![]() The culture was identified in the early 1980s when DJ Afrika Bambaataa named the dynamic urban movement "hip-hop." The words, "hip-hop," were originally used by MCs as part of a scat style of rhyming, for example: "Hip-Hop ya'll and ya don't stop, rock on, till the break of dawn."Īt about the same time, certain slang words also became titles of the dance forms, such as " rockin'" and " breakin'," used generally, to describe actions with great intensity. The common pulse which gave life to all these elements is rhythm, clearly demonstrated by the beats the DJ selected, the dancers' movements, the MCs' rhyme patterns and the writer's name or message painted in a flowing, stylized fashion. Each element in this culture had it's own history and terminology contributing to the development of a cultural movement. In the early 1970s, the unnamed culture known today as " hip-hop" was forming in New York City's ghettos. Information was also obtained from various interviews in magazines. Note: The facts in this piece were obtained through conversations with and/or public appearances by: Boogaloo Sam, Popin' Pete, Skeeter Rabbit, Sugar Pop, Don Campbellock, Trac 2, Joe-Joe, King Uprock, Kool DJ Herc, Afrika Bambaataa and other pioneers. The intent behind the following piece is to explore the past, present and future of these dance forms and their contributions to the performing arts worldwide. This is just one example of misinformation that undermines the intricacies of each dance form, as well as their origins and structure. ![]() Much of the media coverage in the 1980s grouped these dance forms together with New York's native dance forms ( b-boying/ girling and Brooklyn uprocking), labeling them all "break dancing." As a result, the west coast "funk" culture and movement were overlooked and underrated as the public ignorantly credited "hip-hop" as the father of the funk dance forms. popping and locking) originated and developed on the west coast as part of a different cultural movement. Although dance forms associated with hip-hop did develop in New York City, half of them (i.e. In order to properly report the history of hip-hop dance forms, one must journey both inside and outside of New York City. ![]() These truths, unanimously agreed upon by the pioneers of the culture, should constitute the "hip-hop gospel," whereas the questionable theories should remain as footnotes until proven to be fact. Nevertheless, it is safe to say that there are authentic facts, proven by sound testimony and evidence, regarding "hip-hop" history. Deciphering theories from facts is a gradual, seeming endless process since many resources are scattered, leaving missing links in the chains of history. Preface: As we complete the third decade of what has been termed " hip-hop culture," much has yet to be explored regarding its roots, history, terminology and essence. Of the Rocksteady Crew/ Universal Zulu Nation the History of Hip Hop Dance by Popmaster Fabel
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