History of hip-hop dance

{{Short description|Aspect of the history of dance}} {{details|topic=derivative styles, the dance industry, entertainment, and international competitions|Hip-hop dance}} thumb|240px|A hip-hop dancer at Zona club in Moscow.|alt=A close-up black and white photo of a male hip-hop dancer surrounded by a small crowd in a nightclub while performing on a checkerboard dance floor.

The '''history of hip-hop dances''' encompasses the people and events since the late 1960s that have contributed to the development of early hip-hop dance styles, such as uprock, breaking, locking, roboting, boogaloo, and popping. African Americans created uprock and breaking in New York City. African Americans in California created locking, roboting, boogaloo, and popping—collectively referred to as the ''funk styles''. All of these dance styles are different stylistically. They share common ground in their street origins and in their improvisational nature of hip hop.

More than 50 years old, hip-hop dance became widely known after the first professional street-based dance crews formed in the 1970s in the United States. The most influential groups were Rock Steady Crew, The Lockers, and The Electric Boogaloos who are responsible for the spread of breaking, locking, and popping respectively. The Brooklyn-based dance style uprock influenced breaking early in its development. Boogaloo gained more exposure because it is the namesake of the Electric Boogaloos crew. Uprock, roboting, and boogaloo are respected dance styles but none of them are as mainstream or popular as breaking, locking, and popping.

Parallel with the evolution of hip-hop music, hip-hop social dancing emerged from breaking and the funk styles into different forms. Dances from the 1980s such as the Running Man, the Worm, and the Cabbage Patch entered the mainstream and became fad dances. After the millennium, newer social dances such as the Cha Cha Slide and the Dougie also caught on and became very popular.

Hip-hop dance is not a studio-derived style. Street dancers developed it in urban neighborhoods without a formal process. All of the early substyles and social dances were brought about through a combination of events including inspiration from James Brown, DJ Kool Herc's invention of the break beat, the formation of dance crews, and Don Cornelius' creation of the television show ''Soul Train''.

==Beginning of breaking==  {{Main|B-boying}} According to hip-hop activist Afrika Bambaataa<ref name=goodfoot>{{cite web|title=Breakdancing, Present at the Creation |url=https://www.npr.org/programs/morning/features/patc/breakdancing/ |date=October 14, 2002 |work=NPR.org |access-date=September 8, 2009 |archive-url=https://web.archive.org/web/20101124004638/http://www.npr.org/programs/morning/features/patc/breakdancing/ |archive-date=November 24, 2010 |url-status=dead }}</ref> and b-boy Richard "Crazy Legs" Colón,<ref name=uprock/> the purest hip-hop dance style, breaking (commonly called "breakdancing"), began in the early 1970s as elaborations on how James Brown danced to his song "Get on the Good Foot".<ref>Chang 2005, p. 76.</ref> People mimicked these moves in their living rooms, in hallways, and at parties. It was at these parties that breaking flourished and developed with the help of a young Clive Campbell. Campbell, better known as DJ Kool Herc, was a Jamaican-born DJ who frequently spun records at neighborhood teenage parties in the Bronx.<ref>{{cite news|last=Roug |first=Louise |url=https://www.latimes.com/archives/la-xpm-2008-feb-24-na-bronx24-story.html |title=Hip-hop may save Bronx homes |work=Los Angeles Times |date=February 24, 2008 |access-date=December 8, 2012 |archive-url=https://web.archive.org/web/20121020094630/http://articles.latimes.com/2008/feb/24/nation/na-bronx24 |archive-date=October 20, 2012 |url-status=live }}</ref> Jeff Chang, in his book ''Can't Stop Won't Stop'' (2005), describes DJ Kool Herc's eureka moment in this way: <blockquote> :Herc carefully studied the dancers. "I was smoking cigarettes and I was waiting for the records to finish. And I noticed people was waiting for certain parts of the record," he says. It was an insight as profound as Ruddy Redwood's dub discovery. The moment when the dancers really got wild was in a song's short instrumental break, when the band would drop out and the rhythm section would get elemental. Forget melody, chorus, songs—it was all about the groove, building it, keeping it going. Like a string theorist, Herc zeroed in on the fundamental vibrating loop at the heart of the record, the break.<ref name=break>Chang 2005, p. 79.</ref> </blockquote>

In response to this revelation, Herc developed the Merry-Go-Round technique to extend the breaks—the percussion interludes or instrumental solos within a longer work of music.<ref>{{cite web|title=Aug 11, 1973: Hip Hop is born at a birthday party in the Bronx |url=http://www.history.com/this-day-in-history/hip-hop-is-born-at-a-birthday-party-in-the-bronx |work=History.com |date=August 11, 2011 |access-date=August 12, 2011 |archive-url=https://web.archive.org/web/20121005093506/http://www.history.com/this-day-in-history/hip-hop-is-born-at-a-birthday-party-in-the-bronx |archive-date=October 5, 2012 |url-status=dead }}</ref> When he played a break on one turntable, he repeated the same break on the second turntable as soon as the first was finished. He then looped these records one after the other in order to extend the break as long as he wanted: "And once they heard that, that was it, wasn't no turning back," Herc told Chang. "They always wanted to hear breaks after breaks after breaks after breaks." It was during these times that the dancers, later known as break-boys or b-boys, would perform what is known as breaking.<ref name=break/>

[[File:B-boy.jpg|thumb|right|270px|A b-boy performing in Union Square, San Francisco.|alt=Five young men in the far background watch an African-American b-boy dance in a public plaza.]] Breaking started out strictly as toprock, footwork-oriented dance moves performed while standing up.<ref name=toprock>Chang 2005, p. 115.</ref> Toprock usually serves as the opening to a breaker's performance before transitioning into other dance moves performed on the floor. A separate dance style that influenced toprock is uprock, also called rocking or Brooklyn uprock, because it comes from Brooklyn, New York.<ref>{{cite web|title=Uprocking?! |url=http://www.spartanic.ch/b-boy-knowledge/the-roots/uprocking/ |work=Spartanic.ch |access-date=February 13, 2010 |archive-url=https://web.archive.org/web/20100703073310/http://www.spartanic.ch/b-boy-knowledge/the-roots/uprocking/ |archive-date=July 3, 2010 |url-status=dead }}</ref> The uprock dance style has its roots in gangs.<ref name=uprock>Chang 2005, p. 116.</ref><ref>Chang 2005, p. 138.</ref> Although it looks similar to toprock, uprock is danced with a partner<ref>Chang 2006, p. 21. "The structure was different from b-boying/b-girling since dancers in b-boy/b-girl battles took turns dancing, while uprocking was done with partners."</ref> and is more aggressive, involving fancy footwork, shuffles, hitting motions, and movements that mimic fighting.<ref name=toprock/> When there was an issue over turf, the two warlords of the feuding gangs would uprock, and whoever won this preliminary dance battle decided where the real fight would be.<ref name=goodfoot/><ref name=uprock/> Because uprock's purpose was to moderate gang violence, it never crossed over into mainstream breaking as seen today, except for some specific moves adopted by breakers who use it as a variation for their toprock.<ref name=roots>{{cite web |title=The Roots |url=http://www.spartanic.ch/b-boy-knowledge/the-roots/ |work=Spartanic.ch |access-date=November 8, 2015 |archive-url=https://web.archive.org/web/20091202103225/http://www.spartanic.ch/b-boy-knowledge/the-roots/ |archive-date=December 2, 2009}}</ref>

Aside from James Brown and uprock, hip-hop historian Jorge "Popmaster Fabel" Pabon writes that toprock was also influenced by "tap dance, Lindy hop, salsa, Afro-Cuban, and various African and Native American dances."<ref>Chang 2006, p. 20.</ref> From toprock, breaking progressed to being more floor-oriented, involving freezes, downrock, head spins, and windmills.<ref>Chang 2005, pp. 117–118, 138.</ref>{{#tag:ref|Crazy Legs invented the continuous back spin, commonly called the windmill.<ref name=crz>{{cite web|last=Cook |first=Dave |title=Crazy Legs Speaks |url=http://www.daveyd.com/crazylegsinterview.html |work=DaveyD.com |access-date=September 6, 2009 |archive-url=https://web.archive.org/web/20100306185140/http://www.daveyd.com/crazylegsinterview.html |archive-date=March 6, 2010 |url-status=dead }}</ref>|group="note"}} These additions occurred due to influences from 1970s martial arts films,<ref>Chang 2006, p. 20. "Early influences on b-boying and b-girling also included martial arts films from the 1970s."</ref> influences from gymnastics, and the formation of dance crews<ref name="Chang 2005, p. 136">Chang 2005, p. 136.</ref>—teams of street dancers who get together to develop new moves, create dance routines, and battle other crews. One b-boy move taken from gymnastics is called the ''flare'', which was made famous by gymnast Kurt Thomas and is called the "Thomas flair" in gymnastics.<ref>{{cite journal |date=October 1980 |last=Stoldt |first=David |journal=International Gymnast Magazine |volume=22 |issue=10 |title=Who Really Invented the Flair? |url=http://www.hinsdale86.org/staff/mwanner/Alumni/Flair%20Article.pdf |access-date=October 12, 2011 |archive-date=October 4, 2011 |archive-url=https://web.archive.org/web/20111004082646/http://www.hinsdale86.org/staff/mwanner/Alumni/Flair%20Article.pdf |url-status=dead }}</ref>

