"Breakdancing
is hip-hop."
-KRS~ONE -KRS-ONE 
Introduction
HTML "Breakdancing
is hip-hop."
-KRS~ONE -KRS-ONE Introduction
Parallel to the physics of everyday life, breakdancing is no exception to the domain of the laws of physics. In every movement of the body, the physics are in effect. The way a person's body is able to manipulate these forces may seem to defy the laws of physics, but in truth, they are utilizing and displaying these laws with great control and artistry.
The Physics of
The Windmill
Description:
The windmill,
otherwise known as the continuous backspin, is the signature "power move" of
breakdancing. The move requires the breaker (dancer) to propel their legs in the air,
preventing their contact with the ground. The legs are spread and move around the body in
a circular fashion, resembling the blades of a windmill pivoting around one point.
The Physics:
The windmill
encompasses many aspects of the laws of physics. In order to even move the breaker
must first overcome the force of friction between their clothes and the floor.
Usually a breaker will dance only on a smooth surface, such as lenoleum. By doing
so, the breaker is able to both minimize friction and, if the breaker is skilled,
take advantage of the smooth surface and
maximize their speed. The faster the windmill is, the better it looks.
The windmill,
in addition to taking into account the effects of friction, also demonstrates the laws of
motion. When the windmill is in execution, the legs are moving in a circular
fashion. The legs want to maintain their state of motion (a straight path).
However, they are attached to the body of the breakdancer. This crucial connection
keeps the legs swinging around without following their tendancy to maintain thier state of
motion. This is a demonstration of Newton's first law of motion, the law of inertia.
The windmill
also demonstrates centripetal force in its execution. While the legs are moving
around the body, their is an acceleration inward toward the body. this acceleration
inward is centripetal force.
Uniform
circular acceleration is also present in this signature move. The legs of the
breaker are the radius of the circle, the feet are points where the velocity vectors are
tangent to the circle, and the pivot point of the breakdancer's body is the center of that
circle; thus, as the dancer executes this move, it is a perfect example of uniform
circular acceleration.
In addition,
the windmill still yet demonstrates resonance. At a certain point during each round
of the windmill, the breaker will kick, causing a gradual increase of the speed of the
windmill. If the breaker does this at a constant interval, the speed of the windmill
will exponentially increase from the original starting speed.
1990's
Description:
1990, or '90 is
a move in which a breaker jumps from his feet onto one hand, twists his body, switches
their hand, and on the palm of that hand, spins around with all their weight balanced on
that hand and arm. The definition of a good '90 is when the breaker is able to spin
on their hand two or three times.
The Physics:
Again the breaker must overcome friction between their hand and the
floor. In order to overcome the force of friction, the breakdancer must twist his
body the opposite way he wants to spin, then, once on his/her hand, unwind their body in
the direction they wish to spin. The force of the feet and legs spinning transfers
through the body down to the arm and hand, and the force of friction between the breaker's
palm and the floor should be overcome. Once this static friction is overcome, the
spinning should last long enough for the breaker to spin upon their hand two or three
times. This should be plenty of time, and sliding friction should have little
hindrance in the execution of the '90, as gravity will more likely act on the breaker
before sliding friction will have any real effect. Flares
Description:
The flare is a
move popularized by gymnastics--the flare is the same as the flare on the pommel horse,
however, it is performed while on the floor in breakdancing. The move requires a
breaker to swing their legs below them in a circular fashion, and move their arms out of
the way so that the legs are able to move continuously without obstacle.
The Physics:
The physics of
the flare are similar to the other moves in that they require a circular
motion. However, the flare is more of a balancing act than an accelerating
act. By use of balance and counter-balance a breaker is able to keep the body and
legs from making contact with the floor. Torque is also involved in the flare.
The legs could be considered the radius of the circle that the breaker is movling within,
and the torque is greater at the legs, because torque=force x radius. The radius of
the legs is greater than that of the head and upper body, so the breaker must compensate
to balance the torque and move continuously. Now
that you've learned a little bit about 1990's and flares, here's a video of a very skilled
breaker performing a 1990/flare combo (combination). You'll need an avi player in
order to view this video. Enjoy! Headspins
Description: The headspin, is quite self explanatory--a breakdancer balances on their
head and by swining the legs and twisting the body, the he/she is able to spin
continuously on their head in a circle, using occasional hand-floor contact to sustain
balance.
The Physics:
The phyics are quite similar to those of the other moves, in that the
headspin also deals with circular motion and torque. A skilled breaker is able to
have their limbs spread far apart and travel at a fair speed. However, when he/she
tucks in their limbs, they are able to reduce the radius of their circle, and
therefore increase the force to sustain the same amount of torque. This gives the
effect that the breaker is traveling very slow, then suddenly accelerates their spin just
by tucking in their limbs.
Links
Breakdancing Pictures: a few pictures of moves I discussed and described here.
Dancers' Delight: a site on breakdancing and other contemporary dance.
WSR's B-boy Homepage: a site about breakdancing and other forms of hip-hop.
(C) Scott Tong 1998