4/11/97 - 5/14/97

Again.

It's a tired, two-part cycle: interest in one of the world's illest dance expressions tends to peak, dip, then the pattern repeats. Considering the fact that B-boying is comparable to all of the world's motion arts artistically and athletically, it should have never "played out" in the first place. The following is an examination of this "fad-to-fossil" process as it is cyclically weathered by active B-girls and B-boys. Attention will be given to the notion of how motion arts in-general are made to thrive on domestic and international scales. Ways of preserving the art form will also be considered.

As renown lyricist KRS-One has noted, it is useful to know about the author of any writing. To ease any concerns about me being some off-the-wall intellectual outsider, a brief bio is in order.

I was born in Gary, Indiana in 1969, a year which saw both the American Moon landing and the catalyzing of the classic B-boying style by hip-hop icon James Brown. For fourteen years lyricism, vinyl work, track production and B-boying have been my areas of study. Though I've invested a significant amount of time and energy into each of those elements (as have many headz), my forte is music. Things like opening for the late Phyllis Hyman and being a finalist in the 1994 VIBE talent search don't indicate my being superior to anyone. They should, however, demonstrate that though many things I may be, an outsider is not one of 'em.

I should also note that the viewpoints expressed here are not necessarily those of this web site's producers. Though some of the forthcoming ideas are based upon fact, some are based upon opinions derived from personal experience.

The fact that there are relatively few major sponsors for full-fledged B-boying events could also be hampering the promotion of the dance. During a discussion about the difficulties that independent record labels face in trying to get airplay on stations dominated by major labels, Charles Simms (rest in peace) once commented, "You can't like what you don't hear." Similarly, when it comes to motion arts you can't like what you've never seen. In terms of public interest and support, the success of gymnastics, ice skating, ballet, cheerleading, and so forth, can be largely attributed to ample sponsorship (i.e. big money). Also, none of the aforementioned arts have ever "played out." Without this serious financial backing, the absence of major venues for B-boying will continue, and practitioners of other well exposed motion arts will enjoy unabated biting of B-boying techniques from "ghost" choreographers. Bits and pieces of the dance are now sprouting up everywhere: gymnasts rocking windmills during nationally televised floor routines; actors hitting 1990s in award-winning motion pictures; even ladies borrowing pseudo-footwork for televised international aerobics competitions. At this rate, when members of mainstream America finally get to witness real B-boying (again), they'll think we got those techniques from everybody else. Elvis is about to "create" rock and roll all over again.

Any serious examination of the effects of large-scale funding on B-boying, however, requires consideration of the perennial "commercial vs. Underground" debates. Some are concerned that heavy media promotion of B-boying might result in the declining quality of the dance. An example may illuminate the validity of this concern. There have been instances of M.C.s going "from blazing to lukewarm" after making the transition from underground obscurity to fortune and celebrity. Perhaps such a sudden, drastic shift in one's financial stat wreaks havoc on discipline, erodes the work ethic, or provides countless distractions (trips around the world, parties, etc.). whatever the case, that same could quite possibly happen to dancers who suddenly find themselves celebrated and rich. Dedicated practitioners of an already underrated art are not particulary tolerant of sloppy representatives, especially when poor example is broadcasted to be both criticized, and perhaps worse, emulated, by the masses.

Though increased commercial investment into events featuring B-boying may boost its prominence, there is another consideration. For the past several years a hip-hop event known as the B-boy Summit, hosted annually in the city of San Diego, has been one of the very few authentic venues for the art from in the world. Among this year's thousands of participants was apparently a number of "assholes", either mad because they were unable to get into indoor events before building capacities were reached, or just "fup" ups of the garden variety. Throughout the city, sidewalks,buildings, signs and bus stops were littered with spray paint. I even saw an idiot "tag" a bus while it was stopped in front of one of the summit's activities. Naturally, the majority of the weekend's functions were sweated by the police, and die-hard dance enthusiasts from across America, Europe, Japan, Hawaii and elsewhere found themselves abruptly shorted.

Such antics make excellent powder for the media cannon, as is evident from the sour press rap music caught as a result of negative concert incidents. Experience has taught me to suspect that the culprits who wreck specialized events are most often "lookie-loos," people who are no more authentic participants in these functions than hawkers at crime scenes are police. Taking into account the possibility of drawing trouble making outsiders, coordinators of major hip-hop events will need to take precautions such as hiring large security forces and requesting the assistance of local law enforcement agencies. Otherwise, some broadcast journalist or writer is bound to have an opportunity to sway public opinion against us. Again.

This negative public opinion about anything related to the term "hip hop", combined with the establishment's view of non-traditional dances as "street" dances, may be at least partially responsible for the pronounced absence of the United States Olympic Committee about the prerequisites that arts/sports must meet in order to be considered for Olympic inclusion. She asked if there was an event I wanted to have considered. Out of sheer curiosity, I said "breakdancing."

