"History of the B-boy" gives fresh look at hip-hop

The film "The Freshest Kids: A History of the B-boy" was shown on Thursday in the Konover Auditorium of the Dodd Center to commemorate the individuality of break-dancing and the impression the dance form has had on hip-hop culture. Throughout the film, students of the Bronx hip-hop scene interview major contributing figures in the history of the B-Boy movement. With appearances by DJ Kool Herc, otherwise known as the father of the genre, as well as renowned rapper KRS-One, "The Freshest Kids" effectively transported the viewer back through the heyday of hip-hop.

The movement began in the ghettos of New York, as underprivileged youths tried to glean something positive from their largely negative surroundings. They were not necessarily gang members or thugs; they were average kids with above-average creative spirit. According to rapper and actor Mos Def, these kids came from the bottom rung of society, a place and situation where break-dancing provided an unprecedented healthy outlet for their energy. In the words of KRS-One, "hip-hop is the name of our creative intelligence."

B-Boys, of course, stands for "break" boys. More specifically, these were the dancers who, when DJs stopped the music and let the beat roll for a few seconds, used that "break" to showcase their unique dance moves. These dancers emphasized the values of peace, unity and love through their dancing. Melissa Hamilton, a 4th-semester political science major, said she was disappointed by the disparate portrayal of B-Boys and B-Girls in the film, however. "You mostly only saw B-Boys. I wanted to hear about the girls and their journey, whether or not they were respected," she said.

While that aspect of unity may not have been adequately explored, "The Freshest Kids" did portray many different groups coming together to form something like a team of B-Boys. One such united front from the Bronx, the first of their kind to introduce break-dancing to the public, was called the Rock Steady Crew. The name was chosen to imply that they intended to keep breaking without interruption or distraction from their environment or rivals.

Often participating in dance competitions, groups such as Rock Steady Crew were a regular fixture throughout New York City in the late '70s. The crossover into the mainstream didn't actually come around until the early 1980s, but by that time, B-Boys had made a significant impact.

The breakthrough of both the dance technique and its accompanying style into the public eye was spearheaded by a dance competition between Floormasters and Rock Steady Crew. This newfound public awareness was solidified with the making of the movie "Flashdance"; original Rock Steady members played roles in one specific, noteworthy scene that brought about an eruption of interest in break-dancing nationwide. The movie especially spread the concepts and ideals of breaking to the West Coast, where dancers were making their own break groups and holding competitions to equal those back in New York.

Although the Rock Steady Crew were the pioneers of the B-Boy movement itself, their techniques shifted and more moves and ways of performing were incorporated into the hip-hop scene as more dancers brought their own styles to the table.

One time-honored example introduced by groups hailing from Los Angeles is the now-famous locking, popping hitting moves, as well as various other spinning moves. Break-dancing in all of its forms hit a pinnacle of popularity in 1984 when B-Boys performed at the Summer Olympics, held in Los Angeles.

With the permanent establishment of break-dancing in the hip-hop world, rap artists began incorporating B-Boy beats in their music, which only inflated the popularity of the dance form and its associated beats: unlike a dancer, you can take a rap album home with you.

This collaboration makes one often confusing, yet fundamental notion of this subculture quite clear - hip-hop is simply the name of the culture, of the scene. Rap is the music of hip-hop, and breaking is the dance to that music.

Jocelyn Cerda, a 4th-semester communications major, echoed that notion: "I think [the film] really showed the history of hip-hop and dancing, especially how B-Boys are a part of the hip-hop we have now."