Hip Hop Dance PDF
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Hip Hop Dance Recent Titles in The American Dance Floor Country&WesternDance RalphG.Giordano LatinDance ElizabethDrake-Boyt SwingDancing TamaraStevens,witheditorialcontributionsbyErinStevens DiscoDance LoriOrtiz FolkDancing EricaM.Nielsen Rock‘n’RollDancesofthe1950s LisaJoSagolla Hip Hop Dance Mohanalakshmi Rajakumar The American Dance Floor Copyright2012byMohanalakshmiRajakumar Allrightsreserved.Nopartofthispublicationmaybereproduced,storedina retrievalsystem,ortransmitted,inanyformorbyanymeans,electronic, mechanical,photocopying,recording,orotherwise,exceptfortheinclusionof briefquotationsinareview,withoutpriorpermissioninwritingfromthe publisher. LibraryofCongressCataloging-in-PublicationData Rajakumar,Mohanalakshmi. Hiphopdance/MohanalakshmiRajakumar. p.cm.—(TheAmericandancefloor) Includesbibliographicalreferencesandindex. ISBN978–0–313–37845–4(hardback)—ISBN978–0–313–37846–1(ebook) 1.Hip-hopdance—UnitedStates.2.Hip-hopdance—Socialaspects.I.Title. GV1796.H57R35 2012 0 793.31973—dc23 2011043293 ISBN:978–0–313–37845–4 EISBN:978–0–313–37846–1 16 15 14 13 12 1 2 3 4 5 ThisbookisalsoavailableontheWorldWideWebasaneBook. Visitwww.abc-clio.comfordetails. Greenwood AnImprintofABC-CLIO,LLC ABC-CLIO,LLC 130CremonaDrive,P.O.Box1911 SantaBarbara,California93116-1911 Thisbookisprintedonacid-freepaper ManufacturedintheUnitedStatesofAmerica Contents SeriesForeword vii Acknowledgments ix Timeline xi Introduction:TheBirthoftheHipHopNation xiii DeclineoftheBronx,RiseofHipHop xx Chapter1: The“Breaks”inBreakDancing 1 TheRootsoftheMoves 14 EthnicInfluences 18 AB-boy’sRoutine 19 BattlingamongCrews 23 B-GirlsintheTwenty-FirstCentury 25 Chapter2: FromUrbantoSuburban 33 BreakingonTelevisionandinFilm 35 HipHopFindsaCommercialGroove 47 Chapter3: HipHopScandals—Sex,Video,andViolence 63 RappersasGangstas 67 RaceandRap 71 EastCoastversusWestCoastFeuds 73 RappersandVideoHoes 74 Chapter4: MakeRoomfortheLadies 79 v vi Contents Conclusion 95 Glossary 105 Discography 107 Bibliography 109 Index 115 Series Foreword FromtheLindyhoptohiphop,dancehashelpeddefineAmericanlife and culture. In good times and bad, people have turned to dance to escapetheirtroubles,getout,andhaveagoodtime.Fromhighschool proms to weddings and other occasions, dance creates some of our most memorable personal moments. It is also big business, with schools, competitions, and dance halls bringing in people and their dollars each year. And as America has changed, so, too, has dance. ThestoryofdanceisverymuchthestoryofAmerica.Danceroutines are featuredin movies,television,and videos;dance styles and tech- niques reflectshifting values and attitudes toward relationships;and danceperformersandtheircostumesrevealchangingthoughtsabout race, class,gender,andother topics.Writtenforstudentsandgeneral readers,The AmericanDanceFloor series covers the history ofsocial dancinginAmerica. Eachvolumeintheserieslooksataparticulartypeofdancesuchas swing, disco, Latin, folk dancing, hip hop, ballroom, and country & western. Written in an engaging manner, each book tells the story of a particular dance form and places it in its historical, social, and cultural context.Thuseach title helpsthe readerlearnnotonlyabout a particular dance form, but also about social change. The volumes are fully documented, and each contains a bibliography of print and electronicresourcesforfurtherreading. vii Acknowledgments Every book is the culmination of knowledge both on the part of the writerandresearcheras wellas allthe otherswhowereinterested in findingoutmoreaboutasimilartopic.Hip hop isacomplexcultural phenomenonthatcritics,scholars,andparticipantshavebeenwriting about for over 30 years. I am indebted to the large body of work, includingbooks,films,andmusic,whichhasinformedthisbook. A special thanks to George Butler forhis patience in working with ever-extending deadlines. Many thanks to Geoff Harkness for access tohisIAmHipHopresearcharchives. I’mgratefultotheGeorgetownUniversity-Qatarlibrary,thepremier research library in the country. Without its support and services I could nothave had accessto thematerialsneeded towrite thisbook. I also thank Fatima Mussa for leads on interviews and Jennifer Martensforherresearchassistance. Lastlytotheb-boys,b-girls,DJs,MCs,andgraffitiartistswhowere therewhenitallbegan,thankyouforsharingwithusyourcreativity, energy, and drive which have created one the most vivid cultures of thetwentiethcentury—hiphop. Andtothosewhoarestillatit,evennow,allovertheworld:andya’ don’tstop,ya’ll. ix
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