Unlike the other components of Hip-Hop, breaking (breakdancing) has been historically embraced by the dominant culture both in the disciplines of sport and dance. MCing, which morphed into ærapÆ, is obviously a monumental commercial success, but the level of profanity, violence, sexism and drug reference has prevented mainstream entry. Djing is a technical art, more or less, and tagging is universally reviled and criminalized by the establishment. As an integral factor of arguably the most sweeping cultural movement in the last half-century, breaking is the physical manifestation of the phenomenon. ôFor inner city kids with little exposure to gymnastics or formal dance, break dancing provided a means of self expression and physical releaseö. (The Village Voice, 1998).
Breaking is said to have its origins from Capoeira, a Brazilian martial art, which is believed to have originated in Angola, where many enslaved Brazilians were brought to African slave markets. The American product originated in New York City in the early 1970Æs. The aggressive, exuberant movements were developed by gang members who used it instead of violence in competitions or battles, with rival gangs. ôWithin a culture of their own making, that encompassed music, dance and lyrics reflecting life as they lived it, they made a name for themselves and got the fame they sought among their peopleö. (AlterNet, 2000).
As ærapÆ exploded and became a vehicle of the music to sell records, breakdancing began to lose its appeal. The very elemental and vital art form was portrayed in the media as a æfadÆ, and lost much of its urgency and originality. By 1990 it was virtually non-existent. ôB-Boys started performing windmills to sell Whoppers for Burger Kingà It had to dieö. (Phil Enquirer, 2004)
True breakers, however, kept the pure form alive. It never disappeared, its practitioners say: ôit just went underground so i
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