She laughed.

It's hardly a stretch, then to consider that members of America's most influential old-money upper crust, who take pride in their self-proclaimed cultural superiority, would also laugh. Neither is it difficult to fathom investors' disinterest in art forms developed by "minorities" (i.e. historically disenfranchised urban dwellers of African/Hispanic origin). But let's magnify this: how "inferior" is B-boying?

1. It requires athletic excellence: absolute mastery of balance, considerable strength, coordination, endurance, and orientation (resistance to dizziness).

2. It's techniques are visually exciting (headspins, 1990s) in that they require the defiance of gravity, and age-old symbol of potential immortality. This element partially accounts for the global fascination with Michael Jordan.

3. It requires creativity. Though there are standard techniques, the real flavor is found in variation, innovation, and combination. Learning fundamental techniques is just the beginning.

Points 1 and 2 apply to the best of America's celebrated events, but point 3 is what makes B-boying distinct and even more potent. Clearly, any investor who fails to see its excitement factor or market potential lacks objectivity.

Why, pre-tell, would that be?

Don't say it. Just note the following insinuation (and let me apologize in advance for this brief but necessary lapse in diplomacy): both jazz and "rock and roll" were deemed by many to be garbage until adopted by Whites. Sadly, considering the tradition of the U.S., the major re-emergence of B-boying into the mainstream is more likely if the race of most practitioners reflects the majority (diplomacy re-visited). It is healthy, however, to anticipate the decaying of the prejudicial attitudes which spur these sad social realities. After all, it is evident from the global love B-boying receives that everyone's "vision ain't blurry, boyeee!!!"

No angle. Just age-old media slavery. The establishment rejects something, so they reject it. It's local, so it's lame. Something appears on television, so it's validated. Their entire world of value is defined by those external to their own communities. The question of why the simpleminded are simpleminded is beyond the scope of this analysis. There are, however, factors which may have interfered with the continued appreciation of B-boying by the sincerely open-minded, and these factors are worth considering.

If any stimulus lacks variation, audience attention is lost. Predictability wars against interest. I have observed routines and battles in which the vocabulary of moves was limited and redundant, and as a result even the more spectacular techniques began to lose their appeal. In order to avoid this, headz must strive to improve existing techniques as well as constantly seek new ones. I mean CONSTANTLY. One of the reasons why the rate of technical evolution in B-boying is not rapid may lie in the fact that it takes considerable time to master fundamental techniques, let alone develop new ones. If headz want a sublime art, however, the extra time, energy, and study are well worth it. B-Nation Rule: from uprock to freeze, keep 'em guessin' at all costs.

Another barrier to audience involvement lies in some dancers' inability to differentiate between dance and exhibition. With the recent integration of techniques from other arts into B-boying (flares, etc), this is now of particular significance. Some headz are bringing not only outside techniques into the art form, but the conservative, soul-devoid atmospheres characteristic of the arts from which the techniques are taken. This must stop. Understand (if you don't already) that dance is art, and art is expressive. It should have an emotional effect. The most powerful dancers are also rhythmic (read: on-beat) and passionate. Rhythm is addictive, and passion can be felt. Minus these there is no expression in dance, and exhibition often lacks both. The atmospheric difference between a classical concert and a Gospel music festival is an excellent illustration. If the audience experience is strong, props are inevitable. B-Nation Rule: if we can't feel it, it's artificial.

Preservation is a two-part process: documentation and propagation. The who, what, when, where, why and how of B-boying must be documented by dedicated historians who wish to see the art form maintain. They must be determined, for there are numerous versions of the history of B-boying, such that in the words of editor Christina Veran, "the whole truth is irretrievably elusive." When enough historians do this, there will eventually be more detailed and accurate texts published, which will make reliable information more readily available to the masses. Next, and perhaps most importantly, practitioners must pass the art on to as many members of the upcoming generations as possible. Though information is indispensable, B-boying is not written, it is performed.

Rock Steady Park, a location in New York City made famous by some of B-boying's Veterans, was originally named Happy Warrior Playground. The association that has resulted from this coincidence is appropriate. For me, B-boying is both war and joy, concepts which seem contrary. If one subscribes to the notion that competitors are the enemy, it would be difficult to dance devoid of hostility. My philosophy is different. B-boying is combat, true enough, but I choose to combat the immortal, intangible, and most dangerous: demons that "sow discord among the brethren." My strategic goal is to top my contender's move, true enough, but her/his presence is incidental. Real combat is supernatural. So with every swipe and swing, I attack that which attacks us all. Joy stems from the knowledge that I will win. If we manage to pass this truth on to the next generations, guaranteed, B-boying ain't goin' nowhere!!!