Hip-hop dance

Hip-hop dance refers to social or choreographed dance styles primarily danced to hip-hop music or that have evolved as part of hip-hop culture. This includes a wide range of styles notably breaking, locking, and popping which were developed in the 1970s by Black and Latino Americans. What separates hip-hop dance from other forms of dance is that it is often freestyle (improvisational) in nature and hip-hop dancers frequently engage in battles—formal or informal freestyle dance competitions. Informal freestyle sessions and battles are usually performed in a cipher, a circular dance space that forms naturally once the dancing begins. These three elements—freestyling, battles, and ciphers—are key components of hip-hop dance.

More than 30 years old, hip-hop dance became widely known after the first professional breaking, locking, and popping crews formed in the 1970s. The most influential groups are the Rock Steady Crew, The Lockers, and the Electric Boogaloos who are responsible for the spread of breaking, locking, and popping respectively. Parallel with the evolution of hip-hop music, hip-hop dancing evolved from breaking and the funk styles into different forms: moves such as the "running man" and the "cabbage patch" hit the mainstream and became fad dances. The dance industry in particular responded with studio/commercial hip-hop, sometimes called new style, and jazz funk. These styles were developed by technically trained dancers who wanted to create choreography for hip-hop music from the hip-hop dances they saw being performed on the street. Because of this development, hip-hop dance is now practiced at both studios and outside spaces.

Internationally, hip-hop dance has had a particularly strong influence in France and South Korea. France is the birthplace of Tecktonik, a style of house dance from Paris that borrows heavily from popping and breaking. France is also the home of Juste Debout, an international hip-hop dance competition. South Korea is home to the international breaking competition R16 which is sponsored by the government and broadcast every year live on Korean television. The country consistently produces such skillful b-boys that the South Korean government has designated the Gamblerz and Rivers b-boy crews official ambassadors of Korean culture.[1]

To some, hip-hop dance may only be a form of entertainment or a hobby. To others it has become a lifestyle: a way to be active in physical fitness or competitive dance and a way to make a living by dancing professionally.

Contents

Main styles

This list gives a general overview of the main hip-hop dance styles: breaking, locking, and popping. Theses styles are the oldest and most established of all the hip-hop dances. They have achieved worldwide notability, are durably archived on film, and are the most commonly exercised in international competitive hip-hop dancing.

A b-boy in an airchair freeze at Street Summit 2006 in Moscow.

Breaking/B-boying

Main article: B-boying

Breaking was created in the Bronx, New York during the early 1970s. While Black Americans are responsible for creating breaking it was the Latinos that kept the momentum of breaking alive when it was considered "played out" in the late '70s.[2][3] It was Afrika Bambaataa that classified breaking as one of the five pillars of hip-hop culture along with MCing, DJing, graffiti writing, and knowledge.[4][5][6] Due to this status, it is considered the purest form of hip-hop dance. Breaking includes four foundational dances: toprock, footwork oriented steps performed while standing up; downrock, footwork performed on the floor using the hands to support your weight;[note 1] freezes, stylish poses done on your hands;[note 2] and power moves, difficult and impressive acrobatic moves.[note 3] In breaking, a variation to the traditional cipher is the Apache line. Ciphers work well for one-on-one b-boy battles; however, Apache lines are more appropriate when it is crew versus crew. In contrast to a cipher, opposing crews can face each other in this line formation and execute their burns. In 1981 the Lincoln Center in New York City hosted a breaking battle between the Rock Steady Crew and The Dynamic Rockers.[10] "This event, which was covered by the New York Times, the Village Voice, the Daily News, National Geographic, and local news stations helped b-boying gain the world’s attention."[11]

Locking

Locking, originally called Campbellocking, was created in Los Angeles by Don Campbell and introduced to the country by his crew The Lockers. Locking looks similar to popping and thus frequently gets confused with popping. In locking a dancer holds their positions longer. The lock is the primary move used in locking. It is similar to a freeze or a sudden pause. A locker's dancing is characterized by consistently locking in place and after a quick pause moving again.[12] It is incorrect to call locking pop-locking.[12][13] Popping and locking are two distinct funk styles with their own histories, their own set of dance moves, and their own competition categories. A dancer can do one or the other but not both at the same time.[12] It was only after seeing The Lockers perform on TV that a young Boogaloo Sam was inspired to create popping and electric boogaloo.[14] The Lockers were composed of a prior smaller group of lockers and robot dancers.[15][11] Other than Don Campbell, the original members were Fred "Mr. Pinguin" Berry (Rerun on the 1970s TV sitcom What's Happening!!), Leo "Fluky Luke" Williamson, Adolpho "Shabba Doo" Quinones, Bill "Slim the Robot" Williams, Greg "Campbellock Jr" Pope, and Toni Basil—the group's manager.[15][16] In honor of her instrumental role in giving locking commercial exposure, Basil was honored at the 2009 World Hip Hop Dance Championships as the first female recipient of the Living Legend Award.[17]

Popping

A popper dancing at Solntsevo industrial building in Moscow.

