Dance in Film · 1984
Breakin' (1984)
A classically trained dancer teams up with two breakers from the streets. One of the first films to bring breaking and popping to mainstream audiences.
Breakin' is a 1984 dance feature film centred on Modern Fusion & Commercial, Blues & Slow Social Dance, Street & Funk Styles, Hip-Hop & Street Dance. For dancers, it's a chance to see these styles performed on screen — the phrasing, partnering, and musicality that the same dances carry onto a real floor.
Jump to the 17 indexed dance sequences ↓
Dance styles featured
Where to watch: Streaming (various)
The dance sequences in Breakin'
17 sequences, 7 with a timestamp — what is danced, by whom, and where to find it.
Danced by Lucinda Dickey; Ben Lokey; Franco’s dance class · Choreography Jaime Rogers
Kelly completing Franco’s floor-reaching combination while his counts dominate the room.
Franco drives the class through “left, center, left,” head rolls, a cross-floor phrase, and the command to hit the floor while Kelly stays inside the studio line. The clipped counts and final reach-across make the lesson feel less like free movement than a test Kelly is trying to survive.
Not currently available to stream; timestamp is for reference. Named 87-minute 1080p Blu-ray subtitle reference; timestamp may shift by edition. No current U.S. streaming or rental access was verified on 2026-08-05; Netflix lists the title unavailable and JustWatch lists physical-disc purchase only.
Danced by Lucinda Dickey; Adolfo “Shabba-Doo” Quiñones; Michael “Boogaloo Shrimp” Chambers; Phineas Newborn III; Venice Beach dancers · Choreography Jaime Rogers
Kelly stepping into the boardwalk circle as Ozone, Turbo, and the Venice dancers trade styles around her.
Adam’s introduction drops Kelly directly into the Venice Beach circle, where Ozone and Turbo answer studio-trained steps with popping, locking, and floor-based breaking. A dancer working headspins and floorwork on crutches widens the circle’s physical vocabulary beyond anything in Franco’s class.
Watch this sequence · This sequence is on YouTube as a standalone clip. Onset aligned to the first count-in of Kelly joining the Venice Beach circle in a named 87-minute 1080p Blu-ray subtitle reference; edition timing may shift. Legal standalone Movieclips upload.
Danced by Lucinda Dickey; Ben Lokey · Choreography Jaime Rogers
Kelly’s mirror-bound jazz phrase breaking off when Franco crosses the teacher-student boundary.
Franco orders Kelly to lift her head, “take the floor,” jump, and turn toward the mirror as she pushes through the private studio phrase. The dance becomes coercive when his calls for more passion culminate in an unwanted advance, abruptly converting a technical correction into Kelly’s reason to leave.
Not currently available to stream; timestamp is for reference. Named 87-minute 1080p Blu-ray subtitle reference; timestamp may shift by edition. No current U.S. streaming or rental access was verified on 2026-08-05; Netflix lists the title unavailable and JustWatch lists physical-disc purchase only.
Danced by Lucinda Dickey; Adolfo “Shabba-Doo” Quiñones; Michael “Boogaloo Shrimp” Chambers; Bruno “Pop N’ Taco” Falcon; Timothy “Popin’ Pete” Solomon; Ana “Lollipop” Sánchez; Christopher McDonald; Ice-T; Chris “The Glove” Taylor · Choreography Jaime Rogers
Special K joining Ozone and Turbo in the rematch and making TKO a three-person crew in front of James.
Kelly enters the rematch as the hinge between Turbo’s liquid isolations and Ozone’s sharper locks, turning the former duo into TKO while James watches from the club edge. Her jazz turns do not erase the street vocabulary; they interrupt and redirect the battle until the three can hit a common final statement against Electro Rock.
Watch this sequence · This sequence is on YouTube as a standalone clip. Onset aligned to Ozone’s invitation for Kelly to dance in a named 87-minute 1080p Blu-ray subtitle reference; edition timing may shift. Legal standalone Movieclips upload.
Danced by Michael “Boogaloo Shrimp” Chambers; Vidal “Lil Coco” Rodriguez; neighborhood children · Choreography Jaime Rogers
Hot Tot breaking on Turbo’s cue after the group rolls, points, locks, kicks, and jumps together.
Turbo teaches the children by naming the mechanics—roll the wrists, point, lock, kick, jump—then lets Baby Legs wave and Hot Tot take the floor. The lesson culminates in called-out footwork, a spin, and a pose, so each child’s variation grows from a shared locking phrase rather than copying Turbo wholesale.
