Dance HistoryHip-Hop & Street DanceBreaking (B-Boying / B-Girling)

Breaking (B-Boying / B-Girling)

Also known as: B-Boying, B-Girling, Breakin', Breakdancing

OriginThe Bronx, New York City, USA
Era1973–Present
Rhythm4/4 breakbeat phrasing; the dancer builds across the break and lands freezes on accents and downbeats
Tempo90–135 BPM (classic funk and soul breaks cluster around 100–115 BPM)
CharacterExplosive, combative, acrobatic and precise, alternating conversational upright rhythm with full-commitment floorwork

History & Cultural Context

Breaking is the foundational dance of hip-hop culture, developed by African American and Puerto Rican teenagers in the Bronx in the early 1970s. Its engine was the breakbeat: at a back-to-school party Cindy Campbell threw at 1520 Sedgwick Avenue on 11 August 1973, her brother DJ Kool Herc extended the percussive 'break' sections of funk records so the dancers — b-boys and b-girls — could keep going. Early breakers named James Brown as the first b-boy. The dance organises into four elements: toprock, the upright entry that establishes style and rhythm; footwork or downrock, floor patterns turning on hands and feet; power moves such as windmills, headspins and flares; and freezes, poses locked onto a musical accent. Crews carried it through its lean years — Rock Steady Crew was founded in the Bronx in 1977 by Jimmy Dee and Jimmy Lee, with Richard 'Crazy Legs' Colón opening the Manhattan branch in 1979 — before Flashdance (1983) and Beat Street (1984) took it worldwide. Breaking became an Olympic medal event at Paris 2024, contested at the Place de la Concorde.

Cultural Significance

Breaking grew out of Bronx block parties and park jams as a way for Black and Puerto Rican youth to claim status through skill rather than violence. The cypher — a ring of dancers taking turns — remains the culture's central social unit.

Characteristic Movement & Technique

Toprock steps into a drop, then footwork patterns like the six-step circling on hands and feet, punctuated by power moves such as windmills, headspins and flares and closed with a freeze held on a beat. Weight shifts constantly between hands, feet, back and head.

Partnering Dynamics

Essentially solo but never alone: dancers take turns in a cypher or trade rounds in one-on-one and crew-versus-crew battles, answering each other's material directly. Routines performed in unison by a crew are a secondary, showcase form.

Competitive Context

Battles are the native format, judged by crowd or panel on foundation, originality, musicality and execution. Major circuits include Red Bull BC One, Battle of the Year and the Silverback Open; the WDSF governed the Olympic event at Paris 2024, where Ami Yuasa (Japan) took the first B-Girls gold on 9 August and Philip 'Phil Wizard' Kim (Canada) the B-Boys gold on 10 August.

Regional Variations

New York foundation emphasises toprock and footwork; a power-heavy strand developed strongly in the American Midwest, South Korea and Russia; 'abstract' and threading-based approaches are associated with European and Japanese scenes.

Common Misconceptions

'Breakdancing' is a media coinage from the 1980s commercial boom, not the community term — practitioners say breaking, b-boying or b-girling. It is also not a 1980s invention: the dance was already mature in the Bronx by the mid-1970s, and the 1980s films documented it rather than created it.

Peak Popularity

2020s
92% estimated global awareness

Signature Figures

  • DJ Kool Herc
  • Cindy Campbell
  • Jimmy Dee
  • Jimmy Lee
  • Richard "Crazy Legs" Colón
  • Ken Swift
  • Ami Yuasa
  • Philip "Phil Wizard" Kim
  • Danis "Dany Dann" Civil
  • Victor Montalvo

Notable Codifiers

  • Rock Steady Crew
  • Zulu Kings
  • Dynamic Rockers
  • Red Bull BC One
  • World DanceSport Federation (WDSF)

Breaking (B-Boying / B-Girling) Music & Tempo

Drawn from 20 Breaking (B-Boying / B-Girling) tracks in the LODance music library.

Typically danced around114 BPM· most tracks fall between 104120 BPMBPM = beats per minute.

Example tracks at practice tempo

  • It's Just BegunThe Jimmy Castor Bunch118 BPM
  • ScorpioDennis Coffey & The Detroit Guitar Band104 BPM
  • Breaker's RevengeArthur Baker120 BPM
  • ApacheIncredible Bongo Band118 BPM
  • Listen to MeBaby Huey111 BPM
  • Renegades of Funk - 12-inch Vocal VersionAfrika Bambaataa & The Soulsonic Force114 BPM

Breaking (B-Boying / B-Girling) on screen

Films and television where Breaking (B-Boying / B-Girling) appears, with the sequences worth watching for.

