POPPING

Popping is a dance style and one of the original funk styles of dance that came out of Fresno,
CA in the 1970s. It is based on the technique of quickly contracting and relaxing muscles to cause a
jerk in the dancer's body, referred to as a pop or a hit. This is done continuously to the rhythm of a song
in combination with various movements and poses. Popping is also used as an umbrella term to refer to
a group of closely related illusionary dance styles and techniques that are often integrated with popping
to create a more varied performance (see below). A popping dancer is commonly referred to as
a popper.
Like other styles of street dance, popping is often performed in a battle trying to outperform
another dancer or group of dancers in front of a crowd. This gives room for improvisation and moves
that are seldom seen in shows and performances (also referred to as freestyling). It also allows for
interaction with the other contestants and spectators.

HISTORY
In the 1970s, the pioneer popping group the Electric Boogaloos (earlier known as
the Electronic Boogaloo Lockers) greatly contributed to the spread of popping, partly because of their
appearance on the television program Soul Train. Their founder Sam Solomon (a.k.a. Boogaloo Sam)
created a set of movements that evolved into the styles known today as popping and boogaloo after
being inspired by one of the pioneer locking groups known as The Lockersas well as a fad
dance popular in the 1960s known as the jerk. While dancing, Sam would say the word "pop" every
time he flexed his muscles, eventually leading to the dance being called popping.
"While Sam was creating popping and
boogaloo, others were creating and
practicing unique styles of their own. Back in
the day many different areas in the west
coast were known for their own distinct
styles, each with their own rich history
behind them. Some of these areas included
Oakland, Sacramento and San Francisco"
—The Electric Boogaloos
The Electric Boogaloos encourage the term Funk styles to identify the dance moves that came
out of the west coast during the funk era. The primary funk styles are popping, electric boogaloo, and
locking. The funk styles were integrated into hip hop dance once the culture reached the west coast of
the United States. They are now included in several hip hop dance competitions. Some state that
popping itself existed in some forms in the late 1960s in Oakland, California before the Electric
Boogaloos were formed and that the style cannot be traced to a specific person or group. This is
generally accepted regarding the various related styles such as animation, (ro)botting, and strobing,
which the Electric Boogaloos themselves acknowledge.

TERMINOLOGY
As stated earlier, popping has become an umbrella term for a group of closely related styles
and techniques that have often been combined or danced together with popping, some of which are
seldom seen outside of popping contexts. However, the use of popping as an umbrella term has been
criticized on the grounds that its many related styles must be clearly separated so that those who
specialize in more specific styles aren't classified as poppers (ex: a waver, a tutter, a strober).
It is often assumed that popping is a style of breakdance. This is due in large part to the
movies Breakin' and Breakin 2: Electric Boogaloo. In these movies all styles of dance represented,
(breaking and the funk styles: popping, locking, and electric boogaloo) were put under the
"breakdance" label causing a naming confusion. This caused the media to associate funk styles with hip
hop music and assume that popping and electric boogaloo were the same as breaking. The difference
between the two is that breaking originated in the Bronx, New York and is danced on the floor while
popping and electric boogaloo came out of Fresno, CA and are danced standing up.
Another term, pop-locking, gained popularity in the late 1970s and early 1980s in some circles
around Los Angeles as a general slang term for popping and its integrated styles. The term is
controversial because some believe it generates connotative confusion by incorporating the
word locking which is the name of another distinct funk style that is separate from popping.
CHARACTERISTICS
Popping is centered around the technique of popping (or hitting), which means to quickly
contract and relax muscles to create a jerking effect (a pop or hit) in the body. Popping can be
concentrated to specific body parts creating variants such as arm pops, leg pops, chest pops and neck
pops. They also can vary in explosiveness. Stronger pops normally involve popping both the lower and
upper body simultaneously.
Normally pops, or hits, are performed at regular intervals (the intervals can also be irregular if
the dancer wants to avoid "the old one two", which refers to popping to the same beat continuously
without any variation) intervals timed to the beat of the music, causing the dance to appear very
rhythmic in nature. A common technique of transitioning between poses is thedime stop, heavily
utilized in robot dancing, which basically means to end a movement with an abrupt halt (thus "stopping
on a dime"), after which a pop normally occurs.
Poses in popping make heavy use of angles, mime style movements and facial expressions.
The lower body has many ways to move around from basic walking and stepping to the more complex
and gravity defying styles of floating and electric boogaloo. Movements and techniques used in
popping are generally focused on sharp contrasts, being either robotic and rigid or very loose and
flowing.
As opposed to breaking and its floor-oriented moves, popping is almost always performed
standing up, except in rare cases when the dancer goes down on the knees or even lies down for a short
while to perform a special move.