Popping was created by Sam Solomon in Fresno, California and performed by his crew the Electric Boogaloos. It is based on the technique of quickly contracting and relaxing muscles to cause a jerk in the dancer's body, referred to as a pop or a hit. Each hit should be synchronized to the rhythm and beats of the music. Popping is also used as an umbrella term to refer to a wide range of 10+ other closely related illusionary dance styles such as strobing, liquid,[18] animation, and waving that are often integrated with standard popping to create a more varied performance. In all of these sub-genres it appears to the spectator that the body is popping hence the name. The difference between each sub-genre is how exaggerated the popping is. In liquid the body movements look like water. The popping is so smooth that the movements do not look like popping at all; they look fluid.[18] The opposite of this is ticking in which the movements are static, sudden, and jerky.[19]

Popping—as an umbrella term—also includes gliding, floating, and sliding[18][note 4] which are lower body dances done with the legs and feet. When done correctly a dancer looks like they are gliding across the floor as if on ice.[note 5] Opposite from gliding is tutting which is an upper body dance that uses the arms, hands, and wrists to form right angles and make geometric box-like shapes. Sometimes the arms are not used at all and tutting is only done with the wrists, hands, and fingers. In both variations, the movements are intricate and always use 90° angles. When done correctly tutting looks like the characters on the art of ancient Egypt hence the name—a reference to King Tut.

"While Sam was creating popping and [electric] boogaloo, others were creating and practicing unique styles of their own. Back in the day many different areas in the west coast were known for their own distinct styles, each with their own rich history behind them. Some of these areas included Oakland, Sacramento and San Francisco."

The Electric Boogaloos[14]

While popping as an umbrella term is popularly used by hip-hop dancers and in competitive hip-hop dancing, Popin' Pete of the Electric Boogaloos disagrees with the use of the word "popping" in this way. He states "There are people who wave and there are people who tut. They’re not popping. I say this to give the people who created other styles their just dues and their props."[12] Many of these related styles (animation, strobing, tutting, etc.) can not be traced to a specific person or group. The Electric Boogaloos themselves acknowledge this (see quote box). Other styles may have influences earlier than hip-hop. Earl "Snake Hips" Tucker was a professional dancer in the 1920s who appeared in the film Symphony in Black and performed at the Cotton Club in Harlem.[11][20] Because hip-hop did not exist in the '20s his style was considered jazz but his "slithering, writhing" movement foreshadowed modern waving and sliding[21] (see external link videos).

International competitions

There are several international hip-hop dance competitions. Most of these competitions have regional tournaments limited to a specific country or continent. These tournaments not only offer crews or soloists a regional title but also serve as qualifying rounds for the final international championship.

Impact

Hip-hop novelty and fad dances are popularized dance moves rather than dance styles that are often performed at parties. Many of these fad dances were created by musical artists such as MC Hammer, who created the Hammer dance, and Digital Underground, who created the Humpty dance. The Hammer dance and the Humpty dance were nationally known dance moves that became wildly popular and then faded as the song they were associated with lost popularity. Other examples include Harlem shake, Soulja boy, Aunt Jackie, the Shoulder Lean, and the snap dance.

Tecktonik is a style of dance combining vogue, breaking (toprock), and popping (waving) that started at the Metropolis nightclubs in Paris, France.[40] Like hip-hop dance, it is associated with urban youth and tecktonik dancers do engage in battles both on the street and in the clubs[40] but due to its music and club origins, this style is more appropriate under the house dance category.

