Break Dancing Research Articles

RAZČLENITEV ZNANSTVENEGA USTVARJANJA V SKLOPU ULIČNE VADBE Z AKROBATSKIMI SESTAVINAMI

In recent years, the number of practitioners of disciplines such as parkour, break dance or calisthenics (freestyle or street workout) has increased. These disciplines share common characteristics, such as an unregulated street origin and a focus on acrobatics. This study aimed to analyze the state of scientific publications related to these acrobatic street sports. A bibliometric analysis was conducted, applying traditional bibliometric laws to scientific documentation found in journals indexed in WoS and Scopus. Data processing and visualization were performed using Bibliometrix and Excel. A total of 199 articles published between 1984 and 2024 were identified, indicating exponential growth. Among these, 139 papers were related to parkour, 48 to breakdance, and 12 to street workout. A review of 158 journals revealed that they contained related publications, although their distribution did not conform to Bradford’s model, showig only two areas. Among 417 authors identified, 22 were deemed prolific and 12 prominent. France emerged as the most prolific country, followed by the USA. The 553 author keywords were categorized into three groups, each associated with one of the sports. The 26 most cited papers were selected as relevant, demonstrating a correlation between the increase in publications and the popularization of these sports, largely due to television exposure. The "International Journal of Sport Policy and Politics” emerged as the most prolific journal. The most relevant authors identified in each sport were Signey Grosprêtre (parkour); Max Daniel Kauther and Christian Wedemeyer (breakdance); and Javier Sanchez-Martinez (street workout).

Музыка советской эпохи как часть публичной истории (по материалам сайта Arzamas)

This article is devoted to the phenomenon of Soviet music as presented in the Russian‐language educational project Arzamas (2015–2023). Posted in the public domain of the Internet, the materials on the Arzamas website fully fit into the interdisciplinary discourse of public history. In this article, the author selects and from the perspective of cultural recycling analyses an array of materials of the Soviet period presented on the website: from folk and Soviet mass songs, gypsy and classical romance (including romance in cinema) to jazz, symphony, ballet, and break dance. The article traces how the authors of different genre materials interpret selected works and the historical and cultural profiles of their creators from the point of view of postmodernity. Special attention is paid to the principles according to which the website forms a musical image of the Soviet period for the modern audience (which statistically consists of Millennials and, if taking into account the Arzamas Children’s Room, the next two generations — Z and Alpha). The author of this article makes a conclusion that what is meant by Soviet music in the Arzamas project is compositions created from the 1920s to the late 1960s (early 1970s) and listened to by different social groups. The dominant type of a musical composition is a song in various modifications. Soviet music (mostly non-academic) is treated as an integral part of the country’s history which emotionally accurately reflects political and cultural changes. In such a context academic music becomes a peripheral phenomenon: only two composers are highlighted — Sergei Prokofiev and Dmitri Shostakovich — but shown as victims of the Soviet system.

Does body appreciation and eating awareness change in artists who perform different dance styles: a cross-sectional study

ABSTRACT Dancers’ dissatisfaction with body appreciation leads to a change in their awareness of eating and an increase in health risks associated with malnutrition. Identifying the causes of these problems can help improve performance and general well-being levels in dancers. The aim of this study is to evaluate the body appreciation levels of the dancers and analyse their eating awareness. In addition, it is intended to reveal whether there is difference between dance styles. A total of 791 dancers at 18–40 age range participated in the study. There were 252 break dancers, 304 folk dancers, 235 modern dancers. They were evaluated by the cross-sectional method. Eating awareness of the dancers was at a moderate level. Although eating control was high, eating disciplines were low. It was found that they were affected by interference. Their body appreciation level was high. According to the results obtained from Body appreciation scale, levels of participants who performed modern dance were higher than those who performed folk dance and break dance. These results show that there are useful determinations in dancers to explore more about eating awareness and body appreciation. The study can guide the development of more effective intervention strategies.

Pediatric Dance-Related Injuries Treated in Emergency Departments in the United States, 2000-2020.