B-boys Jamie "Jimmy D" White and Santiago "Jo Jo" Torres founded Rock Steady Crew (RSC) in 1977 in the Bronx.<ref>Hess 2007, p. xxii. "1977: The Rock Steady Crew is founded by Jojo and Jimmy D in the Bronx, New York."</ref> Along with Dynamic Rockers and Afrika Bambaataa's Mighty Zulu Kings, they are one of the oldest continually active breaking crews.{{#tag:ref|The Mighty Zulu Kings were founded by Afrika Bambaataa in 1973.<ref>{{cite web|title=History of the Mighty Zulu Kings |url=http://www.ness4.com/Mzk.htm |work=Ness4.com |access-date=September 21, 2009 |archive-url=https://web.archive.org/web/20100407070452/http://www.ness4.com/Mzk.htm |archive-date=April 7, 2010 |url-status=dead }}</ref>|group="note"}} For others to get into the crew, they had to battle one of the Rock Steady b-boys—that was their audition, so to speak.<ref name=rsc>{{cite news|last=Milosheff |first=Peter |title=Rock Steady Crew 32nd Anniversary |work=The Bronx Times |date=July 7, 2008 |url=http://www.bronx.com/news/entertainment/entertainment_music/290.html |access-date=August 25, 2009 |archive-url=https://web.archive.org/web/20110111092311/http://www.bronx.com/news/entertainment/entertainment_music/290.html |archive-date=January 11, 2011 |url-status=dead }}</ref> The crew flourished once it came under the leadership of b-boy Richard "Crazy Legs" Colón. Crazy Legs opened a Manhattan chapter of the crew and made his friends and fellow b-boys Wayne "Frosty Freeze" Frost{{#tag:ref|Wayne "Frosty Freeze" Frost died on April 3, 2008. He invented the ''suicide'', a move in which a b-boy does a front flip and lands on their back.<ref name=freeze>{{cite journal |last=Irwin |first=Demetria |date=April 2008 |title=Breakdancing pioneer, Frosty Freeze, passes away |journal=New York Amsterdam News |volume=99 |issue=17 |page=6 |issn=0028-7121}}</ref>|group="note"}} and Kenneth "Ken Swift" Gabbert co-vice presidents.<ref name=rsc/> RSC was instrumental in the spread of breaking's popularity beyond New York City. They appeared in ''Wild Style'' and ''Beat Street''—1980s films about hip-hop culture—as well as in the movie ''Flashdance''.{{#tag:ref|Richard "Crazy Legs" Colón was one of Jennifer Beals' body doubles in ''Flashdance''.<ref>{{cite web |last=Del Barco |first=Mandalit |title=Hip Hop Hooray: Breaking into the Big Time |url=https://www.npr.org/programs/morning/features/patc/breakdancing/article.html |work=NPR.org |publisher=!Mira! magazine |access-date=May 1, 2013 |archive-url=https://web.archive.org/web/20080508003610/http://www.npr.org/programs/morning/features/patc/breakdancing/article.html |archive-date=May 8, 2008}}</ref>|group="note"}} They also performed at the Ritz, at the Kennedy Center, and on the Jerry Lewis Telethon.<ref name=rsc/> In 1981, the Lincoln Center for the Performing Arts hosted a breaking battle between Dynamic Rockers and Rock Steady Crew.<ref name=exposure>Kugelberg 2007, p. 59.</ref> ''The Daily News'' and ''National Geographic'' covered this event.<ref>{{cite news |last=Feuer |first=Alan |title=Breaking Out Of the Bronx: A Look Back; A Pioneering Dancer Is the Last of His Breed |url=https://www.nytimes.com/2002/08/27/nyregion/breaking-bronx-look-back-pioneering-dancer-last-his-breed.html?pagewanted=all&src=pm |date=July 7, 2008 |newspaper=The New York Times |access-date=August 27, 2002 |archive-url=https://web.archive.org/web/20141129170804/http://www.nytimes.com/2002/08/27/nyregion/breaking-bronx-look-back-pioneering-dancer-last-his-breed.html?pagewanted=all&src=pm |archive-date=November 29, 2014 |url-status=live }}</ref> In 1982, their manager Ruza "Kool Lady" Blue organized the ''New York City Rap Tour'', which featured Rock Steady Crew, Afrika Bambaataa, Cold Crush Brothers, the Double Dutch Girls, and Fab 5 Freddy.<ref name=nyc>Chang 2005, pp. 182–183.</ref> This tour traveled to England and France, which spread hip-hop culture to those countries.<ref name=exposure/><ref name=nyc/> In 1983, they performed for Queen Elizabeth II at the Royal Variety Performance.<ref name=rsc/> The following year, they recorded a song titled "(Hey You) The Rock Steady Crew", which was commercially released.<ref>Guzman-Sanchez 2012, p. 143.</ref> RSC now has satellite crews based in Japan, the United Kingdom, and Italy.<ref name=rsc/>

===Capoeira debate=== Capoeira is an Afro-Brazilian martial art, described by Pabon as "a form of self defense disguised as a dance."<ref name=graffiti>{{cite web|title=Physical Graffiti... The History of Hip Hop Dance |last=Pabon |first=Jorge |url=http://www.daveyd.com/historyphysicalgrafittifabel.html |work=DaveyD.com |access-date=July 31, 2009 |archive-url=https://web.archive.org/web/20100220020010/http://www.daveyd.com/historyphysicalgrafittifabel.html |archive-date=February 20, 2010 |url-status=dead }}</ref> Its influence on breaking is disputed and debated; one side believes that breaking came from capoeira, while the other side denies this. Capoeira is hundreds of years older than breaking, and uprock is similar in purpose to capoeira in that both translate aggressive combat movements into stylized dance. Both breaking and capoeira are performed to music and, since both art forms are acrobatic, some moves look similar to each other. However, capoeira is more rule-oriented. One rule in capoeira is that a capoeirista's back can never touch the ground.<ref>{{cite book |last=Essien |first=Aniefre |title=Capoeira Beyond Brazil: From a Slave Tradition to an International Way of Life |year=2008 |url=https://books.google.com/books?id=4_wo8Sc5Ty8C&pg=PA31 |location=Berkeley |publisher=Blue Snake Books |page=31 |quote=''Cair no rolê'': Roughly translated as "fall into a roll," this means that when you get knocked off your feet, don't fall flat on your back. Capoeiristas are supposed to be adept at this. In the game of capoeira only five parts of the body should touch the ground: your two hands, your two feet, and your head. |isbn=9781583942550}}</ref><ref name=cap2>Taylor 2007, p. 170.</ref> In contrast, a breaker's back is almost always on the ground, and the only rule in breaking is that you do not touch your opponent during a battle.<ref>Guzman-Sanchez 2012, p. 135.</ref>

[[File:Capoeira Rijeka 2 140510.jpg|left|thumb|165px|Two capoeiristas dance-fighting in Rijeka, Croatia. |alt=Two Croatian practitioners of the Brazilian martial art capoeira in the middle of doing a cart wheel on a public sidewalk.]] Jelon Vieira and Loremil Machado brought capoeira to the United States in 1975.<ref name=jelon>Assunção 2005, p. 190.</ref> Throughout this decade Vieira taught capoeira workshops in New York City and started a capoeira performance company called Dance Brazil that toured across the United States.<ref name=jelon/> In Gerard Taylor's ''Capoeira: The Jogo de Angola from Luanda to Cyberspace'' (2005), master capoeira teacher Mestre Acordeon is quoted as saying: "Demonstrations by Mestre Jelon [Vieira] and Loremil Machado are considered by many to be responsible for the incorporation of capoeira movements into breakdancing."<ref name=cap2/> Former ''Village Voice'' reporter Sally Banes and her colleague, photographer Martha Cooper, witnessed breaking in 1980 while covering Henry Chalfant's photography exhibit of subway graffiti. She wrote of the dance: "Its spatial level called to mind capoeira, the spectacular Brazilian dance cum martial art form that incorporates kartwheels, kicks, and feints low to the ground, but the two were dissimilar enough in shape and timing that capoeira seemed at most only a distant relative, and certainly one the breakdancers weren't acquainted with—at least on a conscious level."<ref>{{cite book |last=Banes |first=Sally |title=Writing Dancing: In the Age of Postmodernism |year=1994 |page=128 |publisher=Wesleyan University Press |location=Hanover |url=https://books.google.com/books?id=llY4OmoPZQAC&pg=PA128 |isbn=0819562688}}</ref> In his book ''Hip Hop Had a Dream'' (2008), Damien Morgan states: "Breakdancing can have its origins in capoeira, because it does not focus on injuring the opponent; it rather emphasizes skill towards your opponent, to express yourself away from violence... in most cases, it is blatantly obvious to see some of Breakdancing's foundations in Capoeira."<ref>Morgan 2008, p. 29.</ref>

