Flexing (Bone Breaking / Bruk Up)
Also known as: FlexN, Flex Dance, Bone Breaking, Bruk Up
History & Cultural Context
Flexing is Brooklyn's contortionist street dance, and the one major New York street form whose musical parent is not hip-hop but Jamaican reggae and dancehall. It descends from bruk up, a Jamaican street style found in Brooklyn's dancehall and reggae clubs — Stefan 'Mr. Wiggles' Clemente described it as 'a reggae style of animation,' distinct from popping. The scene consolidated around Flex N Brooklyn, a talent show and local cable television programme started in 1992 out of Rocky and Sandra Cummings' home, and later around the borough's Battlefest battle circuit. Practitioners recognise roughly eight modes that dancers braid together: bone-breaking, the rhythmic disarticulation of joints; bruk up, simulating broken limbs; connecting or k'nect'n, tutting-like hand animation; get lo, floor-level work; grooving, the dancehall-derived rhythmic base; gliding, air-walking illusions; hat tricks; and pausing or pauzn, frame-by-frame stutter movement. Producers call the accompanying music Flex Dance Music, built on chopped riddims such as the 'Volume' riddim. Reggie 'Regg Roc' Gray became the form's chief organiser, and in March 2015 he and director Peter Sellars premiered FLEXN at the Park Avenue Armory with twenty-one dancers choreographing their own material.
Cultural Significance
Flexing belongs to Brooklyn's Caribbean-American communities and carries dancehall's social codes as much as hip-hop's. It has repeatedly been used as protest and testimony — the 2015 FLEXN production was made in the aftermath of the Michael Brown and Eric Garner decisions.
Characteristic Movement & Technique
Joints hyperextended and rotated past normal range in rhythm, arms and shoulders dislocating on beat, gliding footwork, hat tricks, and pauzn — movement broken into discrete frames as if the dancer were being scrubbed through video.
Partnering Dynamics
Solo in the ring, though flexers frequently stage two- and three-person narrative scenes — confrontations, arrests, deaths — that make the dance closer to physical theatre than to a display battle.
Competitive Context
Battlefest is the long-running Brooklyn battle circuit, with dancers judged on originality, storytelling and command of the eight modes. Reputation is also built through filmed street pieces and, since 2015, through theatrical productions.
Regional Variations
Bruk up in its Jamaican and older Brooklyn dancehall form remains distinct from the more theatrical, narrative FlexN developed in the battle and stage circuit; a heavier bone-breaking strand runs parallel to a gliding, animation-forward one.
Common Misconceptions
Flexing is not a subset of popping or animation, and it is not a hip-hop dance by descent — it comes from Jamaican bruk up and moves to reggae- and dancehall-derived Flex Dance Music. 'Bone breaking' also does not involve injury: it is trained joint hypermobility, not damage.
Peak Popularity
Signature Figures
- Reggie "Regg Roc" Gray
- Storyboard P
- Rocky Cummings
- Sandra Cummings
- Peter Sellars
Notable Codifiers
- Flex N Brooklyn (cable TV show, from 1992)
- Battlefest
- FLEXN at Park Avenue Armory (2015)
- Flex Is Kings (documentary)
Flexing (Bone Breaking / Bruk Up) Music & Tempo
Drawn from 19 Flexing (Bone Breaking / Bruk Up) tracks in the LODance music library.
Example tracks at practice tempo
- Scary Hours — Uninamise
- Kung Ku Kenny — Uninamise
- Brooklyn (feat. Epic B) — Uninamise
- Misdemeanor (feat. Davincii Productions) — Uninamise
- One Spliff — Uninamise
- Virginia White (feat. Yokai The Deity) — Uninamise
Flexing (Bone Breaking / Bruk Up) on screen
Films and television where Flexing (Bone Breaking / Bruk Up) appears, with the sequences worth watching for.
Poster artwork from TMDB.
This site uses TMDB and the TMDB APIs but is not endorsed, certified, or otherwise approved by TMDB.
What to Wear
Attire guidance for Flexing (Bone Breaking / Bruk Up) 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
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 Flexing (Bone Breaking / Bruk Up)
Essential equipment and apparel selected for dancers learning Flexing (Bone Breaking / Bruk Up).
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Sources & Further Reading
Cultural & Historical Context
Flexing (Bone Breaking / Bruk Up) emerged from Brooklyn, New York City, USA during 1992—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:
Flex N Brooklyn (cable TV show, from 1992), Battlefest, FLEXN at Park Avenue Armory (2015), Flex Is Kings (documentary)
Signature Movement Vocabulary:
Reggie "Regg Roc" Gray, Storyboard P, Rocky Cummings, Sandra Cummings, Peter Sellars
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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Browse the gallery →Works from the wider Hip-Hop & Street Dance tradition — we have not yet identified enough that depict Flexing (Bone Breaking / Bruk Up) specifically.
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