MUSIC
Having its roots in the late 1970s funk music era, popping is commonly danced
to funk and disco. During the 1980s, many poppers also utilized “electro” and other “new wave” styles
to choreograph their popping routines. Popular artists utilized by poppers included Kraftwerk,
Twighlight 22, Egyptian Lover, and World Class Wrecking Crew. More mainstream Rap was also
employed by poppers during the 1980s, including Kurtis Blow, Whodini, and Run DMC. Today, it is
also common to see popping danced to more current music genres such as modern hip hop
music (often instrumental hip hop) and various forms of electronica.
Songs that are generally favored have a straight and steady beat at around 90-120 beats per
minute, a 4/4 time signature and a strong emphasis on the back beat, normally by a snare drum or
a drum machine. The pops performed by the popper normally occur on every beat or on the distinct
back beats. The popper can also choose to follow the music more freely such as by timing the pops to
the rhythm of a melody or other rhythmic elements.

RELATED STYLES AND TECHNIQUES

There are a number of dance styles and techniques that are commonly mixed with popping to
enhance the dancer's performance and create a more varied show, many of which are seldom seen
outside of popping contexts. That is why these moves can be considered a part of popping when using
it as an umbrella term.

1. ANIMATION
A style and a technique where you imitate film characters being animated by stop motion. The
technique consists of moving rigidly and jerky by tensing muscles and using techniques
similar to strobing and the robot to make it appear as if the dancer has been animated frame by
frame. This style was heavily inspired by the dynamation films created by Ray Harryhausen,
such as The Seventh Voyage of Sinbad (1958).
Video example (YouTube)

2. ELECTRIC BOOGALOO
A loose and fluid style trying to give the impression of a body lacking bones; partly inspired
by animated movies and cartoons. It utilizes circular rolls of various body parts, such as the
hips, knees and head, as well as isolation and sectioning, like separating the rib cage from the
hip. It was developed in 1976 by Boogaloo Sam The electric boogaloo is the signature style of
the Electric Boogaloos (the dance crew).
Main article: Electric boogaloo

- (sometimes mistakenly referred to as electric boogie) is a style of funk dance and hip hop dance
closely related to popping. It became the signature style of the dance group started in the 1970's, the
Electric Boogaloos. Along with electric boogaloo they also popularized popping and many of its
related styles.
According to the Electric Boogaloos, the electric boogaloo dance style combines a Latin American
dance called boogaloo with popping. Electric boogaloo was created by Sam Solomon (better known as
Boogaloo Sam) in 1975. It is characterized as a fluid leg-oriented style danced to funk music, utilizing
rolls of the hips, knees, legs, and head, which was later combined with popping.
Today, boogaloo is often used as a synonym for the electric boogaloo, except in the Bay Area where
boogaloo refers to an Oakland creation of street dance that remains to this day.