{{quote box|align=right|width=240px|bgcolor=#C6DBF7|quote="We didn't know what the f-ck no capoeira was, man. We were in the ghetto! There were no dance schools, nothing. If there was a dance it was tap and jazz and ballet. I only saw one dance in my life in the ghetto during that time, and it was on Van Nest Avenue in the Bronx and it was a ballet school. Our immediate influence in b-boying was James Brown, point blank."|source=Richard "Crazy Legs" Colón; Rock Steady Crew<ref name=uprock/>}} Several breaking practitioners and pioneers tend to side with the camp that does not believe breaking came from capoeira. B-boy Crazy Legs states: "We didn't know what the f-ck no capoeira was, man. We were in the ghetto!"<ref name=uprock/> According to Pabon, "Unlike the popularity of the martial arts films, capoeira was not seen in the Bronx jams until the 1990s. Top rockin' seems to have developed gradually and unintentionally, leaving space for growth and new additions, until it evolved into a codified form."<ref name=graffiti/> B-boy crew Spartanic Rockers adds: "Despite of [sic] many rumours and opinions Breaking didn't originate from Capoeira but during the last few years many moves, steps and freezes of this Brazilian (fight-) dance have inspired more and more B-Girls and B-Boys who integrated them into their dance."<ref name=spartans>{{cite web|title=The Roots |url=http://www.spartanic.ch/b-boy-knowledge/the-roots/ |work=Spartanic.ch |access-date=October 11, 2011 |archive-url=https://web.archive.org/web/20111001004742/http://www.spartanic.ch/b-boy-knowledge/the-roots/ |archive-date=October 1, 2011 |url-status=dead }}</ref> B-boy Ken Swift was breaking long before he saw capoeira: "In '78 I started [breaking] and I didn't see it [capoeira] til '92 ... I was around, too—I was in Brooklyn, Bronx, Queens, I went around and I didn't see it. What we saw was Kung Fu—we saw Kung Fu from the 42nd Street theaters. So those were our inspirations... when we did the Kung Fu sh-t we switched it up and we put this B-boy flavor into it..."<ref>{{cite news|date=September 26, 2007 |last=Delgado |first=Julie |title=Capoeira and Break-Dancing: At the Roots of Resistance |url=http://www.capoeira-connection.com/main/content/view/174/83/ |publisher=WireTap Magazine |work=Capoeira-Connection.com |access-date=October 11, 2011 |archive-url=https://web.archive.org/web/20111020004940/http://www.capoeira-connection.com/main/content/view/174/83/ |archive-date=October 20, 2011 |url-status=dead }}</ref>

==Funk styles== While breaking was developing in New York City, New York, other styles of dance were developing in California. Unlike breaking, the funk styles—which originated in California—were not originally hip-hop dance styles: they were danced to funk music rather than hip-hop music, and they were not associated with the other cultural pillars of hip-hop (DJing, graffiti writing, and MCing).<ref name=west>Chang 2006, pp. 18–19. "Although dance forms associate with hip-hop did develop in New York City, half of them (that is, popping and locking) were created on the West Coast as part of a different cultural movement. Much of the media coverage in the 1980s grouped these dance forms together with New York's native dance forms (b-boying/b-girling and uprocking) labeling them all "breakdancing". As a result, the West Coast "funk" culture and movement were overlooked..."</ref><ref name=guardian>{{cite news|last=Mackrell |first=Judith |title=We have a mission to spread the word |work=The Guardian |date=September 28, 2004 |url=https://www.theguardian.com/stage/2004/sep/28/dance |access-date=August 16, 2009 |archive-url=https://web.archive.org/web/20160305135040/http://www.guardian.co.uk/stage/2004/sep/28/dance |archive-date=March 5, 2016 |url-status=dead }}</ref><ref name="funky">{{cite news|last=Freeman |first=Santiago |title=Planet Funk |work=Dance Spirit |date=July 1, 2009 |url=https://www.dancespirit.com/articles/2177 |access-date=July 30, 2009 |archive-url=https://web.archive.org/web/20101121154332/http://dancespirit.com/articles/2177 |archive-date=November 21, 2010 |url-status=dead }}</ref> The funk styles are actually slightly older than breaking due to fact that boogaloo and locking were developed in the late 1960s.<ref name=boogdance>Nelson 2009, pp. 32–33.</ref><ref name=boog>Guzman-Sanchez 2012, pp. 6–7.</ref>

===Locking and roboting=== {{Main|Locking (dance)|l1=Locking}} {{See also|Robot (dance)|l2=Robot}} Like breaking, the different moves within the funk styles occurred due to the formation of crews. Don "Campbellock" Campbell created locking, and in 1973 founded The Lockers (originally called The Cambellock Dancers) in Los Angeles.<ref name=lock>{{cite web|title=The History of Locking |url=http://lockerlegends.net/history-of-locking/ |work=LockerLegends.net |access-date=July 30, 2009 |archive-url=https://web.archive.org/web/20100529085121/http://lockerlegends.net/history-of-locking/ |archive-date=May 29, 2010 |url-status=dead }}</ref><ref>Hess 2007, p. xxi. "1973: The Lockers dance group is started in Los Angeles by Don Campbell, the inventor of the locking dance style..."</ref> Locking is characterized by consistently freezing or "locking" in place while dancing. Campbell developed locking accidentally while pausing in between dance moves when trying to remember how to do the Funky Chicken.<ref name=chicken>Chang 2006, p. 22.</ref> He developed routines based on his new style using these pauses or "locks."<ref name=urban>{{cite news|last=Garofoli |first=Wendy |title=Urban Legend |work=Dance Spirit |date=April 1, 2008 |url=http://www.dancespirit.com/articles/1755 |access-date=November 24, 2010 |archive-url=https://web.archive.org/web/20100523163803/http://www.dancespirit.com/articles/1755 |archive-date=May 23, 2010 |url-status=dead }}</ref> Chang lists some of the other dance moves performed in locking, including "...points, skeeters, scooby doos, stop 'n go, which-away, and the fancies."<ref name=chicken/>

The Lockers made several appearances on ''Soul Train''<ref name=twilight>{{cite web|last=McMillian |first=Stephen |title=Diary of an Ex-Soul Train Dancer: Q&A with Shabba Doo of the Lockers |url=http://soultrain.com/2011/06/29/diary-of-an-ex-soul-train-dancer-qa-with-shabba-doo-of-the-lockers/ |date=June 29, 2011 |work=SoulTrain.com |access-date=November 10, 2011 |archive-url=https://web.archive.org/web/20111010221134/http://soultrain.com/2011/06/29/diary-of-an-ex-soul-train-dancer-qa-with-shabba-doo-of-the-lockers/ |archive-date=October 10, 2011 |url-status=dead }}</ref>—the song-and-dance television program featuring funk music, soul music, disco, R&B, and social dancing. They also appeared on ''The Carol Burnett Show'',<ref name="Chang 2006, p.23">Chang 2006, p. 23.</ref> ''The Tonight Show Starring Johnny Carson'', ''The Dick Van Dyke Show'', and ''Saturday Night Live''.<ref name=graffiti/> Three original members of The Lockers were Toni Basil, who doubled as the group's manager; Charles "Charles Robot" Washington, a pioneer of roboting; and Fred "Mr. Penguin" Berry, who played the character of Rerun on the television show ''What's Happening!!''.<ref name=thelockers>Guzman-Sanchez 2012, p. 44.</ref> Berry left the group in 1976 to be on the show and was replaced by street dancer Tony "Go-Go" Lewis.<ref name=thelockers/> After The Lockers disbanded, Tony Go-Go went on to open a locking school in Japan in 1985.<ref name=lock/>

