vehicle of identity formation and collective belonging for colonized and disenfranchised youth in the contemporary period. I argue that the perception of breakdancing as a ' false ' representation of b-boying serves as a bar against which b-boys and b-girls in Montreal can measure their own or their peers' performance of the dance form and commitment to hip-hop culture. Finally, I investigate the notion of ' the realness'- or artistic and cultural authenticity in b-boying. I introduce the term 'self-as-dancing-body' to discuss this unique manifestation of social identity that is constructed and performed through participation in a dance practice and community. Next, I draw from George Mead's theory of self-as-object and self-as-process, as well as Pierre Bourdieu 's notion of habitus, to argue that b-boying is not a dance form per se, but rather an expression of identity through dance practice. First, l present the structural and stylistic differences between b-boying as it is practised in Montreal, and breakdancing as it is represented in Hollywood movies and instruction manuals produced from 1982 to 1986. l follow the grounded theory approach as described by Kathy Charmaz, and draw from Suzanne Youngerman' s approach to dance analysis to develop a conceptual frame work that explores the choreological, sociological, and symbolic elements of these two dances. I employ a methodological approach known as grounded theory ethnography, and use qualitative interviews, participant observation, artifact collection, literature review, and movement notation inspired by Laban Movement Analysis and Alien Ness' 5 Elements of Battle Style to explore how dancers in Montreal, Quebec (Canada) feel their embodied dance experience of 'b-boying' differs from commercial representations of 'breakdancing' from the 1980s. 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.This empirical study investigates 'b-boying', the original dance form of hip-hop culture, focusing specifically on how it differs from popular representations of 'breakdancing'. B-boying is typically danced to hip-hop, funk music, and especially breakbeats, although modern trends allow for much wider varieties of music along certain ranges of tempo and beat patterns.Ī practitioner of this dance is called a b-boy, b-girl, or breaker. While diverse in the amount of variation available in the dance, b-boying consists of four kinds of movement: toprock, downrock, power moves, and freezes. The dance spread worldwide due to popularity in the media, especially in regions such as Canada, France, Germany, Japan, Russia, South Korea and the United Kingdom. ![]() If you like a challenge this class is for you!ī-boying or breaking, also called breakdancing, is a style of street dance that originated primarily among Puerto Rican and African American youths (many of them former members of the Black Spades, the Young Spades, or the Baby Spades) during the mid-1970s in the Bronx. ![]() Cyphers, Battles, Power are terms you will learn. This class will teach you the necessary skills to take your freestyle to the next level. This high paced class will challenge you musically and physically as you learn the fundamentals of the bboy culture. ![]()
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