Moves

• Crazy legs
A leg-oriented style focusing on fast moving legs, knee rolls and twisting feet. Developed in
1980-81 by Popin' Pete, originally inspired by the fast and agitated style of breakdance by the
famous b-boy Crazy Legs from Rock Steady Crew.
A footwalk that was created by Poppin Pete. He invented crazy legs by watching a boy called
Crazy Legs dancing and changed what he saw into a Popping move.
• Fresno
A leg-oriented style focusing on fast moving legs, knee rolls and twisting feet. Developed in
1980-81 by Popin' Pete, originally inspired by the fast and agitated style of breakdance by the
famous b-boy Crazy Legs from Rock Steady Crew.
Basic movement between body, arm, and foot. It was created by Boogaloo Sam.
A move, which defines all that is essential in Popping (also used in electric boogaloo). The
Fresno can be performed in various different ways as only the following requirements exist. In
a fresno, the dancer moves side-to-side doing a hit on each turn with the leg and arm of the
side the dancer has moved to.
• Neck-o-flex
The neck twix between body and the neck.
• Old man
A type of boogaloo style was created by Boogaloo Sam. Boogaloo Sam invented this move by
watching an old man by walking across the street.
Inspired by watching an old man who had one of his leg deformed and had walking difficulty,
Off that, Boogaloo Sam saw inspiration and worked with that move.
• Twist-o-flex
A technique where, as in the mannequin, the dancer creates the impression of unnatural body
joints by moving and twisting various parts in sequence. Non-twisting parts should remain
absolutely still. The effect resembles a Rubik's Cube moving, or somewhat a clay figure being
modeled. It can be further refined by using hands to "push" or "pull" the body parts around.
• Walk-out
A footwalk that took you from point A to point B. It is very common in popping. It is
commonly used to shwitch positions.

3. BOPPING
A style of popping in which the chest is isolated by being pushed out and brought back while
flexing the chest muscles. As this movement is performed to the beat the popper can
incorporate different moves in between the chest bop. When practiced the chest bop can be
done at a double-time interval adding a unique effect to the move.

4. COBRA
Similar to a Boogaloo, except you roll your chest like a snake.

5. DIME STOPPING
A technique of moving at a steady pace and then abruptly coming to a halt, as if attempting
to stop on a dime. This is often combined with a pop at the beginning and/or end of the
movement.

6. FAST FORWARD
The concept of moving faster than normal, like being part of a video being played in fast
forward.
 7. FLOATING, GLIDINS & SLIDING
A set of footwork-oriented techniques that attempt to create the illusion that the dancer's body
is floating smoothly across the floor, or that the legs are walking while the dancer travels in
unexpected directions. Encompasses moves such as the moonwalk (sliding).
Main article: Floating (dance)
Refers to a group of footwork-oriented dance techniques and styles closely related to popping, which
attempt to create the illusion that the dancer's body is floating smoothly across the floor or that the legs
are walking while the body travels in unexpected directions. It's most famous for its use by Michael
Jackson and his moonThe terms floating, gliding and sliding can also be used to refer to more specific
areas, though still closely related:
• Floating
Floating is a simple traveling technique of alternating between the toe and the heel of the feet
to make the body float smoothly across the floor. It is normally performed sideways.[1]
• Gliding
Gliding uses the float technique but also adds a push and a pull to cause the feet to glide over
the floor, taking up more space and creating a bigger illusion.[1] Gliding can be performed in
many directions, but most common are the sideglide and the circleglide.
• Sliding
Sliding and airwalking are a kind of walks that make it appear as if the dancer is walking in
the air or on ice, with no friction under their feet, while traveling in unexpected directions.
Common sliding moves are the forward- and backslide (the latter referred to by Michael
Jackson as the moonwalk).
walk (a.k.a. the backslide), but is commonly utilized in popping with much greater variation.

8. LIQUID DANCING
An illusionary dance style that focuses on flowing and continuous liquid-like motions, with
concentration on the fingers, hands and arms. It is stylistically connected to – and often mixed
with – waving. Liquid dancing is common in rave culture, and some dancers consider it a
complete style of its own.

Liquid and digits are illusion-based forms of gestural, interpretive dance that sometimes
involve aspects of pantomime. The term invokes the word liquid to describe the fluid-like motion of the
dancer's body and appendages and digits to refer to illusions constructed with the dancer's fingers.
Liquid dancing has many moves in common with popping and waving. The exact origin of the dances
are uncertain, although they came out of either popping, raves, or both sometime from the 1970s to
1990s. The dance is typically done to a variety of electronic dance music genres from trance to drum
and bass to glitch hop, depending on the dancer's musical taste.