This study investigated the characteristics and trends of children aged 3 to 19 years treated in US emergency departments for dance-related injuries. Retrospective analysis of data from the National Electronic Injury Surveillance System from 2000 through 2020 was conducted. An estimated 489,119 children received emergency treatment for a dance-related injury, averaging 23,291 children annually, and the rate of injury increased 68.1% during the 21-year study period. Girls accounted for 80.3% and children aged 15 to 19 years accounted for 46.5% of cases. Sprains/strains were the most frequent diagnosis (44.4%), and lower extremities were the most commonly injured body region (56.4%). Compared with other body regions, patients aged 3 to 10 years were more likely to sustain head/neck injuries (odds ratio, 3.94, 95% confidence interval, 3.42-4.52) than 11- to 19-year-olds. Falls and noncontact mechanisms of injury accounted for 35.6% and 32.1% of injuries, respectively. Unstructured dance activity was associated with 30.8% of dance-related injuries overall and 67.0% among children aged 3 to 5 years. Ballet/pointe dancers frequently sustained lower extremity sprains/strains (39.2%). Compared with other dance types, break dancing was more commonly associated with injuries to an upper extremity than other body regions (odds ratio, 4.76, 95% confidence interval, 3.66-6.19). The rate of pediatric dance-related injuries treated in US emergency departments is increasing. Unstructured dance activity was an important source of dance-related injury, especially among children aged 3 to 5 years. The injury diagnosis and body region injured varied by child age and type of dance. Additional targeted prevention efforts should be implemented that address the injury characteristics of dancer subgroups.

Hip-hop, identity, and conflict: Practices and transformations of a metropolitan culture.

In this paper, I expose how it is possible to investigate the hip-hop culture on three levels of analysis—historical, semiotic, and phenomenological—precisely as theorized by Cohen (1997) for his study on modern subcultures. The analysis will focus on the hip-hop of the beginning, since the middle of the Seventies and Eighties in the United States, but then it will broaden to a reflection on its diffusion and re-invented, with particular reference to the interactions with the globalization and the changes occurred in contemporary metropolis. In this sense, considering hip-hop as a subculture in the following pages, I reflect (a) on the origin of rap music, its interrelation with the Afro-American culture and the concept of blackness which it conveys. Subsequently, I clarify (b) that the art of writing, in the form of Tag, and break dance have certificated the presence of young people from the United States outskirts, and then the passage to a precise historical moment. Finally, I try to demonstrate (c) that today, a different dimension of hip-hop is implemented, whose features have changed in parallel with the transformations that have affected the metropolis and the youth cultures. These last one are increasingly hybrid and involved in a recreational, market system, where the changing nature of hip-hop allows: its enormous success, with the domain of the musical market and other assimilation processes, such as clothing, which have contributed to its mutation in a global culture, some margins of autonomy.

African somaesthetics: cultures, feminisms, politics

The American pragmatist, Richard Shusterman, has given shape to a field of study known as somaesthetics. In his formulation of this field, Shusterman (1999:302) recommends that, in philosophical discourse and in relation to aesthetic experience, close attention should be paid to 'bodily states and experiences'. His concern is especially to place the thinking body and its capacity of knowing at the centre of academic attention and to develop awareness of how the living body is experienced, used, and cultivated in particular situations. African somaesthetics: cultures, feminisms, politics (2020) takes up Shusterman's proposal by applying the discourse of somaesthetics to issues of race and gender in the contemporary African context. The chapters in this volume, therefore, focus on interrogating the body in African cultures in the context of colonisation, decolonisation, and globalisation. In her introductory chapter, editor Catherine F. Botha briefly explains that the contributors take Shusterman's conception of somaesthetics as a provocation that arouses and stimulates thinking around the importance of attending to the lived body in understanding human existence. Thus, each chapter offers a unique and refreshing view on the significance of the bodily dimension of aesthetic expression and experience in general. An interesting array of topics are covered in the volume, including albinism, film, philosophy, cultural activism, and various forms of dance including ballet, contemporary dance, and break dancing.