Aside from the party scene, hip-hop dance has established itself on the Internet through social networking. Websites such as DanceJam and West Coast Poppin were created specifically for dancers to create profiles and interact. West Coast Poppin is focused toward poppers and lockers while DanceJam is inclusive of all hip-hop dance styles. Dance Jam was founded by Geoffrey Arone, Anthony Young, and MC Hammer in 2008.[41] Their website hosts online dance battles and posts online tutorials on how to do popular hip-hop dance moves. The Legion of Extraordinary Dancers is a web series that portrays hip-hop dancers as super heroes.[42] Each character has a specific dance talent ranging from krumping, tutting, breaking, boogaloo, locking, popping, tricking, and ballet.[42][43] Advertising Age gave the series good reviews stating "...each episode of 'LXD' packs a wealth of narrative sophistication into its eight or nine minutes. Combine this with the theater-worthy production values and a cast that exerts itself to an ungodly extent, and the end result is -- pun time! -- extraordinary."[44] The series premiered July 7, 2010 on Hulu.

Dance crews

As stated earlier, a dance crew is a group of street dancers who get together and create dance routines. As hip-hop culture spread throughout New York, the more breaking crews got together to practice and battle with each other. It was during this time that the different dance moves within breaking would develop organically.[45][note 7] The same can be said about different dance moves within the funk styles and – in the '90s – with krumping. Being a part of a crew was the only way to learn when these styles began. Forming and participating in a dance crew is how you practiced, improved, made friends, and built relationships. In the beginning, crews were neighborhood-based and would engage in battles in their respective cities. Today, crews can battle in organized competitions with other crews from around the country and around the world.

Crews still form based on friendships and neighborhoods (ex: Diversity). They also form for a variety of other reasons such as theme (JabbaWockeeZ), gender (Beat Freaks), ethnicity (Kaba Modern), and dance style (Krump Kings). Crews are not exclusive. It is common for dancers to be involved in more than one crew, especially if one particular group is style specific (popping-only for example) and a dancer wants to stay well-rounded.[note 8] Furthermore, dance crews are not just formed within the hip-hop context anymore. The FootworKINGz is a dance crew that performs footwork, a style of house dance, and Fanny Pak does contemporary.

Although dance crews are more prevalent in hip-hop, dance companies do exist in both the United States and abroad. Examples include Culture Shock (USA), Lux Aeterna (USA),[note 9] Boy Blue Entertainment (UK), Bounce Streetdance Company (Sweden), 2Faced Dance (UK), Funkbrella Dance Company (USA), Blaze Streetdance Company (Neth), and Zoo Nation (UK).[note 10]

Dance industry

"Street dancing was never ever ever to a count. You do not count a 1,a 2,a 3,a 4, a 5, a 6 to hip hop. It should be a feeling by making noise like "ou" "ah" "aw" "tsi", that's how we count, right there."

Timothy "Popin Pete" Solomon;
The Electric Booglaoos[49]

The dance industry responded to hip-hop dance by creating a more commercial version of it. This "studio hip-hop", sometimes called new style is seen in most rap and R&B music videos and concerts. From the point of view of someone deeply immersed in hip-hop culture, anything that looks like hip-hop dance that did not come from the streets is not a true hip-hop dance form. In an interview with Dance magazine, hip-hop dance teacher Emilio "Buddha Stretch" Austin, Jr explains how he sees it:

"There are a lot of jazz dancers out there doing pseudo hip hop. A lot of teachers don't know the history, they're just teaching the steps. They're learning from videos, but they don't know the culture. If all you see is Britney Spears, you think that's hip hop, but that's never been hip hop. It's completely watered down. And studios could [sic] care less, because hip hop is one of their biggest moneymakers."[50]

Many people echo this sentiment, as stage performance can restrict the free flowing process of improvization which defined hip-hop dance early in its development.[51][52] Also meshing different dance styles together dissolves their structures and identities.[51]

From a technical aspect, hip-hop dance (new style) is characterized as hard-hitting involving flexibility and isolations—moving a certain body part independently from others.[53] The feet are grounded, the chest is down, and the body is kept loose so that a dancer can easily alternate between hitting the beat or riding through the beat. This is in contrast to ballet or ballroom dancing where the chest is upright and the body is stiff. In addition, new style hip-hop is very rhythmic and emphasis is placed on musicality—how sensitive your movements are to the music—and being able to freestyle.