Roboting comes from Richmond, California.<ref name=graffiti/> Before joining The Lockers, Charles Robot had his own dance crew called The Robot Brothers.<ref>{{cite web|title=Old School (O.G.) Hall of Fame |url=http://lockerlegends.net/old-school-og-hall-of-fame/ |work=LockerLegends.net |access-date=November 24, 2010 |archive-url=https://web.archive.org/web/20110723193114/http://lockerlegends.net/old-school-og-hall-of-fame/ |archive-date=July 23, 2011 |url-status=dead }}</ref> He was inspired in 1969 by Robert Shields of Shields and Yarnell, then-a young street artist performing his robotic movements in front of the Hollywood Wax Museum.<ref>Guzman-Sanchez 2012, pp. 35–36.</ref> On October 27, 1973, The Jackson 5 performed "Dancing Machine" on ''Soul Train'', which popularized roboting,<ref name=mightyjack>{{cite web|last=McMillan |first=Stephen |title=The Soul Train History Book Presents: The Mighty Mighty Jackson 5! |url=http://soultrain.com/2012/06/18/the-soul-train-history-book-presents-the-mighty-mighty-jackson-5/ |work=SoulTrain.com |date=June 18, 2012 |quote=After an Ultra Sheen commercial, The Jackson 5 opened with “Dancing Machine,” the last track off Get It Together. This percolating tune, with its relentless throbbing beat anchored by Michael’s soulful tenor and the brothers’ “ooo-bop-diddy-bop” background vocals, had the Soul Train Gang dancing up a storm. During the song’s instrumental break, Michael spun around and did the Robot, a dance that was among the popular fad dances done by the Soul Train Gang since Soul Train’s inception... Michael’s performance of the robot on the most popular show of the time with black kids, teens and young adults caught on and exposed the dance move to people in various parts of the country who may not have been familiar with the mechanical dance steps Michael so perfectly executed." |access-date=December 10, 2012 |archive-url=https://web.archive.org/web/20121026144134/http://soultrain.com/2012/06/18/the-soul-train-history-book-presents-the-mighty-mighty-jackson-5/ |archive-date=October 26, 2012 |url-status=dead }}</ref> but this was not the first time the dance had been performed on the show. Charles Robot had performed roboting on ''Soul Train'' two years earlier with his dance partner Angela Johnson.<ref>Guzman-Sanchez 2012, p. 38.</ref>

===Boogaloo and popping=== {{Main|Popping}} {{See also|Electric boogaloo (dance)|l1=Electric boogaloo}} [[File:RussiaPopping.jpg|thumb|right|220px|A popper dancing at Solntsevo industrial building in Moscow.|alt=A black and white photo of a Russian popper posing mid-dance in front of a graffiti painted wall on the side of an industrial building.]] Boogaloo is a freestyle, improvisational street dance movement of soulful steps and robotic movements which make up the foundations of Popping dance and Turfing; Boogaloo can incorporate illusions, restriction of muscles, stops, robot and/or wiggling.<ref>The Preservatory Project (2016) Boogaloo Traditions: Interview with Boogaloo Vic & Boogaloo Dana</ref> Throughout the 1960s and 1970s - Boogaloo groups in Oakland, CA such as One Plus One, the Black Resurgents and the Black Messengers would help popularize the dance.<ref>Guzman-Sanchez, T. (2012) "1965 and Soul Boogaloo", "The Oakland Funk Boogaloo Generation" Underground Dance Masters: Final History of a Forgotten Era. Praeger.</ref> Boogaloo street dance from Oakland would influence Northern California cities and movements would spread to Fresno via the West Coast Relays.<ref>Guzman-Sanchez, T. (2012) "Oakland Funk Boogaloo to Popping". Underground Dance Masters: Final History of a Forgotten Era. Praeger.</ref><ref>Higa, B. & Wiggins, C. (1996) "Electric Kingdom" The history of popping and locking, from the people who made it happen. Rap Pages. Sep. 1996: 52-67. Print.</ref> In Fresno, The Electric Boogaloos are another funk styles crew founded in Fresno in 1977<ref name=urban/> by Sam "Boogaloo Sam" Solomon, Nate "Slide" Johnson, and Joe "Robot Joe" Thomas.<ref name="Chang 2006, p.23"/> Their name was originally The Electric Boogaloo Lockers, but they dropped "Lockers" the following year<ref name=urban/> at the urging of their manager Jeff Kutash<ref>Guzman-Sanchez 2012, p. 118.</ref> after the group moved from Fresno to Long Beach.<ref>{{cite web|title=Electric Boogaloos Group History |url=http://www.electricboogaloos.com/history.html |work=ElectricBoogaloos.com |access-date=July 17, 2009 |archive-url=https://web.archive.org/web/20100301060641/http://www.electricboogaloos.com/history.html |archive-date=March 1, 2010 |url-status=dead }}</ref> Boogaloo Sam is credited with innovating popping from earlier boogaloo movements done in Oakland, CA.<ref name=guardian/><ref name=urban/><ref name=popall>Chang 2006, p. 23. "Sam [Solomon]'s creation, popping, also became known as the unauthorized umbrella title to various forms within the dance. past and present. Some of these forms include Boogaloo, strut, dime stop, wave, tick, twisto-flex, and slides."</ref> However, there is disagreement as to whether he created the dances himself or borrowed moves from other street dancers.<ref name=hot>Pagett 2008, p. 19.</ref><ref>Guzman-Sanchez 2012, pp. 110–113, 122.</ref> What is not contested is how influential he and his crew were in exposing popping and boogaloo to mainstream audiences.<ref name=hot/><ref>Guzman-Sanchez 2012, p. 122.</ref>

Boogaloo is both a style of dance and a style of music.<ref name=boogaloo>Rubin 2007, p. 120.</ref> It started out as a fad dance, and several songs were released in the 1960s celebrating it including "Boogaloo Down Broadway", "My Baby Likes to Boogaloo", "Hey You! Boo-Ga-Loo", "Do the Boogaloo," "Boogaloo #3," and "Sock Boogaloo."<ref name=boogdance/><ref name=boog/> In response to this song-and-dance craze, Puerto Rican artists in New York City created a style of music called Bugalú (or Latin boogaloo) that combined mambo, soul, and R&B. Singer Joe Cuba was a pioneer of this style.<ref name=boog/><ref name=boogaloo/>

Although boogaloo was already a fad dance and a music genre in the 1960s, it did not become a dance style until Boogaloo Sam learned it, expanded it, and started performing it in public venues.<ref name=eb>{{cite web|title='Funk Styles' History And Knowledge |url=http://www.electricboogaloos.com/knowledge.html |work=ElectricBoogaloos.com |access-date=August 24, 2009 |archive-url=https://web.archive.org/web/20100209040518/http://www.electricboogaloos.com/knowledge.html |archive-date=February 9, 2010 |url-status=dead }}</ref> He was influenced to expand boogaloo by cartoons; the 1960s social dances the Twist, the Popcorn, and the Jerk; and the movements of everyday people.<ref name=graffiti/><ref name="Chang 2006, p.23"/> As a dance style, it is characterized by rolling hip, knee, and head movements as if the body has no bones.<ref name=eb/> ''Electric'' boogaloo is the signature dance style of The Electric Boogaloos.<ref>Morgan 2008, p. 38.</ref> It is a combination of boogaloo and popping.<ref name=eb/>

