Bboy Thesis 2008

Bboy Thesis 2008-60
The emergence of Hip-Hop as a cultural phenomenon during the decade of the 1970s characterized a pivotal cultural shift in America.The Hip-Hop subculture gained momentum, and ultimately swept the music industry.The judges on dance shows and sensationalized B-boy crews “[played] a crucial role in authenticating street dance for the American public and in shaping the American dance aesthetic” (Kong 2010).

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The shared ‘vernacular’ of the culture created a sense of unity among B-boys regardless of their country.

However, the dawn of the Internet did not only beckon in negative effects for the B-boying community; social media brought a new creative outlet for artistic expression and communication.

You Tube and other social media platforms allowed for conversations between B-boys around the world, resulting in a global exchange of knowledge, perspective, and subcultural capital.

Hip-Hop, and subsequently B-boying, incorporated related art and musical forms from Afro-Caribbean, African American, and Latino neighborhoods of the Bronx (Schloss 2009).

The “Holy Trinity” of Hip-Hop music, DJ Kool Herc, Afrika Bambaataa, and Grandmaster Flash (two with Caribbean roots), all played a central role in the development of Hip-Hop at this time, bringing with them the over-dubbing of Reggae and Caribbean sound systems.


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