Origins
Since the spontaneous rise and propagation of Liquid throughout the rave culture sometime
during the 1980’s and early 1990’s, the root origins of the dance have ultimately remained a source of
contention between both those involved directly with the dance as well as those outside of the
immediate culture. In fact, even the time frame is difficult to pinpoint. Sightings of the dance range all
the way back to the early and mid 1970’s. While some argue that the dance evolved spontaneously
from combining elements in the rave culture, others still contend that the dance is merely an extension
of existing ideas from other art forms. It should be noted that scores of these artists (Funk Stylists,
Glowstickers Contact Jugglers, Mimes, & The Unknown) attended raves regularly all throughout the
1980’s and 1990’s. In the wake of the decline of the original rave scene, liquid has become a standing
part of a worldwide club culture and the underground street dancing movement.
B-boys and funk stylists generally contend that liquid dancing is a development of waving, a technique
in popping. Liquid dancing covers many of the same fundamentals as popping and it is fully possible
(and common) for dancers to combine the styles, further blurring the distinction between the two. The
defining difference is liquid dancing concentrating on smooth movements while popping is
characterized by jerky pops (hits) and contractions.
In 2000, a group of liquid dancers from throughout the northeastern United States formed the
Liquid Pop Collective (LPC). The name later caused some confusion since some thought the LPC did a
dance called "liquid popping" but the name was chosen because many members did both liquid and
popping.[1] In Philadelphia, they began performing at events run by Reflective Multimedia, a collective
of DJs and visual artists. After performing for a bit, they noticed other people in the clubs who they did
not know starting to do liquid and digits. Before this, those that were interested in liquid generally
knew each other. The LPC was concerned that these newcomers to the dance did not have anyone
teaching them. They thought about how funk styles flourished without any direct teachers and came to
the conclusion that they needed to develop a standard vocabulary for the dance. Around this time, the
LPC put a video (now available on YouTube) of one of the members, Eric, liquid dancing on Napster.
The video spread and people wanted to learn the dance. So, the LPC decided to make an instructional
video by the name of All Access Liquid and Digitz, Volume 01 (no other volumes were made) which
defined the concepts that are the foundation of liquid and digits and had performances of four
members. They sold about 2000 VHS tapes through their now-defunct website lpclabs.com and
shipped to all over the world. The LPC has since broken up and no one is shipping the video, although
it has all been uploaded to YouTube.
Techniques, concepts, and construction
Liquid dancers use a variety of techniques rhythmically strung together to create an illusion of
continuous flow that corresponds to the music.
Hand flow
Hand flow is the most commonly used technique in Liquid dancing and simultaneously the easiest to
grasp. It consists of curling the fingers of one hand and following them with the straight fingers of the
opposite hand. The wrists, elbows, and shoulders may be involved to extend the motion. A Liquid
dancer's personal style is defined by his or her individual approach to hand flow, and how it fits into
their dance as a whole.
Rails
Rails, often a heavy focus in liquid, are characterized by the moving of the arms along a set path or
"rail".
Waves
Main article: Waving (dance move)
Waves maintain the illusion that a wave is passing through one's body by the isolation and alternating
tensing and relaxing of one part of the body at a time at a steady speed in a constant direction.
Traces
During a trace, one's hand follows the path of a wave going through one's body. The hand moves at the
same speed and in the same direction as the wave.
Contours
This technique entails the hands following exactly the outline of an object, be it real or imaginary. Most
commonly the hands follow the outline of one's own body.
Threads
This style maintains the illusion that one is pulling parts of their body through holes created by the
positioning of other body parts, typically arms. An example of this would be holding one's shoulder to
create a closed loop which the other arm goes through. These are performed at the same speed as the
flow of the liquid and waves to maintain an illusion of continuity.
Splits
This technique is characterized by the hands moving independently of each other while maintaining the
illusion of a fluid relationship between each other. This is typically accomplished by misaligning the
hands but using the same finger motions as regular handflow.
Builds
Builds are identified by the manipulation of imaginary objects in a manner similar to pantomime.
These moves can be combined with video editing to show the imaginary object being manipulated as
the person dances.
Remotes
Using one part of the body as a remote control for another is referred to as a remote. For example,
pulling a hand up while simultaneously lifting a leg as if they are connected by a string is a remote.
Gear
Some liquid practitioners commonly accentuate their dance with light emitting gear. Typically the gear
will consist of either glowsticks, very bright LED keychain lights called photons, or white gloves under
black light. When a dancer specializes in glowsticks, the dance often ceases to resemble liquid and is
then referred to as glowsticking.