Popping is based on the technique of quickly contracting and relaxing muscles to cause a jerk in the dancer's body, referred to as a ''pop'' or a ''hit''. Popping is also an inadvertent umbrella term that includes several other illusory dance styles such as ticking, liquid, tutting, waving, gliding, twisto-flex, and sliding.<ref name="funky"/><ref name=urban/><ref name=popall/> Most of these cannot be traced to a specific person or group and may have influences earlier than hip-hop. Earl "Snake Hips" Tucker was a professional dancer in the 1920s who appeared in the film ''Symphony in Black'' and performed at the Cotton Club in Harlem.<ref>{{cite web|title=Hip-Hop Dance History |url=http://www.dancehere.com/hip-hop-dance-history/ |date=July 7, 2008 |work=DanceHere.com |access-date=July 30, 2009 |archive-url=https://web.archive.org/web/20100413151819/http://www.dancehere.com/hip-hop-dance-history/ |archive-date=April 13, 2010 |url-status=dead }}</ref><ref>{{cite web|title=Drop Me Off in Harlem |work=Kennedy-Center.org |date=August 29, 2008 |url=http://artsedge.kennedy-center.org/exploring/harlem/faces/tucker_text.html |access-date=April 5, 2010 |archive-url=https://web.archive.org/web/20100419052534/http://artsedge.kennedy-center.org/exploring/harlem/faces/tucker_text.html |archive-date=April 19, 2010 |url-status=dead }}</ref> Since hip-hop did not exist in the 1920s his style was considered jazz, but his "slithering, writhing" movement foreshadowed waving and sliding.<ref>{{cite news|last=Held |first=Joy |title=Earl "Snake Hips" Tucker: The King of Hip-Hop Dance? |work=Dance |date=August 29, 2008 |url=http://www.dance.com/mag/september-2008/106/notable-feet-earl-s7/185/ |access-date=March 12, 2010 |archive-url=https://web.archive.org/web/20111116222542/http://www.dance.com/mag/september-2008/106/notable-feet-earl-s7/185/ |archive-date=November 16, 2011 |url-status=dead }}</ref> {{external media|width=225px|video1=[https://www.youtube.com/watch?v=7U4ww-MmAY4 Earl "Snake Hips" Tucker]}} The most recognizable popping move is the moonwalk. In 1983, Michael Jackson performed the moonwalk—called the ''backslide'' in popping context<ref name=mightyjack/>— on ABC's Motown 25 television special.<ref>Guzman-Sanchez 2012, p. 121.</ref> This performance popularized the moonwalk all over the world.<ref>{{cite book |title=Thriller 25th Anniversary: The Book |last=Jackson |first=Michael |author-link= Michael Jackson |year=2008 |publisher=ML Publishing Group |isbn=978-0976889199}}</ref> However, it was not the first time the backslide had been performed on television or on film. Cab Calloway performed the backslide in 1932,<ref>Paggett 2008, p. 72.</ref><ref>{{cite journal|last=DiLorenzo |first=Kris |date=April 1985 |title=The Arts. Dance: Michael Jackson did not invent the Moonwalk |journal=The Crisis |volume=92 |number=4 |issn=0011-1422 |page=143 |quote=Shoot... We did that back in the '30s! Only it was called The Buzz back then.}}</ref> and Bill Bailey performed it in the movies ''Cabin in the Sky'' (1943) and ''Rhythm and Blues Revue'' (1955).<ref>Guzman-Sanchez 2012, pp. 16–17.</ref> Furthermore, in 1982 during a performance in London on ''Top of the Pops'', street dancer Jeffrey Daniel performed the backslide during the song "A Night to Remember".<ref>{{cite web |title=Remembering Michael Jackson (August 29, 1958 – June 25, 2009) |url=http://www.soulculture.co.uk/features/scarticles/remembering-michael-jackson-1958-2009/ |work=SoulCulture.com |date=June 25, 2011 |access-date=July 15, 2011 |archive-date=June 29, 2011 |archive-url=https://web.archive.org/web/20110629224321/http://www.soulculture.co.uk/features/scarticles/remembering-michael-jackson-1958-2009/ |url-status=dead }}</ref><ref>{{cite web|title=Jeffrey Daniel joins judging panel of Nigerian Idol |url=http://allstreetdance.co.uk/2010/10/12/jeffrey-daniel-joins-judging-panel-of-nigerian-idol/ |work=AllStreetDance.co.uk |access-date=July 15, 2011 |archive-url=https://web.archive.org/web/20120122065018/http://allstreetdance.co.uk/2010/10/12/jeffrey-daniel-joins-judging-panel-of-nigerian-idol/ |archive-date=January 22, 2012 |url-status=dead }}</ref>

In the 1970s, while Los Angeles was known for locking and Fresno was known for popping, several other cities in Northern California had their own local funk styles. Sacramento was known for a style called sac-ing, San Jose for dime stopping, and Oakland for snake hitting.<ref name=graffiti/> The San Francisco crew Granny and Robotroid incorporated stepping moves and JROTC rifle drill movements in their dancing to make a unique funk style called Fillmore strutting. This dance was named after the Fillmore district in San Francisco where Granny and Robotroid were from.<ref>Guzman-Sanchez 2012, pp. 104–107.</ref> Granny and Robotroid performed on the ''Gong Show'' in 1976.<ref>Guzman-Sanchez 2012, p. 106.</ref> Although strutting had exposure on national television, it (and the rest of the localized funk styles) faded and never became mainstream.

==Terminology== {{See also|B-boying#Terminology}} When the movies ''Breakin''' and ''Breakin' 2: Electric Boogaloo'' were released, all the styles of dance performed in those films were put under the "breakdance" label. In addition, ''Breakin'' was released outside the United States as ''Breakdance: The Movie''.<ref>{{cite web|title=Release dates for Breakin' (1984) |url=https://www.imdb.com/title/tt0086998/releaseinfo |work=IMDb.com |access-date=August 16, 2009 |archive-url=https://web.archive.org/web/20081224223546/http://www.imdb.com/title/tt0086998/releaseinfo |archive-date=December 24, 2008 |url-status=dead }}</ref> The media followed suit by calling all represented styles "breakdancing", which caused a naming confusion among the general public.<ref name=graffiti/><ref name=eb/><ref name=oxford>Scholss 2009, p. 60.</ref> This was problematic for two reasons.

The first reason is that "breakdancing" became an inadvertent umbrella term among the general public for both breaking ''and'' the funk styles. The funk styles were created in California independent from breaking, which was created in New York.<ref name=west/><ref name="funky"/> They are called funk styles because they were originally danced to funk music. This name gives them a separate identity from breaking, which is traditionally danced to break beats.<ref name="eb"/>

The second reason this was problematic is that "breakdancing" was originally called b-boying or breaking by the street dancers who created it.<ref name=oxford/><ref name=freshest>{{cite video | people= Israel (director) | date=2002 | title=The Freshest Kids: A History of the B-Boy | medium= DVD | publisher=QD3 Entertainment}}</ref> A ''break'' is a musical interlude during a song—the section on a musical recording where the singing stops and the percussive rhythms are the most aggressive. When 1970s hip-hop DJs played break beats, dancers reacted to those breaks with their most impressive dance moves.<ref name=freshest/><ref>Kugelberg 2007, p. 140.</ref> DJ Kool Herc coined the terms "b-boys" and "b-girls", which stands for "break-boys" and "break-girls."<ref name=freshest/> To describe the movement, the suffix "ing" was added after the word identifying the dancer (b-boy''ing'') or the music beat (break''ing''). According to Timothy "Popin Pete" Solomon, one of the original members of the Electric Boogaloos, and Raquel Rivera, author of the book ''New York Ricans from the Hip Hop Zone'' (2003), "breakdancing" is a media-coined term and incorrect.<ref name=hiphop>{{cite news|last=Klopman |first=Alan |date=January 1, 2007 |url=http://www.dance.com/mag/january-2007/86/hiphop-jan-2007/760/ |title=Interview with Popin Pete & Mr. Wiggles at Monsters of Hip Hop – July 7–9, 2006, Orlando, Fl. |work=Dance |quote=An important thing to clarify is that the term 'Break dancing' is wrong, I read that in many magazines but that is a media term. The correct term is 'Breakin', people who do it are B-Boys and B-Girls. The term 'Break dancing' has to be thrown out of the dance vocabulary. |access-date=July 31, 2009 |archive-url=https://web.archive.org/web/20111116221035/http://www.dance.com/mag/january-2007/86/hiphop-jan-2007/760/ |archive-date=November 16, 2011 |url-status=dead }}</ref><ref>{{cite book |last=Rivera |first=Raquel |location=New York City |page=[https://archive.org/details/isbn_9781403960443/page/72 72] |year=2003 |chapter=It's Just Begun: The 1970s and Early 1980s |title=New York Ricans from the Hip Hop Zone |url=https://archive.org/details/isbn_9781403960443 |url-access=registration |publisher=Palgrave MacMillan |isbn=1403960437 |quote=With the barrage of media attention [breaking] received, even terminology started changing. 'Breakdancing' became the catch-all term to describe what originally had been referred to as 'burning', 'going off', 'breaking', 'b-boying', and 'b-girling'. Dance styles that originated in the West Coast such as popping and locking were also grouped under the term 'breakdance. Even though many of hip hop's pioneers accepted the term for a while in the 1980s, they have since reclaimed the original terminology and rejected 'breakdance' as a media-fabricated word that symbolizes the bastardization and co-optation of the art form.}}</ref>

==Dance crews== A dance crew is a team of street dancers who come together to develop new moves and battle other crews. As hip-hop culture spread throughout New York City, the more often breaking crews got together to battle against each other. It was during this time that the different dance moves within breaking developed organically.<ref name="Chang 2005, p. 136"/>{{#tag:ref|B-boy Crazy Legs invented the windmill (continuous back spin) and 1990 (continuous hand spin) b-boy moves by accident.<ref name=crz/>|group="note"}} All styles of hip-hop are rooted in battling,<ref>Schloss 2009, p. 10. "Battling is foundational to all forms of hip-hop and the articulation of its strategy—"battle tactics"—is the backbone of its philosophy of aesthetics."</ref> and being a part of a crew was the only way to learn when these styles began because they were not taught in studios: they all started out as social dances.<ref>{{cite journal |last=Wisner |first=Heather |title=From Street to Studio |journal=Dance |year=2006 |pages=74–76 |volume=80 |issue=9 |issn=0011-6009}}</ref>{{Rp|74}} Forming and participating in a crew is how street dancers practiced, improved, made friends, and built relationships.<ref>Schloss 2009, p. 54.</ref> In breaking in particular, battling is how b-boys/b-girls improved their skill.<ref name="autogenerated1">Schloss 2009, p. 111.</ref>