Another style the dance industry created was jazz funk. Jazz funk (also called street jazz) is a hybrid of hip-hop and jazz dance.[18] This style is used by artists like Beyoncé.[18] Although it borrows from hip-hop dance, it is not considered a style of hip-hop because the foundational movements are jazz. In hip-hop – even in lyrical hip-hop – there are no pirouettes or arabesques and you do not dance on releve’ (on the balls of the feet). However, these methods are used in jazz funk and in jazz dance in general.[18] Dance studios responded to these new styles by hiring technically trained dancers and offering hip-hop (new style) and jazz funk dance classes. Large scale studios around the world that teach hip-hop and jazz funk dance classes include Millennium (LA),[note 11] Broadway Dance Center (New York), Edge Performing Arts Center (LA), Pineapple Studios (London), The Vibe – The International Hip Hop Dance Center (Oslo, Norway), Boogiezone (LA),[note 12] Debbie Reynolds (LA), Sunshine Studios (Manchester), DREAM Dance Studio (Canada), and Ones to Watch (Japan & Hong Kong).

Other developments in the industry came about in response to the growing popularity of hip-hop dance. On the traveling convention circuit there were tap, ballet, and jazz dance conventions but there were none specifically for hip-hop. The same void also translated to dancewear. There was dancewear for tap, ballet, and jazz dancers but none for hip-hop dancers. Monsters of Hip Hop and Nappytabs dancewear were formed to cater to both needs. Monsters of Hip Hop is the first all hip-hop dance convention. It was founded in 2003 in Baltimore by Andy Funk, his wife Becky, and her sister Angie Servant.[54] The convention now travels to multiple US cities and to Mexico.[55] Its faculty roster includes Dave Scott, Teresa Espinosa, and Marty Kudelka among others. Nappytabs is the first line of dancewear made specifically for hip-hop dancers.[56] Because Nappytabs is made for the urban dance community they do not sell leotards/unitards, tights, or leg warmers. Their line consist of tanks, b-ball shorts, t-shirts, sweats, and hoodies. In 2009 they were endorsed by Beat Freaks—the runner-up on season three of America's Best Dance Crew.[57]

Lyrical hip-hop

Lyrical hip-hop is a fluid and more interpretive version of new style hip-hop most often danced to downtempo rap music or R&B music. Choreographer Kate Prince describes it as "hip-hop with emotion".[58] It focuses more on choreography and performance and less on freestyles and battles. Lyrical hip-hop first gained mainstream exposure, and its name, on season 4 of the reality dance competition So You Think You Can Dance.[59] The actual term has been credited to Adam Shankman, a choreographer and judge on the program, who made a comment in reference to a routine choreographed by Tabitha and Napoleon D'umo to Leona Lewis' "Bleeding Love".[59]

"The great thing about this show is that we've really explored a totally new thing which is lyrical hip-hop and [Tabitha and Napoleon] nail it. This show has shown that hip-hop is just a completely legitimate beautiful genre in and of its own and you can tell such beautiful and heart breaking stories."

Adam Shankman [60]

Due to Shankman's comment and their subsequent work on seasons 4 and 5, Tabitha and Napoleon are often credited with developing this style.[61][62][63][64][65][66] According to Dance Spirit magazine what differentiates lyrical hip-hop from standard new style hip-hop is that dancers interpret the beat differently.

What makes lyrical hip hop unique is that your dance movements have to tell a story to the lyrics of a song. Expect isolations (especially of the chest), slow, fluid movements (like gliding and body waves) and contemporary-inspired turns (but not pirouettes). There’s popping, but not the hard-hitting kind. Dancers are meant to look like they’re unwinding, unraveling and floating.[59]

Some hip-hop purists feel the interpretive and softer style means it is not hip-hop at all.[59] Others, such as hip-hop choreographer Shane Sparks, feel that it is hip-hop but not different enough for it to be in its own genre.[59] Out of all the sub genres of hip-hop dance, lyrical hip-hop is the newest. Although Tabitha and Napoleon are known for this style, other choreographers have created lyrical hip-hop pieces on sister So You Think You Can Dance versions in Poland,[67] Norway,[68] and the United Kingdom.[58][69]

Entertainment

Breaking started becoming a form of entertainment shortly after its birth in the '70s. The first hip-hop films Wild Style and Beat Street were made in the early '80s. Wild Style was the first movie centered around hip-hop culture; however, Flashdance was the first Hollywood film to feature breaking.[note 13] The movies Breakin and Breakin 2: Electric Boogaloo, also released in the '80s, introduced the funk styles to the big screen. The new millennium produced The Freshest Kids, Honey, You Got Served, Step Up 2: The Streets, How She Move, B-girl, and Planet B-Boy. Rize, The Heart of Krump, and Shake City 101, also released after the new millennium, are documentaries about krumping and the street dancers who developed it. These movies/documentaries are all examples of films where the plot and theme surround hip-hop dance and how it affects the characters' lives.

