Olympic Breakdancing: A New Era Begins, But Controversy Looms

For some, the fear is that the essence of breaking, as an improvisational art form born and rooted in communities of color will be diluted through mass appeal.

PARIS, France — In the basement of a sports complex in Paris, dozens of breakers (break dancers) convened nearly every weeknight in July. They practiced classic moves like the windmill, freezes, and headspins, syncing to steady breakbeats from a playlist named “100% Flow.” The session began with footwork, “toprocking,” then moved to intricate floor moves. Samy Vongphrachanh, 19, received cheers and encouragement from his peers as he attempted risky power moves.

The group forms part of Paris’ breaking and hip-hop community. While international eyes focus on breaking making its Olympic debut at the Paris Games, for them, it’s about preserving a lifestyle.

“We come, we chill, we cypher – it’s like the main essence of breaking,” Vongphrachanh said, describing the informal circle where breakers enter one by one to dance and battle. “It’s sharing peace, unity, love, and having fun.”

The breakers in this gym represent a fraction of a larger community across France. Globally, France is the second-largest hip-hop market after the U.S. Olympic organizers emphasize the street dance’s popularity in France. Breaking debuts at the Paris Olympics following its success at the 2018 Youth Olympic Games in Buenos Aires, aiming to draw younger viewers.

However, skepticism exists in Paris’ local breaking scene. Some fear the subculture is being co-opted by officials, commercialized, and fit into a rigid judging structure. The spirit of breaking, originating in local communities and revolving around street battles, cyphers, and block parties, risks dilution. This fear is especially pronounced among those who see breaking as an improvisational art form born from the racial and economic inequalities faced by communities of color.

“It’s a huge step for hip-hop and the breaking community,” said Rémi Chean-Len Heng, or “b-boy Fly Lin.” He uses breaking as therapy for new migrants in France. “But some view this as a threat to the culture’s essence. We see the politics and money behind it—it’s all about attracting youth to watch the Olympics. Some fear the culture won’t be accurately represented.”

Vongphrachanh hopes the Olympics will inspire a new generation to engage with the culture. He teaches breaking to children and teens. Nonetheless, he is cautious, “We are questioning if we are distorting our discipline. It’s becoming overly competitive,” he remarked.

Historian Samir Meghelli, writing “Hip Hop between New York and Paris: A Transatlantic History,” highlighted the enduring tensions within hip-hop’s mainstream integration.

“From its inception, hip-hop has had a fraught relationship with mainstream institutions and pop culture,” said Meghelli.

Initially, hip-hop served as an outlet for Black and brown youth in the Bronx, countering daily socio-economic adversities of the 1970s and ’80s. It has since evolved into a multi-billion-dollar global industry.

“Hip-hop wasn’t initially welcomed in mainstream media. Over time, it has been incorporated, but tensions have remained,” Meghelli noted. “Breaking’s Olympic inclusion is the latest chapter in this ongoing narrative.”

Seine-Saint-Denis in France witnessed the genesis of French breaking culture. The fame of the New York-based Rock Steady Crew performing in Saint-Denis in 1982 fostered a burgeoning hip-hop scene. The music had traveled from the Bronx to Parisian nightclubs, yet it was in the housing projects of Saint-Denis that breaking took root.

“I saw break dancers and something clicked,” reminisced Hugo Malanda-Malaki, 19, introduced to breaking at a local block party. “I saw their movement and wanted to replicate it.”

Paris’ local hip-hop community is divided over breaking’s Olympic debut. This concern is intertwined with a French law regulating the teaching of hip-hop dances through an amendment to a 1989 law requiring diplomas for dance instructors. The law fines instructors teaching without diplomas and includes provisions for administrative closures of non-compliant establishments. Previous proposals in 2013 and 2015 faced opposition and were rejected. The law finally passed in March 2024.

“Stability is good, but you don’t need a diploma to teach breakdance. The breakers from my childhood didn’t have diplomas, yet they inspired me,” said Malanda-Malaki.

While some criticize Olympic involvement, organizers insist on honoring breaking’s roots. The official website and press materials highlight the history of hip-hop and breaking, noting Seine-Saint-Denis as “the birthplace of breaking in France.” Flyering and events around the suburb continue.

Large, judged breaking contests like Red Bull BC One World Final have been global fixtures for 20 years, yet breaking’s Olympic introduction has captured widespread celebration.

Rappers Ice-T and Snoop Dogg expressed their excitement, with Ice-T noting the event “could possibly be one of HipHop culture’s proudest moments.”

Olympic breakers navigate their roles as hip-hop ambassadors, seeing it as crucial to represent the culture’s authenticity.

“Black and Latino people birthed this culture,” said Logan Edra, or b-girl Logistx, representing Team USA. “This moment is significant for all of us, but it’s not just for me. It’s for breaking and our culture.”