"HIPHOP" is the dance that extends from the rhythm of the body
"GIRL HIPHOP" is the same as HIPHOP, but the difference is that the movements are more feminine, like the dance of the singer Namie Amuro
"HOUSE" focuses on the foot movements and the sense of jumping
"LOCKING" is a mechanical dance, which includes locking, and usually the dance has a funny feeling and the wrists are like playing nunchucks. LOCKING』Locking dance is a dance that usually has a funny feeling and the wrists are like playing nunchucks
『POPPING』Machine dance includes more than 20 kinds of dance techniques such as POPPING (vibration point) WAVE (electric current) TUTING (Egyptian King) BOOGALOO....
'REGGAE' is a kind of reggae that focuses on big movements and Shake movements, and Beyonce's dance belongs to this category
'FREESTYLE' is not really a kind of dance, but it is a dance that the teacher synthesizes his own learning and mixes and matches according to his own feelings
'BREAKING' is a dance that is most popular in the Chinese region, and it is also known as 'BREAKING'. BREAKING" is the most popular dance in China nowadays, such as rocking steps, rows of legs, windmills, head turns... and other techniques.
PUNKING is a kind of LOCKING mixed with NEW JAZZ, which is an advanced dance
KRUMP is a new style of dance which was only formally divided in 2004, it has a big rhythm and looks angry, and the dancers also paint their faces
The above dances are like LOCK, BREAKING, HIPHOP, POP and other dances, which have been popular in China. The above dances such as LOCK, BREAKING, HIPHOP, POPPING
are OLD SCHOOL dances
So there are two styles of dance, OLD SCHOOL and NEW SCHOOL
But the other dances are new styles, so there is only one style of new school
These dances have been around for a while, but they are not as popular as the others.
『NEW JAZZ』NEW YORK STYLE JAZZ, is also a more feminine dance, but without rhythm.
Popping is very rhythmic, so when you dance, pay attention to the rhythm of the blasting point, blasting with the music.
Blast is by the hands, feet, shoulders together, the novice can not first shock the shoulders, POPING no secret, only more practice.
First of all, the most basic, is to develop the habit of feet to move with the music. Start to find some moderate rhythm and a little change in the tune, first learn to use your feet to point beat. This time must pay attention to the footsteps to be clear, pressure beat to be accurate. (What dance this is the key) Wait until they feel very comfortable when you can find some difficult music, faster and more varied rhythms. The requirements are the same. However, at the beginning of the second step may feel overwhelmed, always feel that this beat of the footsteps have not yet received back the next beat will come. Practice, it's all about practicing. And make your movements as wide as possible. (The greater the amplitude of the movement, the higher the rate of change, the more exaggerated the rate of change in the visual effect of the more powerful) Practice like this is to slowly remove their own footsteps in a fixed rhythm, practiced more often when you hear the music do not even have to think about it, the dance steps naturally come out. I'm not sure if you're going to be able to do that!
Okay, now let's talk about how to enrich your dance steps.
I. Since you can't learn any rich steps from break dance why don't you learn them in other dance styles? Like my own toprock in which I added a lot of c-walk and house steps, but just because the music used when dancing breaking is not the same, so the rate of change of those steps is not the same way, so the feeling is still toprock feeling. In fact, you don't have to look for inspiration in street dance. Many other types of dance steps have a lot to learn. We recommend tap dance and cowboy dance. (A few days ago I went to see the performance of river dance, the world's most famous tap dance troupe, and I really benefited a lot. I came back and my house was immediately a whole lot stronger, and of course toprock has improved).
But even if the music is good and the footwork is rich, you probably can't get the house going with toprock alone. There's an X-FACTOR, and that's knowing how to stop.
Learning to stop is as important as any other dance. (More on stopping in a later installment, and a more detailed analysis in Dance God)
When you're dancing toprock, grab a heavy beat and snap!
A pose is struck!
At the same time, throw your head around.
The crowd erupts!
Don't panic just yet.
Gently strike the beat with your hand or with your head and put a bar or two past it.
Another heavy beat suddenly adds force!
And again the whole room bursts into a boil.
II. After toprock, let's talk about footwork.
First, let's be honest: Is it possible to get every single beat of footwork? Possibly! But don't try it, it's twisted and it's ugly!
Everything in breaking except the toprock is done with inertia (or rather, the movements that are done with inertia are the ones that look good). And to utilize inertia you need to add force at certain times. Who can guarantee that the moment you need to add force is right on the beat? For footwork, it's probably better to talk about utilizing music. You can't say you're going to choose the music when you're in a battle. For power moves you can wait until you have the right music. (How long does it take to make a power move in a battle?) But that's not so much the case for footwork (which is a large part of the battle nowadays). All that can be said is to try not to break the inertia as much as possible while moving with the music and going fast or slow.
