The international Hip Hop Family definitely has bboyin on lock. Why the art form is not a bigger part of the culture in the states is a mystery. Maybe now that the rapper and even the deejay to some degree, have diminished in skill level as a popular entertainment, other aspects of the culture can again rise. One of those forms which may again find the spotlight is bboyin or breakin or freestyle rockin’ or whatever name you choose to call it in your area. Beyond so called, ‘Krump’ dancing which is mostly up-rocking, or dancing in a standing position, floor-work started as an integral part of old-school Hip Hop parties or ‘jams’. The art form of full bboyin, which requires both up top and floor work is one of the most exciting forms of hip-hop entertainment. Arguably, it is more interesting for a crowd to witness than rapping or deejayin.
The rise of dance programs on television which incorporate bboyin is relegated mainly to the show America’s Best Dance Crew, which has had much success over the past several years. A documentary aired on HBO about the Krump dance craze in California called, Rize,broke down the meaning of the dance and its importance to people who do it. Krump is more of an emotional expression than technique-displaying type up-rockin, but does have a common ancestry. It was explained best by Missmodified92, on a comment attached to the Rize video,
“krumpin is street dancing originated in the U.S characterized by free, expressive, exaggerated, and highly energetic movement with the arms, head, legs, chest, and feet. It was and is being used to release aggression anger etc through freestyle dance and is an alternative to gang life for some youths. That is why it is so powerful. and have you seen a seizure boy?”
Krumpin too, is beautiful to watch, yet traditional bboyin gets maximum crowd reaction when the skilled techniques are added. There is nothing like the feeling of being in a crowd witnessing master bboys and bgirls in action. Rapping and deejayin have their ‘Oh-Shit’ moments, but they are more cognitive. You sort of, have to comprehend whats going on to get the full impact. For instance, rapping itself, has language barriers that the other core-4 elements don’t. Deejay, graffiti and bboy techniques are universal languages, as are beatboxin and fashion. Still, bboyin is totally visceral, emotional and instantaneously enjoyable in any language, as a performance art. No matter what language you speak or where you are from, if you don’t feel it when the crowd yells, “Ohhhhhh!!!”, you might not really be part of the True School Hip Hop Kulture.