External links
• Floasis: Liquid dance community with forums and tutorial videos
• popular video of LPEric liquid dancing
• video of liquid with lots of digits
 9. MIMING
Performing techniques of traditional miming to the beat of a song. Most commonly practiced
are various movements with the hands as if one could hold onto air and pull their body in any
possibly direction. Miming can also be used to allow a popper to tell a story through his or her
dance. This style is often used in battles to show the opponent how they can defeat them.

10. PUPPET
A style imitating a puppet or marionette tied to strings. Normally performed alone or with a
partner acting as the puppet master pulling the strings.

11. ROBOT / BOTTING

A style imitating a robot or mannequin.

The robot (or mannequin) is an illusionary dance style – often confused with popping – that
attempts to imitate a dancing robot or mannequin. It was originated by Charles Washington, also
known as "Charles Robot" in the late 1960s, and gained further fame after The Jacksons
performed the dance when they performed Dancing Machine

Description
The robot is simply the illusion of being a robot. Movements of the robot are normally started
and finished with a dimestop (a very abrupt stop), to give the impression of motors starting and
stopping, but poppers have also been known to do the robot with a pop to the beat. As long as the
illusion of being a robot is maintained, it is considered the robot.
Robot dancing is often considered a subsection of popping because poppers often include the
robot in their routines, sometimes adding pops to the beat while maintaining the illusion of a robot, but
the robot also exists as its own dance and is sometimes considered a performance rather than a dance
when the performer is imitating a robot without any music. When done without music it is considered
to be mime, instead of dance. Street theater often featured mimes who did a mechanical man or puppet
style illusion, without music. In the late 1960s the style was used while social dancing to funk or soul
music. Charles "Robot" Washington was not the first to strictly imitate a robot as a mime however, he
and his partner "Robot Ann" was the first to socially couple dance the style to music at parties and
clubs, and it was at this point it became a party dance and later combined with other illusion styles to
form todays popping style.

Variations
Arrested robot
A variation on the robot is the "arrested robot" style, where the movement of various parts of the
dancer's body are arrested and shaken rapidly, giving the impression that the robot is breaking down. A
lock-and-release of joints can also give the appearance of supports breaking down. The dancer may
also freeze with an arm straight to the side with lower arm swaying.
The Mannequin
This movement is simply mimicking the mannerisms of window store mannequins like the ones
seen during Christmas time in major department store windows. It involves putting a blank glare in
one's eyes and the slow motion movements of all your joints. A dancer from "Soul Train" named Stevie
Mac (nicknamed "Dancin Machine") was great at this dance step when he brought back roboting on the
dance show in the 2000s.

Music
As with popping in general, the visual impact of the robot can be boosted by doing it in pace
with music. The best effect is achieved with music that has very distinct beats such as electrofunk. It is
nonetheless common to use music not particularly suited for the dance, but which has a "robot theme",
such as The Jackson 5's "Dancing Machine" Robot done by Michael Jackson and Styx's "Mr. Roboto".
Unlike most other dances, the robot may also be accompanied a cappella by making vocal impressions
of beeps and other electro-mechanical noises.
Robot dancing in popular culture

World record attempt

On September 29th, 2009 the world record for people robot dancing was broken at Melbourne
University, Australia. The previous record of 276 was broken when a Guiness World Record
recognised 318 people were recorded as dancing in unison in approved Robot style.
References
1. ^ Masters Hall of Honor | The History of Locking » Hall of Honor
2. ^ http://news.ninemsn.com.au/glance/869243/robot-dance-world-record-broken
External links
• Robot dance combined with air guitar at the Air Guitar World Championships 2005 at Google
Video.
• James Brown Doing the Robot Dance in a '70s video.