Shake the Dust (2014)7 sequences indexedTibisay and Kings of the Floor in BogotáB-Girl Killer uses breaking as releaseBreakdance Project Uganda cypher on a handmade floorBreakin' (1984)4 sequences indexedVenice Beach circle — Kelly meets Ozone and Turbo · 00:08:37 · chor. Jaime RogersKelly learns to break with Ozone and Turbo · chor. Jaime RogersRadio-Tron club circlePlanet B-Boy (2007)4 sequences indexedGamblerz divided-Korea showcaseInternational crew rehearsal montageIchigeki turntable showcase and Katsu's tributeBattle of the Year (2013)3 sequences indexedDream Team training montage · chor. Dave ScottInternational competition ensemble round · chor. Dave ScottPenultimate competition round · chor. Dave ScottHoney (2003)3 sequences indexedBenny challenges Honey's counted combination · 00:09:36 · chor. Luther Brown; Laurieann GibsonBenny's juvie footwork demonstration · 01:20:13 · chor. Luther Brown; Laurieann GibsonBenny and Raymond's street cypher · 00:05:35 · chor. Luther Brown; Laurieann GibsonFlashdance (1983)2 sequences indexedRock Steady Crew street cypherStreet breaking sequence · chor. Jeffrey HornadayHigh Strung (2016)2 sequences indexedSubway showdown: Werk Crew vs. Reapers · chor. Dave ScottSubway dance showdown · chor. Dave ScottThe Get Down (2016–2017)2 sequences indexedShaolin Fantastic’s B-boy battle entrance · chor. Rich Talauega; Tone TalauegaGet Down Brothers vs. Notorious Three battle · chor. Rich Talauega; Tone TalauegaThe Way We Keep Dancing (2020)2 sequences indexedDave enters the dance battle · chor. Shing MakDave blows off steam · chor. Shing MakAmerica's Best Dance Crew (2008–2015)1 sequence indexedSuper Cr3w — “i” breaking showcaseFame (1982–1987)1 sequence indexed“Hi Fidelity” music-store roller-skating break-dance sequence · chor. Debbie AllenFavela Rising (2005)1 sequence indexedVigário Geral AfroReggae show montageIberia (2005)1 sequence indexedAlmería — flamenco versus breaking battle · chor. José Antonio RuizIn the Heights (2021)1 sequence indexed96,000 — submerged breaking · chor. Christopher ScottPrincess Raccoon (2005)1 sequence indexedBreakdancing numberStep Up Revolution (2012)1 sequence indexedFinale b-boy section · chor. Christopher ScottThe Big Leap (2021)1 sequence indexedBasketball-court pirouette-to-breaking duetThe Way We Dance (2013)1 sequence indexedRooftoppers' industrial-building introduction · chor. Shing MakUprooted: The Journey of Jazz Dance (2020)1 sequence indexedBreaking’s visible lineage from eccentric jazz movement · 01:09:29Wandance (2025)1 sequence indexedB-BOY park practiceYuli (2018)1 sequence indexedYoung Carlos breakdancing in Havana · chor. María Rovira

Poster artwork from TMDB.

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Breaking (B-Boying / B-Girling) in performance

2 staged works in the Limelight catalogue contain Breaking (B-Boying / B-Girling), 1998–2003 — 2 of them in a named act or number.

  • Cirque
    Breakdancing

    Breakdancing act — Three named artists perform routines with spins, flips and tricks that the article describes as straddling dance and acrobatics; this act later took over the slot vacated by jump rope. Source: "performed routines that straddled the line b…

  • Cirque
    Expressions and Dislocation

    Expressions, the interlude preceding Dislocation — A performer breakdances on stage to live percussion as a transitional comic interlude. Source: "Expressions: Interlude into Dislocation where the Fauna [Jesse Villa] breakdances on the stage to the percussi…

Every claim above is quoted from a cited source and names where in the work the style appears. Claims we could not place or could not quote are held back from this list and shown on the work’s own page instead. Browse the full performance catalogue →

What to Wear

Attire guidance for Breaking (B-Boying / B-Girling) and other Hip-Hop & Street Dance dances. Each card below is sized to the moment — class, practice, social, or competition — because the wardrobe shifts as the stakes do.

Reading the cards

Class — group instruction; comfort first.
Practice — rehearsal; dress like the dance.
Social — public dance floor; smart casual to formal.
Competition — judged events; rule-bound costume.

In Class

Street clothes you can sweat in and move fully in: joggers, sweats or loose jeans in thin denim, a tee or hoodie, layers you can shed. The one hard rule at most studios is a dedicated indoor sneaker that has never been worn outside — grit tracked in from the street scratches marley and wrecks the floor for everyone. For breaking, add a flat vulcanized sole (Sambas, Chucks, Gazelles) rather than a cushioned running shoe, cover your knees and elbows, and skip slick nylon or heavy zippers that catch on the floor. Long hair tied back, and take rings and bracelets off before floorwork.

Social Dancing

Jams, cyphers and club nights have no dress code — you dance in what you would wear on the street, and that is the point of the form. Practical constraints only: clean sneakers you can pivot and drop in, nothing so oversized that a judge or the circle can't read your movement, and pockets emptied before you go to the floor. Bring a second shirt if you plan to be in the cypher all night.

