After Paris, Breaking Needs To Be Remembered (And Not Just For THAT)
The community and the culture need support -- not just ridicule -- and not just now
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In 2023, much of the world collectively jumped at the chance to participate in the 50th anniversary of the birth of Hip Hop.
While no single origin flashpoint could possibly exist for a movement as complex as Hip Hop, it was a somewhat universally agreed-upon milestone, and certainly one worth celebrating. After all, as the words of the late lyricist The Notorious B.I.G. will eternally remind us, none of us ever “thought Hip Hop would take it this far.”
However, as I pointed out last year in an OpEd in the Atlanta Journal-Constitution, there were glaring omissions at most of these major events – rarely on display were the other elements of Hip Hop. Even the DJ, known as the cornerstone of the very genre being celebrated, received very little fanfare.
For the most part, “Hip Hop 50” jubilations were overwhelmingly rap-centric.
It’s certainly understandable. In terms of exposure and commerce rap has exponentially outgrown its artistic Hip Hop siblings. Still, the downside of that prioritization is that for much of the general public, Hip Hop (only) equals “rap music."
Moreover, most positive attention being showered on the genre would dissipate as soon as the 50-year-old clock struck midnight. Mere months after the August 11, 2023 milestone, media coverage of Hip Hop would largely center on rap beef, the fall of Diddy, or most recently, Megan Thee Stallion supporting — or twerking — for Kamala Harris (wording dependant on who’s reporting the story).
These stories are worthy of covering, no doubt, but still a far cry from last year’s feel-good vibes.
This summer though, there’s a twist. Breaking was just in the Olympic Games for the first (though potentially last) time.
A HEAD-SPINNING DEBUT
The dance movement which coalesced during the early days of Hip Hop’s Big Bang in the Bronx catapulted into the public view during the 1970s and 1980s, thanks, in part, to movies like Breakin’ and its always-fun-to-say sequel, Breakin’ 2: Electric Boogaloo. It perhaps reached its highest pinnacle of general public awareness during a televised performance at Ronald Reagan’s 1985 Presidential Ball.
Breaking had broken in, and for a time at least, steady rocked a sizable linoleum-lined square firmly planted in the pop culture zeitgeist.
However, similar to how Hip Hop’s other artistic elements would take a back seat to the front-facing (and lucrative) industrial rap complex, breaking would be relegated to an underground existence. For many, it would simply disappear entirely.
Still, these elements would prove to be indestructible. In later years, graffiti writers who spent their youth dodging law enforcement would become sought-after artists, commissioned for paintings and murals, with institutes of “higher” art, academia, and archival spaces starting to welcome this once-disparaged art form into their hallowed halls.
With corporate backing and technological advancements, turntablism would survive as well. Competitions like the DMC World DJ Championships would keep that aspect of the culture alive, evolving, and youthful — crowning champions as young as 12 years old.
The World Beatbox Association would be formed, hosting similar exhibitions and competitions celebrating the unique form of oral musicianship made famous by Buffy The Human Beatbox, Dougie Fresh, Biz Markie, and others.
Breaking would also find new ways to elevate, as organizations like Freestyle Session and companies like McDonald's and Red Bull would host high-profile events. Despite still a less visible artistic aspect of Hip Hop, breaking would continue to expand globally, and breakers from around the world and across all age levels and skill rankings would maintain world-class athletic and stylistic brilliance, perhaps subconsciously hoping for that unlikely call from IOC headquarters in Lausanne, Switzerland.
That call would come after a highly successful inclusion in the 2018 Youth Olympic Games in Buenos Aires. Breaking’s temporary promotion to the main Olympic stage this summer should have removed any doubt about the level of athleticism, professionalism, depth, and dedication that is alive and well within the global breaking community.
Of course, as usual, it’s a little more complicated than that.
AN AFFAIR TO REMEMBER
Breaking’s milestone moment drew plentiful local network and cable news coverage, public discussion, and social media chatter.
However, as with “Hip Hop 50,” much of this attention will fade away now that the last windmill has windmilled.
After, of course, the controversy surrounding Raygun of Australia finally dies down.
It was this confusing debacle of a performance that has heightened ongoing mixed feelings within the breaking community — and now among regular folks as well — about breaking’s Olympic ascension.
Those still in favor generally agree that, like beatboxing and turntablism, breaking has been an undervalued element. The opportunity to go off for the world, to renew public interest in the dance, to prove it’s still a formidable cultural force, and to inspire the next generation, was a long-awaited, and worthwhile opportunity.