Watch this sequence · This sequence is on YouTube as a standalone clip. Onset aligned to Turbo’s spoken “we’re gonna lock” instruction in a named 87-minute 1080p Blu-ray subtitle reference; edition timing may shift. Legal standalone Movieclips upload.
- 01:05:38
TKO’s mirrored-studio rehearsal
Danced by Lucinda Dickey; Adolfo “Shabba-Doo” Quiñones; Michael “Boogaloo Shrimp” Chambers; Christopher McDonald · Choreography Jaime Rogers
TKO using the polished mirror room to weld Kelly’s jazz reach to Ozone and Turbo’s street-dance accents.
James supplies a white-walled mirrored studio, but Kelly, Ozone, and Turbo fill it with the same mixed vocabulary that formed on the beach and at Radio-Tron. His cue for music launches a nearly dialogue-free rehearsal in which their jazz travel, locks, and body isolations have to resolve into one audition phrase without sanding away the trio’s differences.
Not currently available to stream; timestamp is for reference. Named 87-minute 1080p Blu-ray subtitle reference; timestamp may shift by edition. No current U.S. streaming or rental access was verified on 2026-08-05; Netflix lists the title unavailable and JustWatch lists physical-disc purchase only.
- 01:12:53
“There’s No Stopping Us” final audition
Danced by Lucinda Dickey; Adolfo “Shabba-Doo” Quiñones; Michael “Boogaloo Shrimp” Chambers; audition dancers and judges · Choreography Jaime Rogers
Ozone ripping open the black-tie disguise before TKO turns a rejected audition into “There’s No Stopping Us.”
The Allegro Vivace disguise arrives in tuxedos, top hats, and white gloves, then Ozone tears away the formal costume when the judges refuse even to watch them. Kelly, Ozone, and Turbo convert that protest into a full jazz-and-street audition, pulling additional dancers into the stage picture until the same panel demanding “jazz dancers only” can no longer see past the movement.
Watch this sequence · This sequence is on YouTube as a standalone clip. Onset aligned to Ozone stepping forward after the panel refuses TKO in a named 87-minute 1080p Blu-ray subtitle reference; edition timing may shift. Legal standalone Movieclips upload.
Electro Rock rematch
PoppingDanced by Lucinda Dickey; Adolfo Quinones; Michael Chambers; Bruno Falcon; Popin' Pete; Ana Sánchez
Alternating solos and group responses give the battle a clear escalation without hiding technique in coverage.
The coverage alternates between adjudicator-style wide views and reaction shots without abandoning the routine's structure. Clear musical hits, difficulty peaks and formation changes create a legible competitive arc, making the result feel earned on the floor.
Kelly learns to break with Ozone and Turbo
Breaking (B-Boying / B-Girling)Danced by Lucinda Dickey; Adolfo “Shabba-Doo” Quiñones; Michael “Boogaloo Shrimp” Chambers · Choreography Jaime Rogers
Kelly dropping from upright jazz lines into the floorwork Ozone and Turbo are teaching her.
Ozone and Turbo make Kelly repeat their stops, drops, and floor entries until her jazz-trained extension begins to sit inside the break rather than on top of it. Her early imitations visibly turn into shared timing, which gives the trio’s later TKO identity a physical origin instead of treating it as a costume change.
Watch this sequence · This sequence is on YouTube as a standalone clip. Exact montage onset is subtitle-silent in the named 87-minute 1080p Blu-ray reference. Legal standalone Movieclips upload.
Kelly’s failed professional auditions
Commercial / Industry DanceDanced by Lucinda Dickey; audition panels and dancers · Choreography Jaime Rogers
Kelly resetting for another combination only to be cut off by a new audition panel.
Kelly barely establishes each prepared jazz phrase before the montage cuts to another rejection, denying her the uninterrupted floor she had in Franco’s studio. The repeated stop-start rhythm makes her skill visible at the same instant the professional gatekeepers refuse to let it develop.
Not currently available to stream; timestamp is for reference. Exact onset is subtitle-silent in the named 87-minute 1080p Blu-ray reference, so no timestamp is asserted. No current U.S. streaming or rental access was verified on 2026-08-05; Netflix lists the title unavailable and JustWatch lists physical-disc purchase only.