Website Administrasi Dance Sanggar Senam Dengan Model FAST

Modern dance or dance today, is developing very quickly along with the times. Modern Dance originated in Europe, in 1930. The United States became the center of Modern Dance for experimentation. Modern Dance has several types of movements such as: Break Dance, Hip - Hop Dance, Popping Dance, Locking Dance, Ballroom Dance, and Shuffle Dance. These types of dances are different but after being performed, they are almost the same. Although the movements created have no explanation when expressed, many people like the movement. Dance Dances which are trending among young people are much liked by the public. At the sportsman level, there is a big influence in Indonesia. One of the popular enthusiasts in the community such as Modern Dance. The problems that often occur in Modern Dance are many people, namely information about how the lack of promotion so that many people do not know information about Dance. So we need a website to create a Dance information system. The goal is to facilitate the promotion of dance information. In developing this Dance information system website, it is necessary to analyze and design a website using the UML concept, Database Design with MySql. The result to be achieved is to implement a Dance Information System Website

Method over matter: a study of break dance headstand practice

ABSTRACT This study compares two different methods of headstand practice. One is a practice progression inspired by breaking (dance) that can be practiced on hard ground and the other is a common trial-and-error method as practiced on gymnastics mats. This study includes analyses of data gathered from field observation, one randomized control trial, and one intervention treatment. All three analyses reveal that the breaking headstand practice progression on hard ground results in significantly less occurrences of crashing when compared to the trial-and-error-based headstand practice on gymnastic mats (p < 0.5). This could mean that this method is the safer of the two, and also support the claim that use of good method is more important than the presence of safety equipment when assessing the risk of a physical activity. Further investigation should be done on breaking training methods, as well as other material-independent athletic skill training methods, so to increase and perfect physical education and dance-related pedagogical content knowledge.

Hip hop in Cuenca - Cultural Expressions, elements and identities

This ethnographic research will allow us to enter the Hip Hop movement in Cuenca from a social perspective. Its characteristics, identities, artistic and cultural expressions will be known through its elements. Their needs will be made visible as part of the urban cultures of Cuenca, in order to understand how they influence society, whether or not they are excluded, whether or not they enjoy privileges as subjects of law. In this qualitative study, the ethnography technique is applied, whose main objective is to learn about the history of hip hop in the city, its beginnings, the pioneers of the genre; For this we will contextualize this group in the world and we will know the elements that compose it such as: Graffiti, Rap, Break Dance and Turntablism, also called DJing. This study also tries to examine the communication processes and the participation of the hip hop movement in the public space in which decisions are made on matters of interest and how the forms of participation in the construction of public policies are distinguished. Terms such as urban cultures, youth cultures, counterculture and public space are defined to classify hip hop within them, showing how the identity of young people in this genre is constructed.

The methodology of flexibility development in the teenagers who practice break dance by fitness program

Each sport has its own specific requirements for the physical fitness of athletes – the level of development of individual physical qualities, functional capabilities and body built. the technique of performing competitive combinations in fitness aerobics, the discipline of hip-hop, largely determines the level of physical fitness of athletes and, in particular, the level of development of such physical quality as flexibility.In this article is presented the methodologyof developing flexibility in the teenagers who practice Break Dance using fitness programs.

Hip-Hop and Haring: Pop Culture and Interdisciplinary Learning for the General Music Classroom

Teachers are searching for accessible, relevant, and engaging lessons for students as elementary classrooms grow more diverse and high-stakes testing constrict curricula and recess time. General music teachers may consider implementing lessons that blend popular culture with collaborative, interdisciplinary projects. Artist Keith Haring was inspired by 1980s hip-hop music and drew break dancing figures in much of his artwork. Both Haring’s artwork and hip-hop culture have broad appeal and are accessible to students. The purpose of this article is to share an exploratory series of lessons that used hip-hop music and dance in conjunction with the artwork of Haring. The author provides a brief background on 1980s hip-hop music and break dancing and the artwork of Haring, then delves into the details of the collaborative art and music project completed with grades K–5. Tips for bringing popular culture into the general music classroom are offered.

How do the new Olympic sports compare with the traditional Olympic sports? Injury and illness at the 2018 Youth Olympic Summer Games in Buenos Aires, Argentina

ObjectiveTo describe injuries and illnesses across traditional and new sports among the participating athletes of the Buenos Aires 2018 Youth Olympic Summer Games (BA YOG) (6–18 October 2018).MethodsWe recorded the...

