Including breaking in the Olympics marks a significant milestone for the art form and the sport, highlighting its evolution and the ongoing challenges, especially regarding female representation. Breaking’s Olympic debut underscores the sport’s global reach and its history of misrepresentation. Breaking meets all the necessary criteria to be featured in the Olympics, and in my opinion, it’s long overdue. It’s fitting that France was the first to embrace this, as from its debut on French soil, breaking has been overwhelmingly supported as an institutional art form—support that was not as prevalent in its country of origin, the United States. However, I have mixed feelings. Battles are very "raw" with explicit movement vocabulary and even sexual postering, the Olympics is a sterile environment that doesn't allow for unexpected outbursts. The intensity and spontaneity are what make battles exciting and unpredictable. In the circle, there are no prerequisites, and b-boys and b-girls are encouraged to "represent" no matter what level to improve.
However, the recent controversy over B-Girl Raygun’s performance highlights systemic issues within the sport, particularly concerning gender equality. This controversy reflects a broader lack of understanding of hip-hop culture—its support for individualism and personal growth, and the celebration of excellence through effort and authenticity rather than technical perfection. There is so much more to breaking, and this is what concerns many about its inclusion in the Olympics. The world still seems to overlook the profound impact of this culture—the strength, love, and support it offers throughout a person’s journey. Breaking is unique in this way. Yes, you compete to be the best, but at its core, the sport fosters a special sense of camaraderie. This was evident in how competitors interacted—encouraging each other, exchanging smiles, and engaging in playful banter in a way that exemplifies the sport’s unique spirit. Elements such as popping, locking, and a diversity of dance styles were missing from the battles. In the 90s, crew battles represented all of these elements with b-boys and b-girls not solely focused on power. However, power moves complement the Olympics most.
The World’s View on Breaking at the Olympics and the Raygun Controversy
Breaking’s debut at the Olympics was a landmark achievement, thrusting the sport into the global spotlight. All competitors, including Raygun from Australia, delivered remarkable performances that showcased their creativity, effort, and foundational skills. Despite some claims that Raygun was “out of her league,” I believe this opinion is unfounded. Raygun demonstrated her understanding of the art form, its foundational moves, and battle etiquette. However, she was unprepared and lacked the athleticism for the Olympic environment. As an active member of the breaking community, she has likely made significant contributions, though I might not be aware of all of them. Her performance underscores the relative infancy of female breaking compared to the more established realm of b-boying. While the b-boy community has been thoroughly developed, the b-girl community, despite notable improvements over the past decade, still shows significant gaps. All that being said, in my opinion, she could have brought a more classic style in both sets and appearance, which would have contributed to the event in a more meaningful way.
I offer this perspective as one of the original Canadian b-girls, among the first in the country. From personal experience, I can attest to the challenges of being part of a disjointed female community that has often lacked role models, leadership, and mentorship. Despite her impressive performance, Raygun's experience underscores the broader issue of the underrepresentation of female breakers. Many countries with strong breaking traditions still lack female representatives, highlighting systemic issues in supporting and developing female talent. So while her performance did not gain support among judges and was not at the same level as the other competitors, we may see much more from her in the future.
Statistics show that female participation in breaking at the Olympics remains disproportionately low compared to their male counterparts. This disparity reflects broader trends in art form and underscores the need for targeted initiatives to support female athletes and artisans. While breaking faces challenges similar to other sports, it is part of a larger pattern of gender inequality in competitive fields. Despite my deep love and enthusiasm for breaking, I must acknowledge that the journey as a b-girl has not been easy.
Perspectives from B-Boys and B-Girls: The Culture’s Response
The reactions from the breaking community regarding the Olympics are mixed. Some see the inclusion as a valuable opportunity for increased visibility and growth of the sport. Others are concerned that commercialization might undermine the sport’s authenticity. Prominent figures in the community worry that the Olympics could shift the focus from breaking's cultural and artistic roots to a more commercially driven approach as a sport.