The JabbaWockeez, winners of the first season of America's Best Dance Crew.

Hip-hop dance later moved from cinemas to the television. Early dance shows include MTV's The Grind, Dance Fever, Dance 360, and The Wade Robson Project. America's Best Dance Crew (ABDC) is a reality hip-hop dance competition on MTV created by Howard and Karen Schwartz, founders of Hip Hop International the organization that runs the USA and World Hip Hop Dance Championships.[31] On the show different crews from across the country compete in dance challenges and battle against each other each week. ABDC has contributed to the exposure of Jabbawockeez, Quest, Kaba Modern, Beat Freaks, Super Cr3w, and SoReal Cru. These crews now have official websites, make club appearances, perform in different locations/competitions, and appear as guests on news programs.

The reality dance competition So You Think You Can Dance (SYTYCD) encourages dancers from all backgrounds, including hip-hop, to compete. It has a similar premise to the American Idol series of singing competitions, with nationwide auditions leading to the discovery of the next big star. "Bringing these styles together in a competition that also features ballroom, ballet, and jazz helps to legitimize hip-hop dance as a serious form of expression."[5] In 2008 poppers Robert "Mr. Fantastic" Muraine and Phillip "Pacman" Chbeeb auditioned during season four. Neither made it to the final "top 20", but the judges were so impressed with their dancing that both were invited back to participate in a popping battle against each other on the show's live finale.[70] Dancing to Kanye West's Stronger Muraine impressed the judges with his fluid mime and contortionist style while Chbeeb responded with quick transformer-like moves. According to Muraine this was the first popping battle that was nationally televised.[70] After the battle Joshua Allen, a hip-hop dancer, was declared the winner of season four of the competition.[71] The same year Mona-Jeanette Berntsen, a hip-hop dancer from Norway, was crowned the winner of the first season of So You Think You Can Dance Scandinavia.[72]

Though hip-hop dancing has managed to establish itself on film and television, it has not gained the same momentum in theater. Two of the earliest hip-hop stage shows were 1991's off Broadway musical So! What Happens Now? and 1995's Jam on the Groove both performed by the Rock Steady Crew, Magnificent Force, and the Rhythm Technicians.[73][74][75] Aside from the pioneers in New York was Rennie Harris' Puremovement hip-hop theater company founded in 1992 in Philadelphia.[76] The company is still active and has toured all over the world showcasing its original works such as March of the Antmen, P-Funk, Endangered Species, Facing Mekka, and Rome & Jewels.[77]

Fitness

Today hip-hop dance is recognized by dancers and trainers alike as an alternate form of exercise. Hip Hop International, the organization that runs the USA and the World Hip Hop Dance Championships, was founded as a subsidiary of Sports Fitness International.[78][note 14] According to Lance Armstrong's health and fitness website LiveStrong.com, hip-hop dancing is particularly helpful in building abdominal muscle:

Many of the hip-hop movements isolate the abs, so this area really gets a good muscle-sculpting workout. There is a great deal of hip rolling, waist and pelvic rolling and popping in hip hop and all of these work the abs. The hip-hop "popping" is a technique that is a quick punch on the emphasis of a beat, many times danced in a combination with arm movements and the abdominal area being "popped" in the same count sequence. Doing these popping movements in repetition is an excellent abdominal workout.[79]

In the mid '90s MTV's The Grind premiered. It was a television program that showcased social hip-hop dancing to rap, R&B, and house music. Due to the show's popularity MTV released two The Grind Workout videos hosted by Eric Neis with assistance from choreographer Tina Landon (Janet Jackson, Ricky Martin).[80][81] In the early 2000s Nike launched an international campaign promoting dance as sport and enlisted the help of choreographer and creative director Jamie King (Madonna) to developed the Nike Rockstar Workout for use in gyms worldwide.[82] He later released a companion workout book and DVD titled Rock Your Body.[82] Other choreographers have used fitness as a platform to promote hip-hop dance as a way to stay in shape. Titles include Darrin's Dance Grooves Vol. 1 – 2, Groovin' with the Groovaloos Vol. 1 – 3, and Breakin' It Down with Laurie Ann Gibson.

