“Breakdance”: The Basics
If you’re reading this, you’ve probably heard that breaking (“breakdance”) is going to be in the Paris 2024 Olympics. Maybe you’re a dancer who wants to know what breaking really is, or maybe you just like learning about niche topics on the internet.
Whatever your motive is, this article is here to help.
The following introduction to breaking aims to establish a basic understanding of the dance form’s technical vocabulary. After reading, you’ll be able to recognize breaking when you see it.
First, let’s use the term “breaking” instead of “breakdance.” Mainstream media coined the name “breakdance” in the 1980’s, and the term has been commonly used to refer to a range of distinct dance styles since then.
The specific style we’ll be dealing with is called b-boying, breaking, or breakin’: “The dance style originated primarily among Puerto Rican and African American youths…during the mid-1970s in the Bronx” (Wikipedia).
“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.”
-Richard “Crazy Legs” Colon
The dance was originally performed to “Afro-Latin-influenced funk songs, discovered and popularized by hip-hop’s pioneering DJs such as Kool Herc and Afrika Bambaataa” (NPR), specifically the percussion or rhythm sections — the breaks.
Particular songs have become anthems among b-boys and b-girls, and they still dance to these songs around the world to this day. The song below is one of these anthems. Note the funk characteristics, the syncopated beat, and of course, the breaks.
There is much more depth to the history and music, but that’s enough context for now. For now, we will focus on the fundamental vocabulary of breaking and its defining traits.
(If you’re interested in learning more about b-boy history, I recommend reading “Foundation” by Joseph G. Schloss, and watching “The Freshest Kids”, produced by Eric Jones and Quincy Jones III. If you’re short on time, watch this video by Vox first, and then go clear out your schedule for Foudnation and The Freshest Kids.)
So we’ve arrived at the central question: What does breaking look like? Or as people have asked me more times than I’d like, “Can you spin on your head?”
Breaking technique is traditionally composed of four elements: toprock, downrock, power moves, and freezes. However, the modern incarnation of the dance often includes techniques that are difficult or even impossible to categorize, especially at the highest skill levels. Also, individuality and self expression are core concepts in breaking, which means that the same move can look completely different when two different dancers perform it. Nonetheless, knowing the 4-element framework is a solid start to understanding what breaking involves.
Let’s get it started with the first part. Toprock is performed in an upright position, and is often the type of move that a b-boy/b-girl will start a sequence with. Common influences in toprock include salsa, traditional Native American dances, and the signature moves of James Brown. An easy way to remember toprock’s definition is to think of a dancer “rocking” their body up “top,” or while standing. Rock up top — toprock.
(Note: Uprock is not the same thing as toprock. Uprock, or rocking/rock dance, is visually similar to some toprock techniques, but came before breaking and is an entire dance style in itself.)
Although the focus of the dance has generally shifted towards more physically demanding techniques, toprock is still an integral part of breaking. Qualities like strength and flexibility can certainly be seen in toprock, but attitude, musicality, and other non-physical qualities are its defining traits.
Below are two simple steps are among the most common toprock techniques in the b-boy repertoire. Speaking from personal experience, these moves are strangely addicting to do. Perhaps they hold the same appeal for breakers worldwide.
The second section of the 4 part framework is downrock. As opposed to the upright toprock, downrock is usually performed with not only the feet, but other body parts, on the ground. Typically, “other body parts” refers to one or both hands.
Footwork is a major — and at one time, the only — subcategory of downrock, and is characterized by sequences of circular steps with the hands and/or feet supporting the body. While other body parts are sometimes used in footwork, the bulk of it is strictly performed on the hands and feet only.
“What made breaking significant was the circular footwork motions…Rapid circular footwork motion, to me, is the core of breaking, because it changed visually how people watch dance.”
-Kenny “Ken Swift” Gabbert
Since the 1970’s and 80’s, footwork and downrock has evolved to encompass more types of movement. European b-boys developed a style of footwork that revolved around leg sweeps instead of steps (Strife.tv). Then, floorwork, or floor flows, took this concept of smooth sweeps one step further. Unlike footwork, floorwork often involves the use of the back, stomach, and shoulders. Modern floorwork is like the yin to traditional footwork’s yang: fluid rolls and slides versus sharp kicks and steps.
At times, floorwork blurs the lines between downrock and the next category on our list: power moves. Power moves have by far the most mainstream exposure, thanks to the dynamic quality and physical prowess that they display. The Wikipedia page for Breakdancing actually makes an accurate observation here: “The breaker is generally supported by his upper body while the rest of his body creates circular momentum.”
You might think that upper body strength is the main requirement for power moves. Strength is a factor, but core and leg control is crucial. Whether the move is performed on the hands, head, shoulders, or back, the hips and legs are always leading the way. The following examples of power moves show the importance of the hips and legs in generating that distinctive rotation.
Today’s b-boys and b-girls are devising new power moves and stringing them together in ways that 70’s b-boys never would have dreamed of. One question you might have here is: Are flips power moves? The answer is no. Despite being powerful in their own way and used often by b-boys, tumbling techniques like the aerial cartwheel and back tuck are not considered power moves when it comes to breaking.
As it has always been, the key concept of power moves is balancing on the upper body while creating circular momentum, and thereby the impression of speed, dexterity, and…power.
Each of the three categories of breaking techniques we’ve covered far has emphasized motion. The fourth category, freezes, is different in that regard. As you might’ve guessed from the name, freezes are stationary poses that are often used to conclude sequences of movement.
Freezes can include a wide range of poses, from balancing on one hand, to lying down, to even standing up in some cases. As with toprock, downrock, and power moves, freezes have evolved from the early days of breaking.
These are a few positions that many common freezes are based on: stab, headstand, and handstand. The stab isn’t nearly as risky as it sounds — the name refers to the placement of the elbow into the abs or side, a position that can bear weight comfortably with enough practice. Following are examples of stab, headstand, and handstand-based freezes, respectively.
Freezes are impressive enough in photos, and the moves look even better in person. The contrast between stillness and motion is what makes a freeze so eye-catching. These moves are also great tools for dancing to the music, as shown in the video below.
If you’ve read this far, congratulations! You now know about the fourmain parts of breaking.
However, we’ve only scratched the surface of breaking, its history, and its current incarnation. Check out my other articles about core values and focus areas of modern breaking. I also write about competitive breaking scene, as well as lessons from breaking that can be applied to other areas of life or vice versa.
Feel free to reach out if you have any questions/comments. Follow me on Instagram @glissando for the latest updates, and please share to spread the knowledge. Peace!