In my view, while the world may have judged Raygun in a certain light, the breaking community’s perspective is quite different. As a b-girl, I see her as accomplished yet still refining her craft. Her performance reflects the current state of many female breakers globally. This opportunity will undoubtedly enhance her artistry and her originality—a cherished quality in our community— which demonstrates her potential. We value individualism and effort, and we recognize those who “represent” regardless of their development stage. Breaking has always been uplifting and supportive of new talent. There isn't a prerequisite, battling more advanced dancers is not unheard of.
The global outcry reveals a broader misunderstanding of hip-hop culture and the support it provides individuals. Despite this, gender disparity remains a significant issue. Interviews with dancers have highlighted that female breakers still do not receive the same recognition and support as their male counterparts. The recent Oxford Handbook of Hip Hop Dance Studies documents some of these challenges. It discusses difficulties faced by women, including sexual mockery, exploitation, and unequal acceptance compared to male dancers. The path for b-girls has been markedly different, reflecting a distinct history within hip-hop.
The State of Female Breaking: Gaps and Challenges
Historical Challenges: Female breakers have faced longstanding obstacles in gaining recognition and support. Historically, women have had limited opportunities due to a lack of mentorship and exclusion from established crews. Notable figures like B-Girl Asia and B-Girl Honey Rockwell have paved the way, but their journeys highlight the broader systemic issues facing female dancers.
Fear of Abuse and Exploitation: Female breakers have often navigated the fear of abuse or exploitation, with many questioning whether invitations to practices were genuine or merely a pretext for inappropriate intentions. This fear has led to hesitation and mistrust, preventing meaningful engagement and mentorship. As a result, many b-girls found themselves teaching other beginners instead of receiving guidance from experienced dancers, further widening the gap between male and female breakers.
From my personal experiences, I always hesitated when invited by a b-boy to practice. Was it a genuine invite, or was it just a way to "show off" and get into my pants? It was common to try and professionally relate to b-boys, only to leave feeling belittled and exploited. When I attended Rocksteady in NYC, this feeling was even more intense. While Toronto b-boys showed some acceptance of females, my experience in New York was very different.
Toronto and New York share a deep connection that many might not realize. The Toronto breaking scene is closely tied to New York's. Gizmo from Bag of Trix is seen as a pioneer in Canadian breaking culture and was welcomed as part of a sort of northern chapter of Rocksteady. We would travel to the Rocksteady Reunion in busloads, united as a community, to contribute to this annual celebration. Artists would travel back and forth, performing in both cities.
I was excited to welcome a hip-hop group to Toronto (a name that I am not comfortable sharing at this time), showing them the best clubs, restaurants, and jams, with the promise of cultural exchange when we attended Rocksteady in New York the following month. However, upon meeting the group in NYC, I quickly realized that this exchange was not what I had hoped. Instead of being shown the city, we were taken to their apartment in Bushwick with a clear expectation that we needed to "put out" if we wanted a ride back to our hotel. We were left with the impossible choice of facing Bushwick as two underage white girls in the '90s without a way home or doing what was expected of us.
Personal Reflections: A B-Girl’s Journey
Challenges and Achievements: My journey as a b-girl has been marked by various challenges, including the difficulty of finding a crew. With the lack of invitations to join one, fellow b-girl Jiven and I created the So-Be-It Union to collaborate with b-boys. Being welcomed into a crew would have solidified a mentorship, and although I have b-boys in my life who feel like brothers, I was never formally introduced into crew culture. While younger b-boys benefited from the “each one, teach one” phenomenon, I did not. Despite having great b-boys like Jester, Lybido, Troubles, Golden Graeme, Jedi, and many others in my life, I never had a direct mentor. There were no female mentors either—none to teach power moves from a female perspective, considering different body types or centers of gravity.
Despite these hurdles, I have continued to practice, teach, and engage with the culture. The So-Be-It Union allowed us to perform at various events, including clubs, Holt Renfrew, acquiring Pumba sponsorships, presenting shows at Blue Mountain Resort, Fashion Week, and in both television shows, and movies. Through this union, I had the opportunity to learn from and work with superior dancers.