Aside from Rock Steady Crew, several breaking crews were active in the 1970s such as Mighty Zulu Kings, Dynamic Rockers, New York City Breakers, SalSoul, Air Force Crew, Crazy Commanders Crew, Starchild La Rock, and Rockwell Association. In the same way b-boy crews were active on the east coast of the United States spreading breaking throughout New York, funk crews were also active on the west coast spreading the funk styles throughout California. Aside from The Lockers and The Electric Boogaloos, other funk styles crews such as Medea Sirkas/Demons of the Mind, Black Messengers, The Robot Brothers, The Go-Go Brothers, Granny and Robotroid, and Chain Reaction were active during the 1970s performing on stage.<ref>Guzman-Sanchez 2012, pp. 80, 104–106.</ref> [[File:BoyBlue.jpg|thumb|right|250px|Boy Blue hip-hop dance company performing at Breakin' Convention 2006 in London.|alt=A close-up shot of a dance performance by five male hip-hop dancers in gray sweatsuits.]] Chain Reaction was a four-man dance crew from Reseda, California, whose members included Thomas "T-Bopper" Guzman-Sanchez, Paul "Cool Pockets" Guzman-Sanchez, Robert "Bosco" Winters, and Mike "Deuce" Donley.<ref>Guzman-Sanchez 2012, p. 57.</ref> Just like The Electric Boogaloos had their own signature dance style called electric boogaloo, Chain Reaction also had their own signature dance style called ''crossover'' locking.<ref>Guzman-Sanchez 2012, pp. 60–64.</ref> They performed on the talk show ''Thicke of the Night'' and in the movie ''Xanadu''.<ref>Guzman-Sanchez 2012, pp. 73–74, 80.</ref> ''Xanadu'' premiered in 1980, four years earlier than the hip-hop dance classics ''Beat Street'' and ''Breakin'''. ''Xanadu'' was the first time boogaloo, popping, and crossover locking were performed on film.<ref>Guzman-Sanchez 2012, p. 74.</ref> In 1984, T-Bopper created a new dance crew called United Street Force. By invitation, this crew performed at the White House for President Ronald Reagan.<ref>Guzman-Sanchez 2012, pp. 86–87.</ref>

Crews still form based on friendships and neighborhoods. For example, dance crew Diversity—formed in 2007<ref>{{cite news|last=Phillips |first=Jayvon |date=May 30, 2009 |title='America's Best Dance Crew' and worldwide Diversity |url=http://latimesblogs.latimes.com/showtracker/2009/05/americas-best-dance-crew-worldwide.html |newspaper=Los Angeles Times |access-date=November 28, 2011 |archive-url=https://web.archive.org/web/20120223095407/http://latimesblogs.latimes.com/showtracker/2009/05/americas-best-dance-crew-worldwide.html |archive-date=February 23, 2012 |url-status=dead }}</ref>—consists of brothers and friends from Essex and London. Crews also form for other reasons such as theme (Jabbawockeez), gender (ReQuest Dance Crew), ethnicity (Kaba Modern), dance style (Massive Monkeys), and age (Hip Op-eration). In 2013, Hip Op-eration performed an exhibition routine at the World Hip Hop Dance Championships in Las Vegas. At the time, their youngest member was 66.<ref>{{cite news |last=Lapan |first=Tovin |date=August 9, 2013 |title=World's oldest hip-hop dance crew gettin' its swagga on at Las Vegas competition |url=http://www.lasvegassun.com/news/2013/aug/09/worlds-oldest-hip-hop-team-getting-their-swagga-la/ |work=LasVegasSun.com |access-date=September 6, 2013 |archive-url=https://web.archive.org/web/20140117044719/http://www.lasvegassun.com/news/2013/aug/09/worlds-oldest-hip-hop-team-getting-their-swagga-la |archive-date=January 17, 2014}}</ref>

In the 1970s, b-boy crews were neighborhood-based and would engage in battles held at local block parties called "jams".<ref>Schloss 2009, p. 116.</ref> Today crews can battle in organized competitions with other crews from around the world. New Zealand crew ReQuest won the Australian-based competition World Supremacy Battlegrounds in 2009 and the American-based competition Hip Hop International in 2009 and 2010.<ref>{{cite news|last=Tawhiao |first=Carly |title=ReQuest on top of the world |work=Central Leader |url=http://www.stuff.co.nz/auckland/local-news/central-leader/4041188/ReQuest-on-top-of-world |date=August 20, 2010 |access-date=December 10, 2012 |archive-url=https://web.archive.org/web/20121024115536/http://www.stuff.co.nz/auckland/local-news/central-leader/4041188/ReQuest-on-top-of-world |archive-date=October 24, 2012 |url-status=dead }}</ref> On October 12, 2010, the Vietnamese Ministry of Culture, Sport, and Tourism presented the Certificate of Merit to dance crew Big Toe for winning a variety of international dance competitions.<ref>{{cite news|title=Big toe crew bags Asian hip-hop competition prize|date=October 14, 2010|work=The Vietnam News Agency|quote=With a number of prizes won at a variety of international competitions, Big Toe were awarded the Certificate of Merit on Oct. 12 by the Vietnam Electronic Sport and Recreational Sport Association under the Ministry of Culture, Sport and Tourism.}}</ref> Dance crews are more prevalent in hip-hop, but hip-hop dance companies do exist. Examples include Zoo Nation (UK), Culture Shock (USA), Lux Aeterna (USA), Boy Blue Entertainment (UK), Unity UK (UK), Bounce Streetdance Company (Sweden), and Funkbrella Dance Company (USA).

==Social dancing== Hip-hop social dancing (party dancing) began when hip-hop musical artists started to release songs with an accompanying dance. In 1990, rapper MC Hammer created the Hammer dance<ref>Pagett 2008, p. 104.</ref> and popularized it in his music video "U Can't Touch This". The Hammer dance was a social dance that became wildly popular and then faded as the album it was associated with, ''Please Hammer, Don't Hurt 'Em'', lost popularity. Most social dances are short-lived fad dances, some are line dances, and others spawn new dance styles that stay relevant even after the life of the songs they came from come to an end. The development of hip-hop social dancing extends further back than the 1990s with the Charleston, a jazz dance; Chubby Checker's Twist, which was considered rock & roll; several 1970s fad dances made popular by James Brown; and the influence of the television show ''Soul Train''.