Competition

Battles and championships (Red Bull BC One, Juste Debout, World of Dance, the Olympic breaking format) generally have no prescribed costume — dancers wear their own street look or crew kit, and personal style is part of what gets judged. Practical rules do apply: a visible competitor bib or number, nothing that can fall off mid-round, and shoes that won't mark the stage. Breakers competing in power moves usually add a spin beanie or headspin cap and taped wrists.

Shoes

Flat, thin, minimally cushioned soles — vulcanized rubber rather than a built-up foam or air heel. Adidas Sambas and Gazelles, Converse Chuck Taylors, Puma Suedes and Vans are the perennial choices because you can feel the floor through them and pivot on the ball of the foot without the sole grabbing. Running shoes are the common beginner mistake: the raised heel and aggressive tread lock the foot mid-turn and blunt every slide and glide. Whichever pair you choose, keep it indoor-only.

🎯

In Practice

Training alone or with a crew sits between class and battle — wear what you would battle in, so you know how it moves before it counts. Fitted enough to read your own lines in the mirror while drilling isolations, since popping and locking are invisible inside an oversized hoodie, with the hoodie back on between rounds. Breakers add knee pads and a long sleeve under the top for floor sessions, and empty their pockets: keys and a phone in a pocket are the classic cause of a bruised hip.

Common Pitfalls

  • Wearing the shoes you walked in on — street grit scratches marley and most studios will stop you at the door.
  • Cushioned running shoes for breaking or footwork: the tread grabs on turns and the raised heel kills ground feel.
  • Clothing so oversized that isolations and body lines disappear — the teacher and the judges cannot see what you are doing.
  • Attempting headspins or windmills without a spin cap or padding.
  • Keys, phone or a belt buckle still on you when you go to the floor.

Price Range

  • Budget: You likely already own the clothes. An indoor-only sneaker at roughly $60–100 (Chuck Taylors, Puma Suede) is the only real purchase.
  • Mid: Adidas Samba or Gazelle around $100–120, knee pads $20–40, a spin beanie roughly $25–50.
  • Premium: A purpose-built spin cap (Spincontrol and similar) at roughly $60–100, wrist supports, and multiple indoor pairs rotated for different surfaces. Beyond that the money goes into workshops and travel to jams, not gear.

Key Terms

Vulcanized sole
Thin, flexible rubber sole bonded flat to the upper — gives ground feel and a predictable pivot, unlike a cushioned running sole.
Spin cap
Padded cap or doubled beanie worn for headspins and halos; protects the scalp and reduces friction and hair loss.
Floor burn
Friction abrasion from footwork and floor rocks — the reason breakers wear long sleeves and durable fabrics rather than thin jersey.
Indoor-only sneakers
A pair that never goes outside; grit carried in from the street scratches marley and ruins the floor for the whole studio.
Crew kit
Matching or coordinated crew clothing worn at battles — identity rather than costume, and never required of an individual entrant.

Quick Tips

  • Suede-soled shoes allow controlled sliding and pivoting — essential for most partner dances.
  • Avoid rubber soles on dance floors; they grip too much and can cause knee injuries.
  • Bring a separate pair of clean shoes for the dance floor to keep it in good condition.

Recommended Gear for Breaking (B-Boying / B-Girling)

Essential equipment and apparel selected for dancers learning Breaking (B-Boying / B-Girling).

Canvas Dansneaker® - Child

Canvas Dansneaker® - Child

Capezio

shoe

$50–$100

Fierce Dansneaker® - Child

Fierce Dansneaker® - Child

Capezio

shoe

$50–$100

Canvas Dansneaker®

Canvas Dansneaker®

Capezio

shoe

$50–$100

Fierce Dansneaker®

Fierce Dansneaker®

Capezio

shoe

$50–$100

Rock It Dansneaker®

Rock It Dansneaker®

Capezio

shoe

$50–$100

Adult Boost Mesh Split Sole Dance Sneakers

Adult Boost Mesh Split Sole Dance Sneakers

BLOCHSTORE-US

shoe

$50–$100

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Sources & Further Reading

Cultural & Historical Context

Breaking (B-Boying / B-Girling) emerged from The Bronx, New York City, USA during 1973—present day. Understanding the cultural roots, musical traditions, and social circumstances of this era enriches appreciation for the dance's characteristics and significance.

Formative Influences

Codifiers & Standardizers:

Rock Steady Crew, Zulu Kings, Dynamic Rockers, Red Bull BC One, World DanceSport Federation (WDSF)

Signature Movement Vocabulary:

DJ Kool Herc, Cindy Campbell, Jimmy Dee, Jimmy Lee, Richard "Crazy Legs" Colón, Ken Swift, Ami Yuasa, Philip "Phil Wizard" Kim, Danis "Dany Dann" Civil, Victor Montalvo

Primary Source Documents

The Library of Dance contains public-domain primary sources for dance history. Copyrighted modern syllabi are indexed with purchase links to their respective copyright owners. Search by dance name or codifier to discover primary source documents.

Last reviewed: September 2026 — This dance profile synthesizes historical research, cultural documentation, and contemporary practice knowledge to provide authoritative context.

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