12. SCARECROW
A style imitating the scarecrow character of The Wizard of Oz. Created by Boogaloo Sam in
1977. Focuses on out-stretched arms and rigid poses contrasted with loose hands and legs.
13. SLOW MOTION
Moving very slowly with exaggerated movements to make it appear as if the dancer is viewed
in slow motion.
14. STROBBING
A style of popping that gives the impression that the dancer is moving within a strobe light.
To produce this effect, a dancer will take any ordinary movement (such as waving hello to
someone) in conjunction with quick, short stop-and-go movements to make a strobing motion.
Mastering strobing requires perfect timing and distance between each movement.

Strobing (also cracking) is a popping dance technique giving the impression that the dancer
is moving within a strobe light setting or a low-framerate movie.
To produce this effect, a dancer will take any ordinary movement in conjunction with quick,
short stop-and-go movements, i.e, a dancer may make a simple move such as waving to the audience
but in a strobing motion. Mastering strobing requires perfect timing and distance between each
movement. Doing the movements in pace with the music will help accomplish this and intensify the
illusion of discrete steps.
The stroboscopic effect is a visual phenomenon caused by aliasing that occurs when
continuous motion is represented by a series of short or instantaneous samples. It occurs when the view
of a moving object is represented by a series of short samples as distinct from a continuous view, and
the moving object is in rotational or other cyclic motion at a rate close to the sampling rate. It also
accounts for the "wagon-wheel effect", so called because in video or motion pictures, spoked wheels on
horse-drawn wagons sometimes appear to be turning backwards.
Explanation
Consider the stroboscope as used in mechanical analysis. This may be a "strobe light" that is
fired at an adjustable rate. For example, an object is rotating at 60 revolutions per second: if it is
viewed with a series of short flashes at 60 times per second, each flash illuminates the object at the
same position in its rotational cycle, so it appears that the object is stationary. Furthermore, at a
frequency of 60 flashes per second, persistence of vision smooths out the sequence of flashes so that
the perceived image is continuous.
If the same rotating object is viewed at 61 flashes per second, each flash will illuminate it at a
slightly earlier part of its rotational cycle. Sixty-one flashes will occur before the object is seen in the
same position again, and the series of images will be perceived as if it is rotating backwards once per
second.
The same effect occurs if the object is viewed at 59 flashes per second, except that each flash
illuminates it a little later in its rotational cycle and so, the object will seem to be slowly rotating
forwards.
In the case of motion pictures, action is captured as a rapid series of still images and the same
stroboscopic effect can occur.
Wagon-wheel effect
 Motion-picture cameras conventionally film at 24 frames per second. Although the wheels of
a vehicle are not likely to be turning at 24 revolutions per second (as that would be extremely fast),
suppose each wheel has twelve spokes and rotates at only two revolutions per second. Filmed at 24
frames per second, the spokes in each frame will appear in exactly the same position. Hence, the wheel
will be perceived to be stationary. In fact, each photographically captured spoke in any one position
will be a different actual spoke in each successive frame, but since the spokes are close to identical in
shape and color, no difference will be perceived.
If the wheel rotates a little more slowly than two revolutions per second, the position of the spokes
is seen to fall a little further behind in each successive frame and therefore the wheel will seem to be
turning backwards.

15. TICKING
A way of popping where the dancer pops at smaller intervals, generally twice as fast as
normal.

16. TOYMAN
Based on action figures such as G.I. Joe and Major Matt Mason, developed by an old member
of the Electric Boogaloos called Toyman Skeet. Goes between straight arms and right
angles to simulate limited joint movement.

17. TUTTING / KING TUT

Inspired by the art of Ancient Egypt, tutting exploits the body's ability to create geometric
positions and movements, predominantly with the use of right angles.

Tutting example (YouTube)

Tutting is the name given to a contemporary abstract interpretive dance style that exploits the
body's ability to create geometric positions and movements, predominantly with the use of
right angles. It is performed with minute attention to the musical rhythm, typically by altering
positions in a stop-and-go fashion.

