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The Peripheral Neurological Examination

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The term is also used as an exonym and umbrella term for various street dance styles either performed to hip-hop music or that have become associated with hip-hop culture. It includes a wide range of styles created in the s and made popular by dance crews in the United States. The television show Soul Train and the s films Breakin' , Beat Street and Wild Style showcased these crews and dance styles in their early stages; it gave these styles and hip-hop national exposure.

The dance industry responded with a commercial, studio-based version of hip-hop—sometimes called "new style"—and a hip-hop influenced style of jazz dance called "jazz-funk". Classically trained dancers developed these studio styles in order to create choreography from the hip-hop dances that were performed on the street. Because of this development, hip-hop dance is practiced in both dance studios and outdoor spaces.

Additional dance styles were developed during this time such as Memphis jookin , turfing , jerkin' , and krump. What distinguishes the hip-hop dance genre from its component styles is that in hip-hop dance the dancing is typically well-choreographed and is often performed as part of an ensemble.

In contrast, its component styles such as breaking or popping are freestyle-oriented whether it's performed solo or as a group. The introduction hip-hop dance and its component styles outside the United States have resulted in dance showcases, dance classes and competitions that have helped maintain their presence and growth worldwide. Australia hosts a team-based, competition called World Supremacy Battlegrounds and Japan hosts a two-on-two competition called World Dance Colosseum.

Breaking is not a part of hip hop dancing. Breaking is freestyle-oriented, while hip hop dancing is choreography-oriented. Breaking or b-boying, commonly known by its exonym as breakdancing, was created in the South Bronx, New York City during the early s. At the time of its creation, it was the only hip-hop dance style because Afrika Bambaataa classified it as one of the five pillars of hip-hop culture along with MCing rapping , DJing turntablism , graffiti writing bombing , and knowledge.

That didn't come into play until more Puerto Ricans got involved in the mid 70s. We then took the dance, evolved it and kept it alive. In '79 I was getting dissed.

I would go into a dance and I would get dissed by a lot of brothas who would ask 'Why y'all still doing that dance? That's played out'. By 79, there were very few African American brothas that was doing this We always maintained the flava.

It was like a changing of the guard and all we did was add more flava to something that already existed. Traditionally, breakers dance within a cypher or an Apache Line. A cypher is a circular shaped dance space formed by spectators that breakers use to perform or battle in. In contrast to the circular shape of a cypher, competing crews face each other in an Apache Line, challenge each other, and execute their burns a move intended to humiliate the opponent, i. Locking looks similar to popping, and the two are frequently confused by the casual observer.

In locking, dancers hold their positions longer. The lock is the primary move used in locking. It is "similar to a freeze or a sudden pause. Locking is more playful and character-driven, whereas popping is more illusory. In the book Total Chaos , hip-hop historian Jorge "Popmaster Fabel" Pabon lists some of these moves which include "the lock, points, skeeter [rabbits], scooby doos, stop 'n go, which-away, and the fancies.

Popping is not a part of hip hop dancing. Hip hop dancing is choreography based. Plus, hip hop dancing is a fusion dance genre. Popping is not a part of hip hop dancing, all though hip hop dancing incorporates some simple elements of popping. It is also known as Posing Hard from the Boogaloo tradition, this technique was innovated by the Boogaloo group, the Black Messengers from Oakland. Popping is also used as an umbrella term to refer to a wide range of closely related illusionary dance styles [31] such as strobing, liquid , animation, twisto-flex, and waving.

The difference between each subgenre 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.

Popping as an umbrella term also includes gliding. In gliding a dancer appears as if they are drifting across the floor on ice. Tutting can be done primarily with the fingers rather than the arms.

This method is called finger tutting. In practice, tutting looks like the characters on the art of ancient Egypt , [35] [36] [37] : 2 hence the name—a reference to King Tut. While popping as an umbrella term is widely used by hip-hop dancers and in competitive hip-hop dancing, Timothy "Popin' Pete" Solomon of the Electric Boogaloos disagrees with the use of the word "popping" in this way. Many of these related styles animation, liquid, tutting, etc.

Solomon 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. Decades after breaking, locking, and popping became established, four new dance styles appeared. Three of them come from California and one comes from Tennessee. Memphis Jookin' was created in the s in Memphis, Tennessee.

It is an evolution of an older Memphis line dance called The Gangsta' Walk. While watching a jookin' battle in Jackson, Tennessee , dance critic Alastair Macaulay observed that "the most evidently sensational feature of jookin is the extensive use of what a ballet observer is bound to call pointwork: the men, in sneakers, go onto tiptoe Other than San Francisco Bay Area pride, turfing avoided becoming a fad due to local turf dance competitions and local youth programs that promote turfing as a form of physical activity.

These shows led to "You're a Jerk" entering the radio's playlist. Although jookin', turfing, and jerkin' generated regional support and media attention, none have reached the same zenith as krumping. Rize was screened at several film festivals before it was commercially released in the summer of The music driving the dances and the cultural similarities between these street dance styles, the funk styles, and breaking have brought them together under the same subculture of hip-hop.

The dance industry responded to hip-hop dance by creating a commercial version of it. 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 and is not improvisational in nature is not a true hip-hop dance form. 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. Stage performance can suppress improvisation which defined hip-hop dance early in its development. In a lot of studios what you find is people just doing movement to hip-hop music. So if there's hip-hop music in the background, and they're moving, they're calling it a hip-hop class.

The problem with that is let's say I wanted to teach a ballet class and I just come in, and I throw on Mozart , and I just start moving—and I'm not doing any of the foundational elements. I am not doing any of the movement vocabulary of ballet. I can not call that a ballet class and that's what happens in relation to hip-hop They know nothing about popping, nothing about locking, nothing about boogaloo, breaking, or the hip-hop dance— the social dances —or any of that.

They know none of the history which spans over 30—35 years, and so they pretty much cut off any type of edification that a dancer can have. The term "new style" was created by dancers outside the United States. They called the social dancing party dancing they saw "new style" which was short for "New York Style".

In the context of the commercial dance industry, hip hop or new style hip-hop for dancers in France and Japan is choreographed urban party dancing with studio technique added to it. From a technical aspect, it is characterized as hard-hitting involving flexibility and isolations—moving a specific body part independently from others. A significant juncture in the development of hip-hop was the addition of eight-counts, a method of counting dance steps to stay in sync with the music.

Toni Basil introduced this studio technique into locking in the s. Basil was trained in ballet before being introduced to street dance by Don Campbell, the creator of locking and founding member of The Lockers dance crew.

Traditionally hip-hop dance, or any form of street dance , is not performed to counts as these styles were created on the street rather than in a studio setting. Therefore, the introduction of counts was a pivotal move into bringing hip-hop dance from the street into the studio. Even with this addition, it would be years before commercial hip-hop developed into its current form. A second important event in the development of hip-hop was the start of hip-hop dance instruction.

Buddha Stretch was a pioneer in this field. He started teaching formal hip-hop dance classes in at Broadway Dance Center in New York City where he continues to teach today. An early example of this is when Janet Jackson performed the Running Man in her music video for the song " Rhythm Nation " which was choreographed by street dancer Anthony Thomas. Another style the dance industry created in response to hip-hop was jazz-funk. Jazz-funk also called street-jazz is a hybrid of hip-hop and jazz dance.

However, these methods are mostly used in jazz-funk and in jazz dance in general. Other developments in the dance industry occurred in response to the growing popularity of hip-hop.

On the traveling convention circuit there were tap, ballet, and jazz dance conventions, but there were none specifically for hip-hop. The same void existed in 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 answer to both needs.