Footnotes

  1. ↑ Twins Keith and Kevin Smith are credited with developing downrock.[7][8]
  2. ↑ Robbie Rob from Mighty Zulu Kings invented the chair freeze.[9]
  3. ↑ Head spins, back spins, flares, jackhammers, swipes, and windmills are all examples of power moves.
  4. ↑ The moonwalk is an example of sliding.
  5. ↑ Two regional sub styles that developed out of gliding are jookin' (also called buckin)[18] from Memphis, TN and turfing from Oakland, CA.
  6. ↑ Cico holds the world record in 1990s. A 1990 is a move in which a breaker spins continuously on one hand—a hand spin as opposed to a head spin. Cico broke the record by spinning 27 times.[37][38]
  7. ↑ Crazy Legs invented both the windmill and 1990 b-boy moves by accident.[2]
  8. ↑ Steffan "Mr. Wiggles" Clemente is a member of both the Rock Steady Crew and the Electric Boogaloos.[46]
  9. ↑ Hip-hop dancer Hokuto "Hok" Konishi is a member of both Quest Crew and Lux Aeterna dance company.[47]
  10. ↑ Kate Prince, choreographer on So You Think You Can Dance (UK) is the founder and director of Zoo Nation.[48]
  11. ↑ Out of Millennium's 21 faculty members, 18 are hip-hop or jazz funk dance teachers.
  12. ↑ Boogiezone is actually an online dance community akin to Facebook but for the dance world. There are profiles of both unsigned/unrepresented dancers and crews as well as industry professionals (dancers, club promoters, studios, etc.). Boogiezone.com provides downloadable dance classes and also runs the Boogiezone University, a series of dance conventions, workshops, dance camps, master classes, and one-on-one private lessons.
  13. ↑ Wild Style was produced in New York and independently released.[10]
  14. ↑ Howard Shultz, the president of Hip Hop International, is also the president of Sports Fitness International.[78]

