They were to be the official b-boy crew for the Zulu Nation….The current generation of MZK, the 4th generation, or “Generation 4″ came about on November 1, 2000. ”The Mighty Zulu Kingz was established in 1973. Therefore, by self organizing into crews we see that breakers initiated themselves into the global stage locally. The crews themselves already had multi-generational, multi-cultural, international, and gender diverse components. Alternative local identities were founded in fashions, language, street names and neighbourhood crews.” (Langnes & Fasting, 2016) “Breaking crews (small units organizing social relationships within the subculture of Breaking) were forged with intercultural bonds, and battled in the streets to get respect. The original b-boys and b-girls were youngsters living in hostile neighborhoods that danced at local park jams, at block parties, or in the streets. B-girl Roxy highlights how "Breaking saved her life" in a Facebook video, further showing how breakdance is an opportunity to redefine yourself from the ground up. The original b-boys and b-girls were youngsters living in hostile neighborhoods that danced at local park jams, at block parties, or in the streets. Consequently, Breaking became a source of identity construction and gave social status to youth in the ghetto. This urban solution for gang wars and the misconduct of idle youths, sets the tone for breaking’s open, competitive, creative and energetic nature. Therefore, breaking was originally a means to cope with and resolve gang quarrels. In 1975 he created his own organization, the Universal Zulu Nation, which brought together the four components of hip‐hop culture (DJing, MCing, Bboying and Graffiti)” (Lamotte, 2014). Afrika Bambaataa, a young warlord from the Black Spade gang, emerged as a peacemaker. In 1971, however, the South Bronx gangs came together to sign a truce. “At the outset of the 1970s, with the city of New York deep in financial crisis, the Bronx was the scene of violent conflict between rival gangs. © 2007–2008 © ISelf Collection, London, Photo: Mirjam DevriendtĮarly Breaking culture in the South Bronxīreaking evolved as part of the hip-hop movement that came from African American and Latino youths. Breakdance: History, identity & community In researching breaking I will utilize Digital ethnography , as well as my own participatory observations as a b-boy, to further examine what components of breaking spread it to the global stage. Thus, to maintain political correctness, I will continue to adress the phenomena as "breaking." Other then being a unique acrobatic dance, breaking is a direct manifestation of the fundamental principles of hip-hop. The name "breakdance" was later given to the artform by onlookers, giving the name a commercial aspect. In this article I will be addressing a more underground but equally global element of hip-hop culture, its most physical element called breaking or b-boying. Often when we think of hip-hop in a global arena we tend to only think of one or two of its nine recognized elements, namely commercial rap and/or street fashion, which is often associated with misogyny and violence. In this article I will investigate the reasons behind breaking’s successful adoption on a global scale. Culturally speaking, there has been a growing interest in hip-hop as a global phenomena, but oddly little mention of "Breakdance." It is not uncommon for music genres to get global exposure, but having a whole culture accepted globally is rare.
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