What is Breakin?

Fri Sep 12 2014

Breakin', or bboying/bgirling, often mistakenly called “break dancing” is a style of dance that originated in New York City in the 1970's. This highly popular style of dance can be seen anywhere now, but how much do you really know about it? Read more to find out!

The history of Breakin' began with dance parties in the Bronx, NY. The DJ's at the time would extend rhythmic breakdown of dance songs, known as “breaks” by mixing two of the same records together. While the DJ was playing the breaks, dancers would freestyle dance to the music, which in turn led to the first dance battles. Those who like to dance and battle during this time were referred to as break boys/girls, or bboy and bgirl.

Interested to keep learning about bboy and breakin culture? Take our Bboy technique class with Jared every Wednesday!

http://depokmarket.ru/2279.html Mr. Paolo Breaks Down Hip Hop

Friday, August 3rd, 2012

Everyday we get questions about the difference between hip hop, breakdancing/b-boying, etc.. To help us all understand better, I decided to ask Mr. Paolo myself! Here are his explanations verbatim about some styles of dance!

Hip Hop Dance: Dancing that is inspired and based on urban styles applied to hip hop music. The music can be mainstream hip hop music or old-school music. Hip hop dance is a very broad spectrum.

Breakdancing or b-boy: Breakdancing/B-Boy started as one of the four elements of hip hop. Old school b-boys tend to stay away from the term breakdancing because it’s more of a commercial term. Breaking was started when a DJ would play an old disco record and there would be a break in the song – the DJ would mix the 2 breaks together and that’s when people would start dancing. It starting as rocking out to the music and turned into a full body expression; a grounded interpretation of the music. There are 4 elements of breaking: top rock, floor work, freezes, and power moves (ie. headspins, halos, windmills, etc.).

Krump: Krump is based on African praise dance with big expressive movement.

Waving/Popping: Waving is an offshoot from popping. There are 2 distinct schools of popping: the East Coast style from New York and the Bugaloo style from the West Coast. The Bugaloo style is more continuous movement (like waving) and the New York style has more stops (like popping).

Although these are not the only forms of hip hop dance, they are some of the major forms. We must remember that new forms are made up everyday!

enter site The Perfectly Poignant Theatre: The New York City Ballet

Monday, November 29th, 2010

Koch TheatreThe David H. Koch Theatre had to be thoughtfully planned to match Balanchine and Johnson’s masterful stage for the New York City Ballet. The theatre was designed and planned by Philip Johnson, the architect of the stage, and John Burgee.

Johnson, Burgee and Balanchine developed the entire theatre to resemble a jewelry box. The lobby has levels of balconies wrapping around the rectangular perimeter to overlook all of the happenings. Lights shine down on visitors dressed in gowns to illuminate them like spinning dancers and princesses in a jewelry box. Tiny crystal balls hang down the edges of the space and gold in the ceiling adds a glowing finishing touch.

In the auditorium itself, plush red velvet aisles and seats imitate the inside of a jewelry box. There are five rings of seating to make the setting intimate and allow all audience members a perfect view. Once again, gold in the ceiling contrasts the plush red velvet all around. The chandelier and inset lighting on the rings of seating also illuminate the beauty inside the jewelry box.

[Photo from http://www.architizer.com/en_us/projects/view/david-h_koch-theater-renovation-at-lincoln-center/2637/]

http://morogebuy.ru/krasnoyarske-razadacha-probnikov-zakladki-kristalli-skorost.html The Dream Stage: The New York City Ballet

Thursday, November 18th, 2010

Have you ever imagined a stage designed just for the dancer? Imagine the perks! Well, when George Balanchine founded the New York City Ballet, he wanted all of these perks for his elite ballet dancers. Working with architect, Philip Johnson, Balanchine developed a stage for ballet dancers.

To satisfy the true needs of a ballet dancer, the floors on the stage are specially made with padding and spring. The stage wings, too, have this same padded floor to allow for a running start to leap onstage and for safer warming up. The stage wings are larger than those of any regular theatre, again to allow for running starts and warming up. The stage itself is massive at 58 feet deep to allow for elaborate sets, large ensembles and visibility of all dancers for all audience members. The stage was also designed to keep sound in, rather than project it out (like with most theatres meant for Operas or theatrical productions). This allows the dancers to truly float and glide silently with muted Pointe shoes. And, finally, the height of the stage is a whopping 89 feet high to allow for multiple sets to be ready for each show. Balanchine developed the NYCB to imitate life in New York City; fast paced and always changing. The ability to have multiple pieces of different balletic and choreographical styles in each show helps upholding that founding ideal.