There's a lot of tricks to utilizing the music, and footwork can be done by using the up and down of the body, the swinging of the legs while the body is on the ground, and the hands supporting the body, with one foot pointing behind the other to achieve a full follow-through. But this will be super monotonous, and lack of visual impact. You can't throw away the biggest attraction of breaking for the sake of deliberately following the beat. So the best way to utilize music is to stop! And stopping in footwork has a special name, "freeze"!
In fact, freezes don't have to be only the head and hands on the ground, as long as the music is accompanied by a very dry pose that is not standing (of course, it must look good) during the footwork, it is called a freeze. the earliest freezes were like that. It is only later with the development of breaking that a variety of difficult freezes slowly appeared. However, slowly, freezes also lost its original role, becoming the main body of break dance. (In fact, my own footwork is not good either (I started practicing breaking again just over a month ago, it's strange that it can be good). I'm sure there are readers of this article who have much better footwork than I do. I hope these masters will reply with their own experiences as well). However, I've always believed that dryness is the most important thing about freezing. If you can be dry and sick, then you're tough. But if it's all perversion and no dryness then it's going to be relegated to the category of acrobatics.
Think about it, if you give the audience the impression that you are a skilled dancer, then if you do a very simple but beautiful freeze, the audience will give you a big round of applause. But if you play something that the audience subconsciously categorizes you as an acrobat, then the audience will applaud you. Oh, compared to acrobatics 。。。。。。。 I guess you'd have to use very difficult tricks to get the same effect. And even if there was applause, most of it wouldn't be first reaction applause. I'm guessing most would be watching and thinking, ah, that was a hard move, clap clap clap.
Actually there's one more important thing about toprock, footwork and freezes, and that's the articulation of all three. As a dance, it has to be fluid (not being fluid and being able to stop are two different things). So the transition between the three is especially important, and must be integrated. And it doesn't have to be toprock-footwork-freeze, it can be combined freely with the music and inertia. It's not monotonous, and it's not choreographed. (Blending in? That's good to say, but hard to do. That's what I'm working towards right now.)
So when practicing, you can't practice each thing separately, you have to practice them together. That way when it comes to Battle it's possible to do it all together. Also, footwork and freezes are both very much about inertia, so it's easier to practice them together. Sometimes when I'm listening to music and doing footwork, I'll come up with a freeze without even thinking about it, and then I'll think, "How did I get to this point?
Power moves
Now we're getting to the most glamorous part of the break dance, the part that releases the most passion.
But 。。。。。。。。。 Let's just say I don't have much to offer in this area. Three years ago I was practicing the headspin in a decent way, but now 。。。。。。。。 Anyway, I don't plan on going any further in this direction. Work on it all you b-boys.
I can only give a few tips here
1. Inertia is especially important in power moves, and that's what power moves are all about. I've seen countless b-boy's windmills. A circle. The windmill is a very good way to get your feet up and out of the way. And then a circle 。。。。。 Hold up 。。。。。 It's hard to see, it's hard to watch. You should practice the first circle first and then start to learn the catching circle. When I first started practicing, I had a friend who practiced the first circle first and then went straight to no hands. His windmill was by far the best I've ever seen.
2. Learn to use timing, I've talked about this earlier, so I'll cut to the chase. But I have another idea, if your toprock doesn't look good why do you have to wiggle on it twice first. Why don't you just rush over to the opponent as soon as they're walking back and do a wild spin? It's a great way to get some momentum!
There's some general stuff to say after I'm done talking separately.
1. No price is too high
Last week I went to a youth community here to teach new style (an hour is equivalent to 1,000 yuan, haha) when I ran into an old b-boy, (forty-something years old in the United Kingdom is estimated to be an OG level of characters, on the head turn are not much worse than the Koreans). He told us that everyone has to have their own glory move, the kind of move where you can't be beaten by anyone else. If a crew has a couple of glory moves, then that crew is very strong. In fact, gambler is such a crew, no matter what kind of match it is, there are only a few moves. But with just a few moves, no one can beat them. And there is one guy in our crew who is a counter-example. He can do everything that is common, including air flare, and everything is still the same. But there just isn't a single move that packs a big punch.
So get one move practiced, then move on to the next.
2. The mastery of momentum and politeness in battle
In fact, I think momentum is as important as strength in battle. As long as you don't lose, you won't lose even if there's a big gap in strength. But I'm worried that this year's BOTY China team will lose momentum to their opponents when they make their first international appearance, and that would be an ugly loss. (I'm going to Germany this October to cheer on the Chinese team.) But sometimes, too much momentum turns into rudeness. Like when a white guy from France did a follow back in the '04 BOTY final, a guy from the Korean team went over and interfered. This is really a kind of rude behavior, if the referee is jealous of this, oh, gambler can still win the championship? It's a good thing to keep in mind. Just don't interfere when someone else is jumping. You'll have to do a lot of teasing and stuff when you're jumping, so do what you want to do.