Digital Dance Ethnography

Folk dances often reflect the socio-cultural influences prevailing in different periods and nations; each dance produces a meaning, a story with the help of music, costumes and dance moves. However, dances have no borders; they have been transmitted from generation to generation, along different countries, mainly due to movements of people carrying and disseminating their civilization. Studying the contextual correlation of dances along neighboring countries, unveils the evolution of this unique intangible heritage in time, and helps in understanding potential cultural similarities. In this work we present a method for contextually motion analysis that organizes dance data semantically, to form the first digital dance ethnography. Firstly, we break dance motion sequences into some narrow temporal overlapping feature descriptors, named motion and style words , and then cluster them in a high-dimensional features space to define motifs . The distribution of those motion and style motifs creates motion and style signatures , in the content of a bag-of-motifs representation, that implies for a succinct but descriptive portrayal of motions sequences. Signatures are time-scale and temporal-order invariant, capable of exploiting the contextual correlation between dances, and distinguishing fine-grained difference between semantically similar motions. We then use quartet -based analysis to organize dance data into a categorization tree , while inferred information from dance metadata descriptions are then used to set parent-child relationships. We illustrate a number of different organization trees, and portray the evolution of dances over time. The efficiency of our method is also demonstrated in retrieving contextually similar dances from a database.

Cardiorespiratory Profile and Performance Demands of Elite Hip-Hop Dancers: Breaking and New Style.

Dancers need to constantly maintain and develop their physiological capabilities to support their performances. Previously these physiological demands have been investigated only in traditional dance styles such as ballet and modern. The aim of this study was to examine the physiological demands of two types of hip-hop: new style and break dance. Nine female new style dancers (age 20±6 yrs, height 163.5±1.4 cm, mass 55.8±22 kg) and 9 male break dancers (age 23±4.2 yrs, height 178.2±5.7 cm, mass 62.1±7.7 kg) volunteered for the study. Each subject completed a maximal graded treadmill test and a dance performance routine, either new style (approx 1:45-2:30 min) or breaking (2 min). Breathe-by-breathe gas analysis and heart rate (HR) were collected by a portable gas analyser, and blood lactate (BLa) was measured at the end of the treadmill test and each routine. The male breaker dancers had significantly higher VO2 peak than other equivalent dancers in other genres, whilst the female new style dancers were similar to that previously reported for female dancers. Performance data showed significant differences between the two styles for VO2, HR, and BLa (p<0.001) and for VO2 and HR relative to individual maximal treadmill data (p<0.05). New style is more comparable to other theatrical dance genres, with a lower relative mean VO2 demand, whilst break dance is shorter in duration, allowing a higher cardiorespiratory demand and generating significant levels of blood lactate. This difference is also reflected in the dancers' cardiorespiratory profiles.

Gender and Dance in Modern Iran: Biopolitics on Stage

Gender and Dance in Modern Iran: Biopolitics on Stage

DNA repair goes hip-hop: SMARCA and CHD chromatin remodellers join the break dance.

Proper signalling and repair of DNA double-strand breaks (DSB) is critical to prevent genome instability and diseases such as cancer. The packaging of DNA into chromatin, however, has evolved as a mere obstacle to these DSB responses. Posttranslational modifications and ATP-dependent chromatin remodelling help to overcome this barrier by modulating nucleosome structures and allow signalling and repair machineries access to DSBs in chromatin. Here we recap our current knowledge on how ATP-dependent SMARCA- and CHD-type chromatin remodellers alter chromatin structure during the signalling and repair of DSBs and discuss how their dysfunction impacts genome stability and human disease.This article is part of the themed issue ‘Chromatin modifiers and remodellers in DNA repair and signalling’.