Ozone and Turbo take over Franco’s class
PoppingDanced by Adolfo “Shabba-Doo” Quiñones; Michael “Boogaloo Shrimp” Chambers; Lucinda Dickey; Ben Lokey; Franco’s dance class · Choreography Jaime Rogers
Turbo and Ozone puncturing Franco’s disciplined studio line with popping and locking accents.
Ozone and Turbo turn Franco’s orderly class into a challenge, with isolated hits and elastic body accents replacing his cross-floor jazz commands. Franco’s “amateur dancing” insult lands after the students have already watched the two men seize the room, so his dismissal reads as threatened authority rather than artistic judgment.
Watch this sequence · This sequence is on YouTube as a standalone clip. Exact entrance into the dance is subtitle-silent in the named 87-minute 1080p Blu-ray reference. Legal standalone Movieclips upload.
Radio-Tron battle — Electro Rock defeats Ozone and Turbo
PoppingDanced by Adolfo “Shabba-Doo” Quiñones; Michael “Boogaloo Shrimp” Chambers; Bruno “Pop N’ Taco” Falcon; Timothy “Popin’ Pete” Solomon; Ana “Lollipop” Sánchez; Ice-T; Chris “The Glove” Taylor · Choreography Jaime Rogers
Electro Rock’s three-person answer sealing the first Radio-Tron battle over Ozone and Turbo.
At Radio-Tron, Ozone and Turbo answer Electro Rock one round at a time while Ice-T and Chris “The Glove” Taylor hold the club’s microphone-and-turntable axis. Pop N’ Taco, Popin’ Pete, and Lollipop close ranks around their popping exchanges, and the loss stings because Turbo and Ozone’s individual signatures cannot yet match the rival trio’s coordinated finish.
Watch this sequence · This sequence is on YouTube as a standalone clip. Exact battle onset is subtitle-silent in the named 87-minute 1080p Blu-ray reference. Legal standalone MGM rights-holder upload.
Radio-Tron club circle
Breaking (B-Boying / B-Girling)Danced by Adolfo Quinones; Michael Chambers; Lucinda Dickey; Radio-Tron dancers
The circle and largely frontal coverage preserve individual signatures and peer response.
Observational coverage keeps the dancers' full bodies and surrounding community in view, using close-ups mainly to reveal effort and response. Because the film lets attempts, corrections and recoveries remain visible, the sequence shows how the dance is made rather than presenting only a polished result.
Stage audition finale
Fusion DanceDanced by Lucinda Dickey; Adolfo Quinones; Michael Chambers
Formal costume is stripped away as breaking, popping and jazz attack reorganize the proscenium.
The camera expands and contracts with the number, moving from architectural wides to selective details at musical turning points. Scale, costume and formation changes amplify the choreography instead of replacing it, so the spectacle remains anchored in dancing bodies.
Turbo's broom dance
PoppingDanced by Michael Chambers
Isolation and object animation make the broom seem responsive while the camera protects the illusion in extended views.
The camera favors sustained, full-body framing, preserving the phrasing and the relationship between the dancers and the floor. The movement is allowed to build through complete musical ideas, so the payoff comes from performance rather than editorial camouflage.
Turbo’s street-sweeping broom solo
PoppingDanced by Michael “Boogaloo Shrimp” Chambers; Adolfo “Shabba-Doo” Quiñones; Lucinda Dickey · Choreography Jaime Rogers
Turbo making the broom appear to float and dance back at him on the sidewalk.
Turbo treats the broom as a second body, passing waves through his arms into its handle and gliding around it as though the street tool were answering him. Ozone’s quiet “look at his face” directs Kelly to the concentration behind the illusion, and his “That’s dancing” turns the solo into the film’s clearest argument for street practice as art.
Watch this sequence · This sequence is on YouTube as a standalone clip. Exact movement onset follows a subtitle-silent lead-in in the named 87-minute 1080p Blu-ray reference. Legal standalone Movieclips upload.
Venice Beach training
Breaking (B-Boying / B-Girling)Danced by Lucinda Dickey; Adolfo Quinones; Michael Chambers
Instruction and exchange show jazz-trained Kelly adjusting weight, floor contact and groove.
Observational coverage keeps the dancers' full bodies and surrounding community in view, using close-ups mainly to reveal effort and response. Because the film lets attempts, corrections and recoveries remain visible, the sequence shows how the dance is made rather than presenting only a polished result.
More dance films
Poster artwork and title data from TMDB. This site uses TMDB and the TMDB APIs but is not endorsed, certified, or otherwise approved by TMDB.