Konstfacks bibliotek

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*020  $a978-0-19-533405-0 (cloth : alk. paper)
*020  $a0-19-533405-1 (cloth : alk. paper)
*020  $a978-0-19-533406-7 (pbk. : alk. paper)
*020  $a0-19-533406-X (pbk. : alk. paper)
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*1001 $aSchloss, Joseph Glenn
*24510$aFoundation :$bb-boys, b-girls, and hip-hop culture in New York /$cJoseph G. Schloss
*260  $aOxford ;$aNew York :$bOxford University Press,$c2009
*300  $aix, 176 p. :$bill. ;$c24 cm.
*504  $aIncludes bibliographical references (p. 167-172) and index.
*5050 $a"The original essence of the dance" : history, community, and classic b-boy records -- "Getting your foundation" : pedagogy -- "We have to be exaggerated" : aesthetics -- "In the cypher" : b-boy spaces -- "I hate b-boys-- that's why I break" : battling -- From rocking to b-boying : history and mystery.
*650 0$aHip-hop dance$zNew York (State)$zNew York.
*650 0$aHip-hop$zNew York (State)$zNew York.
*650 7$aHiphop$2sao$0147922
*650 7$aBreakdance$2sao$0262781
*650 0$aHip-hop
*650 0$aBreak dancing
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From deep within the New York hip-hop scene, author and b-boy Joe Schloss takes participant/observer fieldwork to its extreme. The first serious study of b-boying, the pre-eminent form of hip-hop dance commonly known as "breakdancing," Foundation: B-boys, B-girls and Communities of Style holds to its name, presenting a truly foundational study of the core concepts in the history, practice, and pedagogy of the dance form. The book delivers a powerful new paradigm for the study of hip-hop culture and of popular culture more broadly, and promises to become a seminal text in hip-hop scholarship and dance theory. An Afro-diasporic competitive dance that originated in New York City in the early 1970s as part of the hip-hop movement, b-boying is today a fully developed dance form with a strong sense of its own history, a deep connection to its music, and a complex system of aesthetic principles that are fiercely defended by its practitioners. Within b-boying culture, the term "foundation" refers to a body of knowledge that forms a common basis for individual styles, and is composed of basic moves informed by strategy, philosophy, and history. Based on extensive interviews, ethnographic observation, and personal study and practice of the dance form, Foundation analyses the symbolism of the dance, its social and aesthetic principles, and its relationship to hip-hop music and culture. Examining the specific practices by which foundation is transmitted, Schloss discusses their more general cultural significance, and reveals how practical considerations reflective of b-boys socio-economic status became encoded into the early aesthetics of b-boying, which themselves have remained as artistic preferences even after their practical value is lost. Schloss looks at the practitioners themselves as they are organized into "crews," the groups of dancers that compete together as a team, take on a collective identity, and support each other when they encounter conflicts in the larger community. Of key importance here are the dance competitions known as "battles." As an active competitor, Schloss explores the expectations under which battles are conducted, the aesthetic criteria by which they are judged, the effect that battling has had on the aesthetic of the dance, and the socio-cultural role that battling plays. Finally, in offering his insider's history of b-boying culture, Schloss challenges the widely-accepted historiography of hip-hop scholarship. By suggesting that hip-hop practice evolved from Latino dance styles in Brooklyn, the book decenters the Bronx as the birthplace of hip-hop culture--a radical, revisionist approach that will alter the way that we will think and talk about hip-hop from now on.

• Acknowledgmentsp. vii
• Introductionp. 3
• "The Original Essence of the Dance": History, Community, and Classic B-Boy Recordsp. 17
• "Getting Your Foundation": Pedagogyp. 40
• "We Have to Be Exaggerated": Aestheticsp. 68
• "In the Cypher": B-Boy Spacesp. 94
• "I Hate B-Boys-That's Why I Break": Battlingp. 107
• From Rocking to B-Boying: History and Mysteryp. 125
• Conclusionsp. 155
• Notesp. 159
• Bibliographyp. 167
• Indexp. 173