The Documentary: A Reflection on Recognition and Mentorship
The documentary Nobody Knows My Name poignantly illustrates the lack of recognition and support for female MCs. Therefore this phenomenon does not only exist within breaking communities. I was invited by She Bang to dance at the film launch in Toronto back in 1999. It reveals a broader issue of underrepresentation that extends the entire hip-hop culture, where female opportunities are often scarce. This film illuminates the urgent need for increased recognition and support for female talent in all elements of hip-hop.
Motherhood and Physical Challenges: Having children before and after turning 30 significantly impacted my ability to train and compete. Recovery from childbirth-related injuries, including a torn abdomen and separated pelvis, was slow and challenging. Despite these obstacles, I have remained connected to the dance community, continuing to contribute my knowledge and experience.
It’s important to highlight that there were b-girls in my community who had children at a young age with b-boys—men who continued their careers with little thought of what it meant for their partners. These women were left responsible for raising children on their own, forced to give up their personal aspirations, and disappeared almost overnight from the community. This departure left yet another gap in mentorship for younger generations.
Although I continue to dance, I may never be fully recognized for my contributions to the culture. I have four children therefore from 2009 to today, I have brought four new humans into the world, which has taken a toll on my body and my ability to train. However, I still possess the knowledge and history, having attended hundreds of events and performances, and witnessed Hip Hop during some of its golden years.
Additionally, there was controversy on the scene due to the lack of female judges. In traditional battles, judges must showcase their abilities, but what happens when physical limitations have set in? Does that mean we no longer can judge? Do we not still possess the scope to see technique and artistry, backed by an abundance of experience?
Evolving Scene: The rise of the internet has transformed how breakers learn and share moves. While this has led to some unoriginality, it also underscores the value of extensive experience and knowledge. In Costa Rica, I recently attended a battle where a dancer directly copied, called in the community as “biting”, moves directly attributed to b-boy Dyzee. The cheers pursued because this generation and these dancers have likely never seen Dyzee in a battle. But it was clear to me that this sequence likely came from an old video and I knew where it originated, but the judges at hand did not. He shares many important training mechanisms on his Instagram, he's a b-boy continually sharing his craft. But as breaking ages, how do we maintain originality while we celebrate the past?
Community Support: Despite the challenges, I have received positive support from many in the hip-hop community. Numerous Toronto b-boys provided invaluable encouragement and camaraderie, fostering a sense of brotherhood even when formal crew opportunities were lacking.
For some of these b-boys, it’s undisputed that we b-girls have organized significant events, including Hip Hop History courses at the Harbourfront Centre, writing books, and creating publications that promote breaking and sharing our passion with a wider audience. This work has been instrumental in building the local scene and providing opportunities for new dancers, thanks to the efforts of lesser-known b-girls who are actively participating in Hip Hop culture.
Conclusion: A Family Within the Culture
I view the hip-hop community as a family. The support and encouragement from dancers has been a source of strength. With the Olympics drawing attention to the art form, it is essential to support and encourage breakers like Raygun and work toward closing the gaps in representation and mentorship. This is an exciting time for female breakers to gain recognition and support, ensuring the future of breaking is inclusive and equitable for all.
For the first time, many people are starting to see the immense talent and ability of breakers. I’ve had people messaging me all week, saying they never knew the art form existed beyond the 80s or that they never understood the depth of its rich history. There’s a newfound love and appreciation for the dance, and I’m so excited about it, especially seeing the equal representation at the Olympics in France. I’m thrilled that women like Japan’s B-Girl Ami, who became the sport’s inaugural Olympic champion, are leading the way. The silver medal went to B-Girl Nicka from Lithuania, and the bronze to B-Girl 671 from China. And let’s not forget about other b-girls like Raygun, who came out in support of this momentous occasion.
I would like to formally acknowledge B-Girl Julo (Judi Lopes) supporter of the Toronto B-Girl Movement and founder of Keep Rocking You, as well as Mary Fogarty and Imani Kai Johnson for their incredible academic contributions through the completion of the Oxford Handbook of Hip Hop Dance Studies. I also want to recognize all the b-girls I've met, danced with, or been inspired by along the way, and the b-boys who have championed us. May this mark a bright future for our art form.
Please visit www.mirandaabbott.com for more information about my work and www.danceequations.com to learn more about teaching mathematics with dance. My book Treedom is available on Amazon.
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