BREAKING BACKLASH AT THE 2024 PARIS OLYMPICS
Crazy Smooth and Bboyizm rehearsing at London's Southbank Centre shot by Emily Almodovar
The recent ridicule of Breaking in Paris Olympics underscores an imperative need for knowledge, history and stories of Breaking to be platformed by the streetdance* community
Article Shokirie Clarke Edited by Jessica Rogers
The closing weekend of the 2024 Paris Olympics marked a historic moment for the streetdance community, as Breaking made its Olympic debut. The inaugural competition saw Japan’s B-Girl Ami and Canada’s B-Boy Phil Wizard take home gold medals, and showcased some of the world’s best B-Boys and B-Girls. Yet the conversation online has been overshadowed by disrespectful remarks targeting Australia’s B-Girl Raygun and a broader denigration of Breaking as a sport.
Over the past week, platforms TikTok, Instagram, and X (formerly Twitter) have been flooded with mocking commentary about Raygun and Breaking’s inclusion in the Olympics. Many are dismissing the skill involved, incorrectly claiming that anyone could be an Olympic 'breakdancer', whilst continuing to use the wrong terminology. There has also been widespread misinformation that Breaking has been removed from the 2028 LA Olympics due to Raygun’s performance.
B Girl Raygun - Photo by Harry Langer / DeFodi Images
Breaking’s inclusion in the Paris 2024 Olympics was a result of a new rule introduced during Tokyo 2020, allowing host countries to choose up to six ‘niche’ sports to add to the Games. Alongside Breaking, Paris also included Skateboarding, Sport Climbing, and Surfing. However, unlike the other three sports, Breaking did not receive permanent status for future Olympics. This meant that for Breaking to be included in LA 2028, it would have needed to be selected as one of the ‘niche’ sports by the host city. However, LA chose to prioritise flag Football, Baseball/Softball, Cricket, Lacrosse, and Squash, leading to Breaking’s exclusion—a decision made well before the 2024 Paris Olympics.
It’s important to address some of the misconceptions about B-Girl Raygun’s Olympic journey. The streetdance community is well aware of the varying skill levels among competitors, and Raygun’s scores reflected her current standing. However, she was not the only Olympian to face challenges; in new sports like Sport Climbing and Skateboarding, there were also wide disparities between the lowest and highest performers. So, why has B-Girl Raygun and Breaking been singled out for ridicule?
One reason is the ongoing debate over whether Breaking should be considered a sport. While Breaking’s roots are deeply artistic, the technique, vocabulary, stamina, and acrobatic demands of the dance, coupled with the structure of Breaking competitions, qualify it as a sport. Mainstream media often portrays Streetdance as purely performative and entertainment-focused, reinforcing its artistic aspects while downplaying its athletic rigour.
Bboyizm ‘In My Body’ cast members rehearsing at London’s Southbank Centre shot by Emily Almodovar
Many people’s understanding of Streetdance is shaped by nostalgic memories of movies like Breakin’ (1984), Step Up, Honey, and You Got Served, or TV competitions like America's Best Dance Crew (ABDC) and Got to Dance. These portrayals fail to educate viewers on the history, technique, and dedication required to master these dance forms. The limited portrayal, combined with a lack of readily available information, fuels unqualified opinions and contributes to the disrespect Breaking is currently facing.
The widespread misunderstanding of Streetdance vocabulary and history was also highlighted by online interactions most notably where there were followers/fans of Popin Pete that proclaimed he should’ve been a judge while he is a Popper not a Breaker. There was even a user that attempted to correct Pete, a pioneer of Popping, about the terminology of his own dance style (this comment has since been taken down).
Popin Pete
Even within the Streetdance community, the media shared often emphasises spectacle over substance, leading to a superficial understanding of the dance forms. The wider impact of this can be seen in young dancers skipping foundational training and enthusiasts seeking out only the most visually impressive, easily recognisable elements without gaining deeper respect for the craft.
In my early experiences of the streetdance world, I learned the importance of the foundations, which included styles such as Breaking, Locking, Popping, House, Waacking and New Jack Swing (Hip Hop). Knowledge and techniques have traditionally been passed down through workshops, events, and cultural exchanges. Many credible teachers of the foundations today will speak of experiences having learned and trained with some of the pioneers, which then gets passed down to their students to keep the legacy alive. Whilst this physical education is fundamental, the literature and publications to support this is far and few.
This scarcity of information hampers the growth of smaller communities and leads to misunderstandings, such as the misguided claims of 'colonisation' of Breaking without a proper grasp of how these dance forms have spread and evolved. We are in a unique moment in history where many of the pioneers of Streetdance are still with us, making it crucial to archive their stories and knowledge through literature and visual media.
As a community we cannot rely on popular media to accurately or respectfully represent Streetdance, we must take responsibility for creating and controlling our media while making it accessible and appealing to a broader audience. While also documenting how these dance forms have spread globally and how knowledge has been shared across generations and communities.
Red Bull Dance Your Style World Finals 2024 - Shokirie Clarke
We need the support of major brands like Red Bull and Nike, who have been instrumental in commercialising Streetdance, as well as dance institutions, to preserve and share this knowledge. While this is not an easy or inexpensive task, it is essential for the future of Streetdance.
Currently, the foundation of commercial dance** as a whole is weak. Our community has lacked a unified voice, focusing too much on our differences and engaging in internal conflicts that have hindered our ability to advocate collectively. This has led to our art being undervalued and subjected to the whims of commercial entities that offer ‘opportunities’ while controlling our narrative. The most disappointing discourse around the Olympics has come from within the dance community itself; if we cannot respect each other, how can we expect respect from outsiders.
This is why MOVES exists. While I cannot claim to be the ultimate source of knowledge, this platform aims to gather and share information from credible sources. We need your stories and expressions to build a media platform that thoughtfully represents our art and community.
We may not be able to control mainstream media, but we can control our own narrative. The larger and more united our voice, the harder it will be for bias, misinformation, and misrepresentation of Streetdance to thrive.
*Note: ‘Streetdance’ is not a universally agreed umbrella term for the styles that typically fall under it - certainly ironic considering the contents of this article and a topic for another day!
**Note: commercial dance refers to the array of dance genres that are commercially viable - questionable ‘style’ categorisations another topic for another day!