The Charleston was created in the 1920s by African-Americans in Charleston, South Carolina as a rebellion against prohibition.<ref>{{cite book |last=Knowles |first=Mark |title=The Wicked Waltz and Other Scandalous Dances |url=https://archive.org/details/wickedwaltzother00know |url-access=limited |year=2009 |location=Jefferson |publisher=MacFarland |pages=[https://archive.org/details/wickedwaltzother00know/page/n146 136]–139 |isbn=978-0786437085}}</ref> It gained popularity once it was embraced by Caucasians, but it was still considered an immoral dance due to its association with alcohol.<ref>Pagett 2008, p. 168.</ref> This dance relied on partnering and eventually led to the creation of Lindy Hop.<ref>{{cite book |last=Stearns |first=Marshall and Jean |title= Jazz Dance: The Story of American Vernacular Dance |year= 1968 |publisher=Macmillan |location=New York City |pages=322–329}}</ref> Lindy Hop and the Charleston fall under the swing dance genre; however, there is a dance move used in breaking that is taken from the Charleston called the ''Charlie'' rock.<ref name=roots/> Singer-songwriter Chubby Checker released the song "The Twist" with an accompanying dance of the same name in 1960. He performed the dance on the television show ''American Bandstand'', and the song reached number one in 1960 and 1962.<ref name=top10>{{cite web |last=White |first=Shelley |title=Everyday I'm Shufflin': Top 10 Dance Crazes |url=http://blog.music.aol.com/2011/08/17/dance-crazes/ |work=AOL.com |access-date=September 27, 2011 |archive-date=January 12, 2013 |archive-url=https://web.archive.org/web/20130112041242/http://blog.music.aol.com/2011/08/17/dance-crazes/ |url-status=dead }}</ref> The Twist was the most popular dance craze of the 1960s because it broke away from the trend of partner dancing enabling people to perform on their own.<ref>{{cite journal |year=1991 |title=Dance |journal=Ebony |volume=46 |issue=10 |pages=46–48 |issn=0012-9011 |url=https://books.google.com/books?id=HtQDAAAAMBAJ&pg=PT1 |access-date=September 13, 2011}}</ref><ref>{{cite news |last=Bracaglia |first=Kate |date=September 19, 2011 |title=Sept. 19, 1960: Chubby Checker's "The Twist" hits number 1 |url=http://origin.avclub.com/philadelphia/articles/sept-19-1960-chubby-checkers-the-twist-hits-number,61877/ |work=AVClub.com |access-date=September 27, 2011 |archive-url=https://web.archive.org/web/20120416072208/http://origin.avclub.com/philadelphia/articles/sept-19-1960-chubby-checkers-the-twist-hits-number,61877/ |archive-date=April 16, 2012 |url-status=dead }}</ref><ref>Pagett 2008, p. 56.</ref>  {| style=" margin:0.3em 0 0.6em 0.6em; border: 1px solid #777; line-height:160%; font-size:90%; float:right; clear:right; border-collapse:collapse; width:273px" |- ! colspan="2" style="padding:3px 3px 0px 3px; background:MediumAquaMarine; border-bottom: 1px solid #777; color:#000; font-size: 110%;" {{!}} Hip-Hop Social Dances |- | colspan="2" align="center" style="line-height: 150%; color:#777; text-align:center;font-size: 100%; padding: 0 5px 0 5px; background: #eeffe8" | '''Influences''' |- | {{center|The Charleston, the Twist, the Boogaloo, the Good Foot, the Funky Chicken}} |- | colspan="2" align="center" style="line-height: 150%; color:#777; text-align:center;font-size: 100%; padding: 0 5px 0 5px; background: #eeffe8" | '''1980s-1990s social dances''' |- | {{center|Two-step, the Wop, the Cabbage Patch, the Roger Rabbit, the Running Man, the Rooftop, the Hammer dance, the Humpty, the Worm, Kriss-Cross, the Bartman, the Butterfly*, the Kid 'n Play kick-step}} |- | colspan="2" align="center" style="line-height: 150%; color:#777; text-align:center;font-size: 100%; padding: 0 5px 0 5px; background: #eeffe8" | '''2000s-2010s social dances''' |- | {{center|Toe Wop, Harlem shake, the Chicken Noodle Soup, the Reject**, the Dougie, the Cat Daddy, Getting Lite, Shoulder Lean, Swag Surfin', Bernie Lean, Whip/Nae Nae, Twerking, the Dab}} |- | colspan="2" align="center" style="line-height: 150%; color:#777; text-align:center;font-size: 100%; padding: 0 5px 0 5px; background: #eeffe8" | '''Line dances''' |- | {{center|Cha Cha slide, Cupid shuffle, the Soulja Boy}} |- |colspan="2" style="padding:3px 3px 0px 3px; background:MediumAquaMarine; border-bottom: 1px solid #777; color:#000; font-size: 80%;" {{!}}*The Butterfly came from Jamaica.<ref>{{cite journal |last=Bury |first=Martine |year=2000 |title=Body Movin' |journal=Vibe |volume=8 |issue=3 |page=71 |issn=1070-4701 |url=https://books.google.com/books?id=CigEAAAAMBAJ&pg=PP2 |access-date=September 13, 2011}}</ref> **The Reject is one of many dance moves used in Jerkin'. |- |}  James Brown was a major contributor to social dance. He popularized several fad dances in the 1970s such as the Mashed Potato,<ref>Pagett 2008, p. 152.</ref> the Boogaloo, and the Good Foot. His accompanying songs to these dances include "(Do the) Mashed Potatoes", "Do the Boogaloo", and "Get on the Good Foot". The song "Do the Boogaloo" influenced Boogaloo Sam when he created the boogaloo dance style,<ref name=eb/> and the Good Foot triggered the creation of breaking.<ref name=goodfoot/> In addition, James Brown also popularized the Funky Chicken, which was a major influence to Don Campbell when he created locking.<ref name=chicken/> In an interview with NPR, Lockers' member Adolpho "Shabba Doo" Quiñones stated "We're all children of James Brown... And you know, if James Brown was our father then you'd have to say Don Cornelius was our great uncle."<ref name=shabba>{{cite podcast|host=Neil Conan |url=https://www.npr.org/templates/story/story.php?storyId=123532527 |title=How 'Soul Train' Got America Dancing |date=February 9, 2010 |publisher=Talk of the Nation from NPR News |website=NPR.org |access-date=November 14, 2011 |archive-url=https://web.archive.org/web/20120202110420/http://www.npr.org/templates/story/story.php?storyId=123532527 |archive-date=February 2, 2012 |url-status=dead }}</ref>

In 1970, Don Cornelius created ''Soul Train''.<ref name=cornelius>{{cite news |last=Stelter |first=Brian |title=After 38 Years, 'Soul Train' Gets New Owner |work=The New York Times |date=June 17, 2008 |url=https://www.nytimes.com/2008/06/17/business/media/17soul.html?_r=3&scp=1&sq=soul+train&st=nyt&oref=slogin&oref=slogin |access-date=August 18, 2009 |archive-url=https://web.archive.org/web/20161128200320/http://www.nytimes.com/2008/06/17/business/media/17soul.html?_r=3&scp=1&sq=soul+train&st=nyt&oref=slogin&oref=slogin |archive-date=November 28, 2016 |url-status=live }}</ref> Before officially becoming a crew, members of The Lockers made several appearances on this show.<ref name=twilight/> They introduced different dance moves such as the Robot, Which-Aways, and the Stop-and-Go during the "Dance of the Week" segment of the broadcast.<ref name=shabba/> Disco was very popular during the 1970s, so some dance styles at that time such as waacking and hustle stemmed from disco music rather than funk.<ref>{{cite web|last=White |first=Shelley |title=Everyday I'm Shufflin': Top 10 Dance Crazes |url=http://blog.music.aol.com/2011/08/17/dance-crazes/ |work=Music.AOL.com |access-date=December 6, 2012 |archive-url=https://web.archive.org/web/20130112041242/http://blog.music.aol.com/2011/08/17/dance-crazes/ |archive-date=January 12, 2013 |url-status=dead }}</ref><ref>Guzman-Sanchez 2012, p. 99.</ref> Hip-hop became more mainstream in the 1980s, and this surge in interest combined with the popularity of ''Soul Train'' kick-started the rise of hip-hop social dancing.

One of the more popular social dances created during the 1980s was the Cabbage Patch. The rap group Gucci Crew II created the dance and introduced it in their 1987 song of the same name, "The Cabbage Patch".<ref>Pagett 2008, p. 33.</ref> Another popular social dance was the Roger Rabbit. This dance imitates the floppy movements of the lead cartoon character as seen in the 1988 film ''Who Framed Roger Rabbit''.<ref>Pagett 2008, p. 45.</ref> The rap duo Kid 'n Play created the Kid 'n Play kick-step and performed it in their 1990 movie ''House Party''. It is a variation on the Charleston with elements of the Roger Rabbit and the Running Man.<ref>Pagett 2008, p. 68.</ref> The Running Man is one of the most recognizable hip-hop social dances. According to ''Essence'' magazine, Paula Abdul created the Running Man and taught the dance to Janet Jackson when she was working as her choreographer during Jackson's ''Control'' era.<ref name=janet>{{cite news|last=Robertson |first=Regina |title=Throwback: The Running Man |url=http://www.essence.com/2010/02/02/throwback-the-running-man/ |work=Essence |date=February 2, 2012 |access-date=August 14, 2012 |archive-url=https://web.archive.org/web/20140714195310/http://www.essence.com/2010/02/02/throwback-the-running-man/ |archive-date=July 14, 2014 |url-status=dead }}</ref>{{#tag:ref|Paula Abdul also choreographed the 1987 film ''The Running Man.''<ref>{{cite book|last=Hanson|first=Mary Ellen|title=Go! Fight! Win! Cheerleading in American Culture|year=1995|publisher=Popular Press|isbn=0879726806|page=58}}</ref> |group="note"}} Jackson further popularized the dance when she performed it in her 1989 music video "Rhythm Nation", and rapper MC Hammer kept the fervor going when he started to do the Running Man in his performances.<ref name=janet/> The pop duo LMFAO brought the Running Man back into the mainstream with their song "Party Rock Anthem", which was named the 2011 song of the summer by Billboard.com.<ref>{{cite magazine|date=September 8, 2011 |last=Trust |first=Gary |title=LMFAO's 'Party Rock Anthem' Named Billboard's 2011 Song of the Summer |url=https://www.billboard.com/articles/news/467559/lmfaos-party-rock-anthem-named-billboards-2011-song-of-the-summer |magazine=Billboard |access-date=September 27, 2011 |archive-url=https://web.archive.org/web/20110925034702/http://www.billboard.com/news/lmfao-s-party-rock-anthem-named-billboard-1005343552.story |archive-date=September 25, 2011 |url-status=dead }}</ref> The accompanying dance in the song called The Shuffle combines three social dances: the Running Man, the (half) Charleston, and the T-step.<ref name=top10/>

