B-boying at its inception borrowed from other performance styles, as many elements of b-boying may be seen in other antecedent cultures prior to the 1970s. Concerning martial arts, b-boying looks very similar to the movement found in the Brazilian martial art capoeira which came about in the 1500s; however, b-boy pioneers Richard "Crazy Legs" Colon and Kenneth "Ken Swift" Gabbert, both of Rock Steady Crew, deny they ever witnessed capoeira when they were young; they cite James Brown and Kung-Fu films as influences instead. Many of b-boying's more acrobatic moves, such as the flare, show clear connections to gymnastics. An Arab street dancer performing acrobatic headspins was recorded by Thomas Edison in 1898.However, it was not until the 1970s that b-boying developed as a defined dance style.
Beginning with DJ Kool Herc, Bronx-based DJs would take the rhythmic breakdown sections (also known as the "breaks") of dance records and prolong them by looping them successively. The breakbeat provided a rhythmic base that allowed dancers to display their improvisational skills during the duration of the break. This led to the first battles – turn-based dance competitions between two individuals or dance crews judged with respect to creativity, skill, and musicality. These battles occurred in cyphers – circles of people gathered around the breakers. Though at its inception the earliest b-boys were "close to 90 percent African-American", dance crews such as "SalSoul" and "Rockwell Association" were populated almost entirely by Latino Americans. Historian Joseph Glenn Schloss described it as such:
In other words, there were three basic stages to the development of the dance: the early rock dance of the '60s, which was Latino and citywide; Brooklyn rocking or uprocking which was Latino and Brooklyn-based; and b-boying, which is Black and Latino and Bronx-based. Within this basic framework, it is not difficult to see how three constituencies-Brooklyn Latinos, Bronx Latinos, and African Americans-could have three totally different perspectives on the history
In other words, there were three basic stages to the development of the dance: the early rock dance of the '60s, which was Latino and citywide; Brooklyn rocking or uprocking which was Latino and Brooklyn-based; and b-boying, which is Black and Latino and Bronx-based. Within this basic framework, it is not difficult to see how three constituencies-Brooklyn Latinos, Bronx Latinos, and African Americans-could have three totally different perspectives on the history
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