|The break dance or b-boying is a street dance and one of the five elements of hip-hop.
"Break dancing" was never a term, not even for its performers. They preferred to call themselves “B-boys and “B-girls”. The word gained popularity in the 1980s when it was made public. David Toop describes the break dance as an adaptation of break, dance, which was popular before by Freak, but once again rose to heights thanks to performers such as Nigga Twins, Spy and the Zulu Kings. However, one of the founders of hip-hop, Dj Kool Herc asserts, that the word breaking occurs from the slang word break, (Literally translated as “broken”) since the movements appeared to be broken. For the first time, the word “bboy” was used by Dj Kool Herc, what he called the persons performing the break-dance.
Actually, the break-dance as a dance is presented only in one form - breaking (or b-boyng). For a long time, it was accepted to divide the break-dance into “toprock” and “downrock” and such divisions were made still in the mid-80s of last century.
Actually, “toprock” represents another form of street dance, originating not in the East coast of the USA but on the Western coast. These dances are based on the funk culture of the Western coast and presented by popping; locking styles and Electric Boogaloo (do not mix up that with Electric Boogie!). The locking style was invented by Don “Campbellock” Campbell and developed and gained popularity through “The Lockers”, group created by Campbell. Electric Boogaloo and the popping styles were created by Sammy “Boogaloo Sam” Solomon and developed in his group the “Electric Boogaloos”.
As a matter of fact, even breaking can be divided into Old School and New School. It is accepted to call what ever has been created by the founders of break-dance approximately before the start of the 90s as “Old School” and elements created and incorporated around the mid 90s is called “New School”. Elements of the New School are much more difficult in practice, artistically and to watch.
Some other dances. Turkish (or eastern) dance:
In the 80s of 19th century, the belly dance, called then the dance of Salomei , was widely spread in Europe. Partially it happened due to the Mata Hari, who declared herself as the performer of the belly dance though to much an extent she managed a striptease.
At that time, referring to a word like "female hips" and "belly" was considered unacceptable in a decent society as both could bring other things to mind. And dancers of that time wore absolutely different, not like now. As a rule, they danced in long gowns and hips were underlined by sa carf.
The change in dancing form occurred much later in Hollywood. Dance costumes, as well as everything, associated with Hollywood, received a glamorous shade. For the first time in Hollywood films, dancers appeared with a bare belly, embroidered by a bodice and a belt on the waist, and for the first time, they appeared in old Hollywood films.
The belly dance formed through many centuries, from each of the eastern countries and each nation added something to it. The greatest influence on the belly dance was by Gipsy tribes. Navar ,which in Hindi means gypsies, traveled across India, the Middle- East and Europe, temporarily having settled in Spain. Many researchers believe that the Navar are ancestors of Gavaza. On observing closely, the similarity can be seen between Indian and Middle-Eastern folk dances .
Middle-Eastern dance is also an ancestor of the modern flamenco. Аndalusia got acquainted for the first time with belly dancing as a part of the Ottoman empire. Many basic components of the flamenco and Middle-Eastern dance are similar. The style of the flamenco and Hula dance (traditional Hawaiian dance) is the closest to the Middle-Eastern dance style.
The major difference between these dances and the eastern dancing is that the main accent in flamenco is on the feet and hands rather than on the belly and hips.
Classical Indian dances:
There are 9 basic moods of "Navarasa" in the Indian classical dance, namely:
1. Rudrа – anger;
2. Bkhanyаnkа – fear
3. Shringara – love
4. Virа – heroism
5. Khasya – happiness
6. Karuna – grief
7. Adbhutа – surprise
8. Bibkhatsa – aversion
9. Shantа – peace
Not only eyes but also eyebrows, lips, nose, cheeks, chin and ears are involved in order to portray a particular feeling. It is a fine exercise of facial muscles.
Classical Indian dances are also famous for their varied, masterly rhythms. As from the invisible sounds of the Ghungru strings (little bells tied on the feet), the courtly, multi-colored carpet makes various rhythms.|