DJ Troy "Webstar" Ryan and Bianca "Young B" Dupree released the song "Chicken Noodle Soup" in 2006. The dance was so popular, at one point YouTube had over 2,000 video clips of kids performing it.<ref name=billboard>{{cite magazine |last=Crosley |first=Hillary |date=October 1997 |title=Song and Dance Routine |magazine=Billboard |volume=119 |issue=43 |pages=14–15 |issn=0006-2510 |url=https://books.google.com/books?id=rw4EAAAAMBAJ |access-date=September 13, 2011}}</ref> The song sold 335,000 ringtones, but it was not strong enough to sustain momentum for the full length album "Webstar Presents: Caught in the Web", which was not successful.<ref name=billboard/> For this reason, the Chicken Noodle Soup song and dance faded. The Dougie comes from Dallas, Texas.<ref name=dougie>{{cite web|last=Cohen |first=Ben |title=What's the Latest Move in Sports? Doing the 'Dougie' |url=https://www.wsj.com/articles/SB10001424052748703805004575606731553244978 |work=Wall Street Journal |date=November 13, 2010 |access-date=September 13, 2011 |archive-url=https://web.archive.org/web/20110610172436/http://online.wsj.com/article/SB10001424052748703805004575606731553244978.html |archive-date=June 10, 2011 |url-status=dead }}</ref> The dance was named after the 1980s rapper Doug E. Fresh and popularized in the 2010 song "Teach Me How to Dougie" by the rap group Cali Swag District.<ref name=dougie/> According to the ''Wall Street Journal'', the Dougie has been particularly popular as a celebratory dance among professional athletes.<ref name=dougie/> In 2010, CNN news anchor Wolf Blitzer performed the Dougie at the Soul Train Music Awards.<ref>{{cite web|last=Joyella |first=Mark |title=Happening Now: Wolf Blitzer Dances The Dougie At Soul Train Awards |url=http://www.mediaite.com/tv/happening-now-wolf-blitzer-dances-the-dougie-at-soul-train-awards/ |work=Mediaite.com |date=November 29, 2010 |access-date=September 27, 2011 |archive-url=https://web.archive.org/web/20120315150644/http://www.mediaite.com/tv/happening-now-wolf-blitzer-dances-the-dougie-at-soul-train-awards/ |archive-date=March 15, 2012 |url-status=dead }}</ref>

===Line dances=== The Cha Cha Slide, the Cupid Shuffle, and the Soulja Boy are examples of urban line dances that were created from hip-hop songs of the same name. These line dances have the same premise as the more widely know Electric Slide. There are variations to the Electric Slide, but the dance is always performed to the song "Electric Boogie" by Marcia Griffiths.<ref>{{cite news|last=Campbell-Livingston |first=Cecelia |title=Truly outstanding |url=http://www.jamaicaobserver.com/entertainment/Truly-outstanding_12671470 |work=Jamaica Observer |date=October 3, 2012 |access-date=December 8, 2012 |archive-url=https://web.archive.org/web/20121119030220/http://www.jamaicaobserver.com/entertainment/Truly-outstanding_12671470 |archive-date=November 19, 2012 |url-status=dead }}</ref> In keeping with this tradition, the Cha Cha Slide, the Cupid Shuffle, and the Soulja Boy are always performed to their respective songs.

DJ Willie "Casper" Perry created the song "Cha Cha Slide" in 1996 for a personal trainer in his hometown Chicago.<ref>Pagett 2008, p. 156.</ref> It did not get commercial airplay until 2000 when Chicago radio station WGCI-FM started playing the song as part of its rotation. Soon after, other radio stations across the United States also started playing the song, and this increase in popularity led to a record deal with Universal Music Group.<ref name=chacha>{{cite magazine |last=Hay |first=Carla |date=February 2001 |title=Mr. C The Slide Man Sets Off A Dance Craze On M.O.B. |magazine=Billboard |volume=113 |issue=6 |pages=9 |issn=0006-2510 |quote=The origins of the "Cha-Cha Slide" craze date back to 1996, when Mr. C created the dance for a personal trainer. The song then made its way to R&B station WGCI in Mr. C's hometown of Chicago. The station began playing the song in early 2000, and the tune garnered play in clubs, with label offers soon following. Once it was Universal's project, 'we made some instructional 'Cha-Cha Slide' dance videos and distributed them to clubs,' says senior VP of urban promotion Michael Horton. 'We also promoted the song at various black functions, such as homecoming events at black colleges.'}}</ref> After securing a deal, the label began producing and distributing instructional videos of the dance to nightclubs, which helped spread its popularity.<ref name=chacha/> On February 20, 2011, dancers in Anaheim, California set a Guinness world record when 2,387 people performed the dance at the Anaheim Convention Center.<ref>{{cite web|last=Mochan |first=Amanda |date=February 25, 2011 |title=Largest cha-cha slide dance |url=http://community.guinnessworldrecords.com/_Largest-cha-cha-slide-dance/blog/3346713/7691.html |work=GuinnessWorldRecords.com |access-date=October 17, 2011 |archive-url=https://web.archive.org/web/20110304163737/http://community.guinnessworldrecords.com/_Largest-cha-cha-slide-dance/blog/3346713/7691.html |archive-date=March 4, 2011 |url-status=dead }}</ref>

The song "Cupid Shuffle" was released in February 2007 by singer Bryson "Cupid" Bernard from Lafayette, Louisiana. In August 2007, 17,000 people set a world record when they performed the Cupid Shuffle (dance) to his song in Atlanta.<ref name=billboard/> The Soulja Boy dance became popular through MySpace when rapper DeAndre "Soulja Boy" Way posted his song "Crank That" to his MySpace page and uploaded an accompanying instructional video showing viewers how to perform the dance. After amassing more than 16 million page views, he was signed to Interscope Records.<ref name=billboard/>

==Footnotes== {{Refbegin}} <references group="note"/> {{Refend}}

==References== '''Citations''' {{reflist|3}}

'''Bibliography''' {{Refbegin}} *Assunção, Matthias (2005). ''Capoeira: The History of an Afro-Brazilian Martial Art''. New York City: Routledge. {{ISBN|0714680869}}. *Chang, Jeff (2005). ''Can't Stop Won't Stop: A History of the Hip-Hop Generation''. New York City: St. Martin's Press. {{ISBN|031230143X}}. *Chang, Jeff (2006). ''Total Chaos: The Art and Aesthetics of Hip-Hop''. New York City: BasicCivitas. {{ISBN|0465009093}}. *Guzman-Sanchez, Thomas (2012). ''Underground Dance Masters: Final History of a Forgotten Era''. Santa Barbara: Praeger. {{ISBN|0313386927}}. *Hess, Mickey, ed (2007). ''Icons of hip hop: An Encyclopedia of the Movement, Music, and Culture''. '''Volume I'''. Westport: Greenwood Press. {{ISBN|0313339031}}. *Kugelberg, Johan (2007). ''Born in the Bronx''. New York City: Rizzoli International Publications Inc. {{ISBN|0789315408}}. *Morgan, Damien (2008). ''Hip Hop Had a Dream''. '''Volume I: The Artful Movement'''. Milton Keynes: AuthorHouse UK Ltd. {{ISBN|1438902042}}. *Nelson, Tom (2009). ''1000 Novelty & Fad Dances''. Bloomington: AuthorHouse. {{ISBN|1438926383}}. *Pagett, Matt (2008). ''The Best Dance Moves in the World... Ever''. San Francisco: Chronicle Books. {{ISBN|0811863034}}. *Rubin, Rachel; Melnick, Jeffrey (2006). ''Immigration and American Popular Culture: An Introduction''. New York City: New York University Press. {{ISBN|0814775527}}. *Schloss, Joseph (2009). ''Foundation: B-Boys, B-Girls and Hip-Hop Culture in New York''. New York City: Oxford University Press. {{ISBN|0195334051}}. *Taylor, Gerard (2007). ''Capoeira: The Jogo de Angola from Luanda to Cyberspace''. '''Volume II'''. Berkeley: Blue Snake Books. {{ISBN|1583941835}}. {{Refend}}

==External links==  *[https://foreverdancecrew.com Forever Dance Crew] Indonesia Dance Crew *[https://www.youtube.com/@FDCrew?sub_confirmation=1 Youtube Dance Crew] *[https://www.instagram.com/fdcrew/ Instagram Dance Crew] *[https://web.archive.org/web/20120424230610/http://dance-teacher.com/content/dance-teachers-guide-hip-hop "A Dance Teacher's Guide to Hip Hop"] article from ''Dance Teacher'' magazine

Category:Dance culture Category:Dance in the United States Category:Hip-hop dance Hip-hop D