How can I learn to breakdance well?

First of all, the most basic thing is to develop the habit of moving your feet to the music. Begin 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 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. You can do whatever you want! 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 from other kinds of dance? Like my own toprock inside added a lot of c-walk and house footwork, 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 out of the feeling is still the feeling of toprock. 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 with a much stronger house, and of course my toprock has also improved). However, even if the music is good and the footwork is rich, I probably can't get the whole crowd going with toprock alone. There is another X-Factor, and that is to know how to stop. Learning to stop is as important as any other dance. (The issue of stopping will be explained in the next few issues, and will be analyzed in detail in the God of Dance.) When dancing toprock, grab a heavy beat and snap! A pose is struck! At the same time, you throw your head. The whole place explodes! Don't panic yet. Strike the beat gently with your hand or head, and let a bar or two pass. Another heavy beat is suddenly added! Again the whole room explodes. II. After toprock, let's talk about footwork. Let's be honest, is it possible to get every beat of footwork? Yes, it can! But don't try to do it, it's very twisted and ugly! In breaking, except for toprock, everything else is done by inertia (or rather, the movements that are done by utilizing inertia are the ones that look good). And to utilize inertia, you need to add force at a specific time. 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 faster or slower. There's a lot of tricks to utilizing the music, and footwork can actually be done by using the up and down of the body, the swing of the legs when 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! In footwork, there is a term "freeze" for stopping. In fact, freezes don't have to be only the head and hands or other parts of the ground to be called freeze, as long as the music in the footwork with a very dry pose as long as it is not standing (of course, to look good) is called freeze. the earliest freeze is that way. 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 just sick and not dry, then it's going to be categorized as acrobatics. Think about it, if you give the audience the impression that you are a skillful dancer, as long as 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 guess most would be watching it and thinking, ah, that's a hard move, applauding and clapping. Actually, another important thing about toprock, footwork and freezes is the articulation of all three. As a dance, it has to be smooth (not being smooth 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 time 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 come to the most dazzling and passionate part of break dance. But 。。。。。。。。。 I can only say that I have nothing to offer in this area. Three years ago I was practicing head turns like a champ, but now 。。。。。。。。 Anyway, I don't plan to go any further in this direction. You b-boys work on it. I can only give a few tips here 1. Inertia is very important for power moves, and that's what power moves are all about. I've seen countless b-boy's windmill is...a circle...a circle.... A circle...a circle...a circle...a circle...a circle...a circle. The first time I saw the windmill, I was able to hold it up. Another lap 。。。。。 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 windmills were the best I've ever seen. 2. Learn to use timing, I've talked about this earlier, so I'll cut to the chase. However, I have another idea, if your toprock doesn't look good, why do you have to swing on it twice first. Why don't you just rush over and spin around as soon as the opponent is walking back? It's a great way to get some momentum! I'm going to talk about some general things. 1. 1. the precious essence is not precious much last week I went to this side of a youth community to teach new style (an hour equivalent to the people 1000 yuan, haha) when I ran into an old b-boy, (forty-something years old in the United Kingdom is estimated to be a OG level of characters, on the current head turn are not worse than the Korean people's how much). 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 a 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's just not a single move that's going to make a big impact. So practice one move, then go to the next. 2. The mastery of momentum and politeness in battle Actually, I think momentum is as important as strength in battle. As long as the momentum does not lose, even if there is a big gap in strength, there will not be a one-sided scene. But I'm worried that this year's BOTY China team will lose to their opponents in terms of momentum when they make their first appearance in the international arena, in which case the loss will be very ugly. (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. To do what teasing a, what wait for you to jump when love how to do how to do. In fact, there are a lot of details in breaking that I didn't talk about in this chapter. Those things are reserved for the type of dance and the god of dance. There is actually a great connection between the various dances, and the topic of breaking will be continued in a later article. Most of this aspect will come up in the NEW STYLE section.