Cervical - Spine Injury and Quadriplegia Resulting from (Break Dance)

Cervical - Spine Injury and Quadriplegia Resulting from (Break Dance)

‘And So I Bust Back’ Violence, Race, and Disability in Hip Hop

290 CLA JOURNAL “‘And So I Bust Back:’Violence, Race, and Disability in Hip Hop” Anna Hinton During the internet show, Everyday Struggle, co-host and rapper, Joe Budden revealed that he has depression. He came to the following conclusion during his tearful response to Styles P’s August 2017 revelations about his step-daughter’s suicide on The Breakfast Club radio show: This [mental illness and suicide in the hip hop community] is something that probably will not ever be addressed, so you need people like Styles to speak out…I would love to see more people speak out on mental health issues the way that Styles is…I would like to see hip hop address it more…. Enough of us have died from mental health issues for us to look into it. Most of our favorite artists suffer from mental illness. . .. “Most of these niggas are telling us how sick they are and what they’re going through, so I try to listen for it” (Joe Budden Breaks Down”) This essay, much like Budden’s heightened awareness, probes various implications of mental illness and disability among men in hip hop—particularly in gangsta culture—and examines what lies behind widespread denial of these conditions. 1 More specifically, I analyze how this discourse is paradoxically ubiquitous even as it is suppressed or ignored. Moreover, I am concerned with how artists evoke, then erase disability. I argue that all too often, vulnerability and disability go undetected in black men and in black people more generally, and racist and ableist stereotypes bolster and reproduce this erasure. When black men reclaim/appropriate/signify on these types through rhetorical performances of violent masculinity, I argue that they reproduce this erasure. The potentiality for black male existence is divided into a binary of hyper-embodied, though shortlived life on one end and, on the other, death. Paradoxically, in what emerges in this genre is a narrative of black life with (and often because of) a disability. While themes of disability proliferate within the hip hop cultural products I analyze, disability fails to emerge as a facet of black men’s lives worthy of critical and political attention. 1 Though, as Tricia Rose has clarified in hip hop studies classic, Black Noise (1994), hip hop culture is typically used to reference rap music, break dancing, and graffiti art that black and Latino inner-city youth created, from this point forward I will use “hip hop culture” interchangeably and, most often, as metonym, for inner-city black (male) culture from which it spawned, including the gang memoirs I will later analyze. I recognize that contemporary rap music and hip hop has transcended these origins; however, this article is concerned with hip hop in this context. CLA JOURNAL 291 “And So I Bust Back”: Violence, Race, and Disability in Hip Ho For instance, in 2005, rumors circulated that hip hop artist Houston Summers IV, known for the hit “I Like That,” allegedly attempted suicide by gouging out his eye. According to Capital Records representatives and Houston’s managers, “the singer had been under psychiatric care…for manic depression” and “struggled with PCP” (Rashaun-Hall). However, Houston and his family denied that he was in mental distress or attempted suicide. When an interviewer for Hood News, for example, asked Houston what happened to his eye, Houston replied, “I got an eye injury,” took off his sunglasses to show his disfigured eye to the camera and continued,“I’m from the hood, so where I come from it’s a whole ‘nother element. Where I’m from different from the Hollywood scene, which is why I stay in the background…’cause it’s too many fruitloops loose…” (“Houston Summers”). Houston does not answer the interviewer’s question. Instead, he focuses on his incompatibility with a Hollywood with too many LBGTQ people—whom he refers to as “fruitloops”. In this instance, he uses his urban background and apparent homophobia to avoid discussing how he injured his eye. The interviewer, however, pushes the subject and follows up by pointedly asking Houston if the rumors about his drug use and suicide attempt are true, to which Houston responds, and I quote at...

From B-Girl to B-Baby: Constructing a Breakin’ Pedagogy

The B-baby Program is a hip-hop dance curriculum designed to prepare dance instructors to teach and lead toddlers in the safe and effective practice of ‘break dancing (breakin’). In 2011, my twin s...

A Study on Image Expressions for Augmenting Street Dances and Their Matching

Recent years have seen lively combination between dance performances and video images. Such combination includes cases conducted through close cooperation between dancers and video artists and projection of images generated automatically in response to a dance. From the latter of these two perspectives, the authors are studying video projection intended to augment the appeal of dance performance. This paper reports on two types of image expression and a projection system intended to augment the appeal of three types of street dance—break dance, lock dance, and pop dance—and knowledge related to their compatibility, obtained from multiple attempts to augment the appeal of dance.