References

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  2. ↑ 2.0 2.1 "Crazy Legs Speaks". Davey D's Hip Hop Corner. eLine Productions. 2001. Archived from the original on 2010-05-28. http://www.webcitation.org/5q4R2fdVC. Retrieved 2009-09-06. 
  3. ↑ Chang 2005, p. 117, 136–137
  4. ↑ Kugelberg 2007, p.17
  5. ↑ 5.0 5.1 Brown, Lauren (February 18, 2009). "Hip to the Game – Dance World vs. Music Industry, The Battle for Hip Hop’s Legacy". Movmnt Magazine. Archived from the original on 2010-05-28. http://www.webcitation.org/5q4R2fdYi. Retrieved 2009-07-30. 
  6. ↑ Chang 2005, p.90
  7. ↑ Edwards, Bob (April 25, 2003). "Profile: Rerelease of the classic hip-hop documentary "Style Wars"". Morning Edition (NPR). 
  8. ↑ Israel (director). (2002). The Freshest Kids: A History of the B-Boy. [DVD]. QD3 Entertainment. 
  9. ↑ Chang 2007, p.118
  10. ↑ 10.0 10.1 Kugelberg 2007, p.59
  11. ↑ 11.0 11.1 11.2 "Hip-Hop Dance History". DanceHere.com. Broadway Dreams. July 7, 2008. Archived from the original on 2010-05-28. http://www.webcitation.org/5q4R2fdYr. Retrieved 2009-07-30. 
  12. ↑ 12.0 12.1 12.2 12.3 Garofoli, Wendy (April 1, 2008). "Urban Legend". Dance Spirit Magazine. Archived from the original on 2010-05-28. http://www.webcitation.org/5q4R2fdWc. Retrieved 2009-10-27. 
  13. ↑ Greg "Campbellock Jr." Pope; James “Skeeter Rabbit" Higgins. "Is PopLocking a valid term?". LockerLegends.net. Archived from the original on 2010-05-28. http://www.webcitation.org/5q4R2fdY1. Retrieved 2009-07-31. 
  14. ↑ 14.0 14.1 "'Funk Styles' History And Knowledge". ElectricBoogaloos.com. 2008. Archived from the original on 2010-05-28. http://www.webcitation.org/5q4R2fdWT. Retrieved 2009-08-24. 
  15. ↑ 15.0 15.1 "The History of Locking". LockerLegends.net. Archived from the original on 2010-05-28. http://www.webcitation.org/5q4R2fdWK. Retrieved 2009-07-30. 
  16. ↑ "The Lockers". TheLockersDance.com. http://www.thelockersdance.com/. Retrieved 2010-08-28. 
  17. ↑ Agpawa, Marirose (2009-08-10). "Just dance: Vegas hosts international competitions". UNLV. Las Vegas: The Rebel Yell. Archived from the original on 2010-05-28. http://www.webcitation.org/5q4R2fdZ0. Retrieved 2009-08-15. 
  18. ↑ 18.0 18.1 18.2 18.3 18.4 18.5 18.6 Freeman, Santiago (July 1, 2009). "Planet Funk". Dance Spirit Magazine. Archived from the original on 2010-05-28. http://www.webcitation.org/5q4R2fdWC. Retrieved 2009-07-30. 
  19. ↑ Croft, Clare (April 10, 2005). "Hip-Hop's Dynamic New Stage". The Washington Post. Archived from the original on 2010-05-28. http://www.webcitation.org/5q4R2fdZ9. Retrieved 2009-10-11. 
  20. ↑ "Drop Me Off in Harlem". Kennedy-Center.org. August 29, 2008. Archived from the original on 2010-05-28. http://www.webcitation.org/5q4R2fdZI. Retrieved 2010-04-05. 
  21. ↑ Held, Joy (August 29, 2008). "Earl “Snake Hips” Tucker: The King of Hip-Hop Dance?". Dancer Magazine (Dancer Publishing). Archived from the original on 2010-05-28. http://www.webcitation.org/5q4R2fdZR. Retrieved 2010-03-12. 
  22. ↑ 22.0 22.1 22.2 "About B-Boy Summit". BBoySummit.com. No Easy Props Productions. Archived from the original on 2010-05-28. http://www.webcitation.org/5q4R2fdYI. Retrieved 2009-08-03. 
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  24. ↑ "What's On: 08". BBoyChampionships.com. 2008. Archived from the original on 2010-05-28. http://www.webcitation.org/5q4R2fdZi. Retrieved 2009-08-28. 
  25. ↑ "Features: 08". BBoyChampionships.com. 2008. Archived from the original on 2010-05-28. http://www.webcitation.org/5q4R2fdZr. Retrieved 2009-08-28. 
  26. ↑ "Freestyle Session Europe 2009". FreestyleSession.com. http://www.freestylesession.pl/about.php. Retrieved 2009-07-30. 
  27. ↑ 27.0 27.1 Bakshani, Maya (September 2, 2008). "Freestyle Session 2008 Coverage". MoreThanAStance.com. Archived from the original on 2010-05-28. http://www.webcitation.org/5q4R2fda8. Retrieved 2009-08-27. 
  28. ↑ Bloom, Julie (August 12, 2007). "With Crews and Zoos, a B-Boy World". New YHork Times. http://www.nytimes.com/2007/08/12/arts/dance/12bloo.html?_r=3&pagewanted=all&oref=slogin. Retrieved 2010-07-31. 
  29. ↑ 29.0 29.1 29.2 29.3 "The Notorious IBE 2009". Style43.com. Archived from the original on 2010-05-28. http://www.webcitation.org/5q4R2fdaH. Retrieved 2009-10-08. 
  30. ↑ "2010 Rules". HipHopInternational.com. Archived from the original on 2010-07-31. http://www.webcitation.org/5rdawtmRd. Retrieved 2010-07-31. 
