The first rule of b-boying is that it is not called breakdancing. Most b-boys consider the term “breakdancing” to be an obsolete one, invented by the white media as an umbrella term, which conveniently packaged together a number of street dances into a unified, nonthreatening spectacle. Breaking’s explosion into mainstream culture robbed it of its historical, social and political context, turning it into a frivolous form of “urban” expression.
Today, those distracted by awe-inspiring head spins are likely unaware of the integral role b-boys and the b-boying subculture played in the creation and development of hip hop culture at large. Breaking was one of the five foundational pillars of the movement that emerged from the Bronx in the 70s, when the neighborhood was subject to extreme urban decay. As property values crashed, over 40% of the South Bronx was burned (by landlords for their insurance value) or abandoned between 1970 and 1980. Breaking, along with DJing, Mcing and “writing” (graffiti), rose from the ashes.
“It’s a story about art and human beings’ resilience, and their ability to use art as a tool to rebuild themselves and create beautiful things out of tragic situations,” says Bronx native Ricky Flores, the celebrated street photographer and who captured the spirit of the nascent b-boy subculture.
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