On the other hand, many continue to view its inclusion as a full-on gentrification of the art and culture, an attack on its authenticity, and a diminishing of its roots. Many oppose the imposition of obscure rules, a confusing judging process, and the fact that breaking originators and pioneers were never afforded this level of prestige or acclaim.
These are all valid viewpoints that will need to be ironed out. Yet no matter what side anyone might fall on, the bottom line is that (nearly) every breaking competitor in Paris was highly skilled and obviously deeply dedicated to their craft. Whether or not you liked this particular overall presentation or not, breaking long ago developed into a world-class sport. And dance. And a form of cultural and individual expression. It is varied. It is beautiful. It is powerful. It is beloved worldwide by millions. It honors its past and evolves with the times. It is inspiring. It crosses all boundaries. It is intergenerational. It is unifying.
When done right, it’s unequivocally dope.
As such, it is a thing we must collectively and continuously appreciate way after today’s closing ceremonies. Because unlike more established and universally recognized sports, breaking still requires ongoing attention to help guarantee its survival.
As the Paris games come to a close and the world gets back to life, back to reality, this uniquely inspiring creation – birthed among rubble, fueled by despair, inspired by generations before it, and nurtured into a global phenomenon – is owed at least the same public recognition, support, funding, attention, and advocacy that it has received this summer.
We can find ways to do that, not just by sharing memes, but by seeking out local dance events, sponsoring local organizations, engaging with our favorite dancers or crews on social media, amplifying their work and their concerns, uplifting other incredible stories found within breaking culture and keeping all of these efforts alive all the time.
GOING, GOING, BACK, BACK TO… AUSTRALIA??
Each Olympic host city gets to choose the provisional sports it wants to include, and Los Angeles, ironically, has chosen to exclude breaking for the 2028 Summer Games.
The fact is, it may never return to the Olympic stage.
But it could.
I don’t know all the specifics timeline, but it’s possible we have some time to potentially organize, orchestrate, and push for a bigger, better presentation in time for the 2032 summer games.
In Brisbane.
(Brisbane, Australia. Ironically…)
Maybe this is all in accordance with prophecy and destiny will play a role here. Would it not be fitting that the home of Raygun re-welcomes breaking into the Olympic mix, this time without 2024’s shenanigans but with a re-vamped everything, centering on more adherence to the culture and traditions that were excluded or compromised or mocked in ‘24?
Because make no mistake, many traditionalists weren’t completely turned off by what they saw. Various public, pride-filled commentaries have shown continuing interest in improving — not denying — this direction, even among those who hadn’t fully bought into the idea. With some urgently needed tweaks, perhaps the next time breaking returns to the global stage, it will be something that more folks can feel good about fully supporting.
FOR NOW…
It seems that many people were surprised by the look of breaking in 2024. To be fair though, most people haven’t been immersed in the culture of breaking, or the evolution of the competitive circuit in recent years. Still, there was a lot that we did recognize. Aside from genuinely talented dancing, the DJs did well. Many feared the music would be generic, but it wasn’t. The show hosts kept up the energy. The stage was a circle. Reactions from folks in the crowd who were obviously of the culture were emphatic and authentic.
There were things none of us liked, true. But the next time we look up and see breaking ascend to the world stage, it might be even worse.
The only way to avoid that, is if we remember 2024.
Not for the weird, but the wonderful. Not for the failures, but for the victories. Not for the jokes, but for the joy it brought observers across the world, and clearly, the dancers themselves.
Mainstream media won’t remember. Hell, most Hip Hop media didn’t publish a thing about breaking UNTIL the Olympics, so most of them won’t remember either.
Bandwagon corporations certainly won’t.
And the critics who never-before-but-suddenly-now have emphatic opinions about breaking? They’ll soon move on to the next trending thing the Internet tells them they should be up-in-arms about.
For those who truly care, let’s stay engaged. Let’s each look for ways to learn more about and support the movement, the dancers, the organizations — the culture — in whatever ways we can.
This, and every year.
I personally pledge to continue working to support ALL aspects of Hip Hop culture, including breaking, and share information and resources with you.
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Lastly, here are some interesting follow-up links
Here's some insight on the judging.
Here's some insight as to the global evolution of what was absolutely birthed and nurtured in the U.S. by Black Americans and Latinos, but in some ways abandoned at home, only to keep expanding overseas.
…as said thusly by the honorable Nelson George:
Here's B-Boy Action talking about the 80s when many breakers themselves wanted to go in a different direction:
Here's an article about why a lot of OGs aren't cool with the whole Olympics thing.
And another why breaking is one of our greatest cultural exports:
Former guest Mikal Amin’s take from *before* the games, which held up pretty well.
And what many consider one of the better books on breaking as a whole.
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