  31. ↑ 31.0 31.1 Feldberg, Sarah (July 30, 2009). "World Hip Hop Dance Championships return to Las Vegas this weekend". Las Vegas Sun. Archived from the original on 2010-05-28. http://www.webcitation.org/5q4R2fdap. Retrieved 2009-07-30. 
  32. ↑ 32.0 32.1 "Juste Debout". Juste-Debout.com. 2009. Archived from the original on 2010-05-28. http://www.webcitation.org/5q4R2fdaY. Retrieved 2009-08-28. 
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  34. ↑ "United Dance Organisation - Street Dance UK". UnitedDance.co.uk. Archived from the original on 2010-07-31. http://www.webcitation.org/5rdbHesKE. Retrieved 2010-07-31. 
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  36. ↑ 36.0 36.1 "About the Red Bull BC One". RedBullBCOne.com. Archived from the original on 2010-05-28. http://www.webcitation.org/5q4R2fdax. Retrieved 2009-09-20. 
  37. ↑ "Cico (Italy)". pro-dance.co.uk. 2009. http://www.pro-create.com/prodance/index.php?m=profile&artistid=6. Retrieved 2009-11-13. 
  38. ↑ "Red Bull BC One – B-Boy Cico". RedBullBCOne.com. 2009. Archived from the original on 2010-05-28. http://www.webcitation.org/5q4R2fdb6. Retrieved 2009-08-03. 
  39. ↑ "R-16 Korea Sparkling, Seoul". Korea Tourism Organization. July 30, 2009. http://english.visitkorea.or.kr/enu/SI/SI_EN_3_2_1.jsp?cid=293322. Retrieved 2009-08-28. 
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  41. ↑ "DanceJam company profile". CrunchBase.com. (mt) Media Temple. April 2, 2009. Archived from the original on 2010-05-28. http://www.webcitation.org/5q4R2fdbW. Retrieved 2009-08-01. 
  42. ↑ 42.0 42.1 Pincus-Roth, Zachary (July 4, 2010). "'The Legion of Extraordinary Dancers' is ready to battle with flips, spins and dance steps". LATimes.com (Los Angeles Times). Archived from the original on 2010-07-31. http://www.webcitation.org/5rdewysqH. Retrieved 2010-07-31. 
  43. ↑ Rolnick, Katie (April 1, 2010). "It's A Bird, It's A Plane, It's The LXD!". DanceSpirit.com. http://dancespirit.com/articles/2534. Retrieved 2010-07-01. 
  44. ↑ Dobrow, Larry (July 15, 2010). "A Web Series so Good, It (Almost) Makes Dobrow Want to Dance". Archived from the original on 2010-07-31. http://www.webcitation.org/5rdf1gf3b. Retrieved 2010-07-31. 
  45. ↑ Chang 2005, p.136
  46. ↑ "Mr. Wiggles bio". MrWiggles.biz. Archived from the original on 2010-05-28. http://www.webcitation.org/5q4R2fdbe. Retrieved 2009-09-21. 
  47. ↑ "Artists". LuxAeternaDance.com. Archived from the original on 2010-05-28. http://www.webcitation.org/5q4R2fdbn. Retrieved 2010-04-03. 
  48. ↑ "Kate Prince Q&A". LondonDance.com. December 8, 2009. http://www.londondance.com/content.asp?CategoryID=3524. Retrieved 2010-07-01. 
  49. ↑ Klopman, Alan (January 1, 2007). "Interview with Popin Pete & Mr. Wiggles at Monsters of Hip Hop – July 7–9, 2006, Orlando, Fl.". DancerUniverse.com (Dancer Publishing). Archived from the original on 2010-05-28. http://www.webcitation.org/5q4R2fdXS. Retrieved 2009-07-31. 
  50. ↑ Wisner 2006, p.74
  51. ↑ 51.0 51.1 Jorge "Popmaster Fabel" Pabon (1999). "Physical Graffiti... The History of Hip Hop Dance". Davey D's Hip Hop Corner. eLine Productions. Archived from the original on 2010-05-28. http://www.webcitation.org/5q4R2fdUk. Retrieved 2009-07-31. 
  52. ↑ Wisner 2006, p.75
  53. ↑ Wisner, Heather (October 2007). "Crash Course: Hip Hop". Dance Magazine (Dancer Publishing) 81 (10): 82–85. ISSN 00116009. 
  54. ↑ "About Us". MonstersofHipHop.com. 2007. Archived from the original on 2010-05-28. http://www.webcitation.org/5q4R2fdbv. Retrieved 2009-08-01. 
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  56. ↑ Krisanits, Tracy (March 2007). "Keeping Tabs". Dance Retailer News (Macfadden Performing Arts Media) (5): 46. 
  57. ↑ "Beat Freaks in Nappytabs". Facebook.com. April 1, 2009. http://www.facebook.com/note.php?note_id=80782040119. Retrieved 2009-08-10. 
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  60. ↑ "The Top 16 Perform". So You Think You Can Dance. Fox. June 25, 2008. No. 10, season 4.
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Sources

  • Chang, Jeff. Can't Stop Won't Stop: A History of the Hip-Hop Generation. New York: St. Martin's Press., 2005. ISBN 0-312-30143-X
  • Kugelberg, Johan. Born in the Bronx. New York: Rizzoli International Publications Inc., 2007. ISBN 978-0-7893-1540-3
  • Wisner, Heather. "From Street to Studio: Hip Hop Comes Inside." Dance Magazine 80.9 (2006): 74–76. ISSN 00116009

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