| After forty years, Bboying as a discipline has reached a state of stagnation. Mass-media, in spite of inspiring high refinement in movement, has caused a corruption of the very foundational philosophy intended in the genre. It is my contention that in order to break such entropy, modern Bboying must now return to live music, once a vital component of its original inception. In the parks of New York City, live drum circles of West African and Latino heritage spawned the beginnings of breakdance. A return to the roots is facilitated by events I call "Live Cypher." At Live Cypher, I put breakdancers into a situation where battle mentality was de-emphasized, and communal experience was brought to the forefront. The absence of a DJ, and the presence of live hand-drums and live musicians, caused not only a change in atmosphere, but also a change in dance styles within Bboying. This has created a space for improvisation as opposed to preconceived movement. These changes are chronicled in an original work entitled: B-Side Story. B-Side Story is a play that shows the history of the genre, and some of the problems breakdancing has encountered in its short history from 1970-2010. It also illustrates the potential future of the art, and the role of "Live Cypher" in providing solutions for breakdancers to reconnect with the original essence of the genre. |
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