History

Though Tutting is currently a prevalent form in the closely related popping and electronic
dance communities, its history, as with most dances, is not well documented.
'Tutting' referring to a distinct style gained usage during the early 1980s. Within the popping
community, dancers would use tutting poses while performing routines. One would 'hit' one position
and then move immediately on to the next, similar in action to the robot popping routine only slightly
faster. These movements made use of the wrists, elbows, and shoulders to create the desired right
angle.
Presumably, the dance began as a mimicking of the angular poses common to ancient
Egyptian art. In the early half of the 20th century, these poses were performed by various groups for
comical effect (see the article Walking like an Egyptian). Tutting as a whole or certain tutting moves
have been referred to as 'King Tut'; it is likely from this colloquialism for the Pharaoh Tutankhamen, as
a representative of ancient Egypt in western popular culture, that the form gained its name.

Recent developments

Although tutting as a style has maintained its close ties to popping, it has since evolved to
making use of a much wider range of positions and movements. The size of poses, or tuts, now varies
from large body tuts to intricate finger tuts. The transitions between poses have become more elaborate
and expressive. Moreover, certain sub-styles of tutting have emerged such as: boxing which consists of
creating and manipulating box-like or rectangular shapes predominantly with ones arms; and a liquid-
influenced style that some tutters use to make the joints appear as hinges that can then be manipulated
by another body part.
The electronic dance community has played a large role in the increasing robustness of tutting
due to the more abstract nature of its own predominant style, liquiding. Tutting is now highly regarded
in both the electronic and popping communities for its technical depth and distinctiveness to the extent
that a sufficiently dedicated member from either may use it as their dominant style, and is occasionally
referred to as a tutter. As such, practitioners of tutting will take from other popping sub-styles in their
performance, just as for instance, poppers would incorporate tutting in their own style during its
formative years.
In Popular Culture

The late pop icon Michael Jackson's Egyptian-themed music video, Remember the Time,
extensively utilized tutting in his dancing choreography, especially in the group dancing scene. Mr.
Wiggles, a pioneer in hip hop dancing in America, combines tutting with the popping style he's famous
for. Popular Korean entertainer Nam Hyun Joon is known to use elements of tutting in his
performances.Tutting has recently been exposed to more mainstream audiences via MTV's hit show
America's Best Dance Crew and especially by the season 3 winners, Quest Crew.A Korea boy band
Super Junior's popular song "Sorry Sorry" also has tutting in the middle of the song which also the
highlight of their dance.

Moves

Both boxing and the hinge illusion are special applications of the mime concept fixed point.
Another style, called fixed line, requires that dancers apply this concept rigorously to more
convincingly convey the illusion of solid shapes. Much as a mime conveys a wall by always keeping
one hand on the wall, or shows a rope by always keeping one hand on the rope, a tutter shows a shape
by always maintaining at least one side of the shape. To do this, a tutter will use his body parts to
assemble a shape segment by segment and disassemble it in the same piecemeal fashion.
With practice this method can be used to create elaborate geometric patterns. When these
patterns are formed only with the arms the effect is similar to boxing as described above, but now
tutters are learning to incorporate all of their body parts to create a more dramatic effect.

External links
Video clips
Demonstrations of tutting
• shiftedshapes demonstrating CUBISM, with music at YouTube
• shiftedshapes demonstrating full body fixed line style, with music at YouTube
• shiftedshapes using fingers and full body, silent at Google Video (Adobe Flash video)
• shiftedshapes focusing on fingers, with music at YouTube
• Geometric in a short clip, silent at YouTube
• Dementia performing combination of Tutting and EB style popping at YouTube
• Tutting and some popping, full body, low music at YouTube
• Tutting, upper body only, moderate music at YouTube
Early inspirations of tutting
• Bugs Bunny Tutting, 1947 at YouTube

18. MASTER FLEX

Moving only one body part at a time, which gives the impression that the body is twisting.

19. VIBRATING
Tensing muscles very hard, causing them to shake or vibrate.

20. WAVING
Waving is composed of a series of fluid movements that give the appearance that a wave is
traveling through the dancer's body. It is often mixed with liquid dancing.

Is an illusionary dance style composed of a series of movements that give the appearance that
a wave is traversing through a dancer's body.
Waving is thought to have grown out of the popping and funk dance scene and is often seen combined
with popping and its related styles. Today, however, there are many practitioners who practice waving
without involving popping, such as David Elsewhere. Waving is also seen combined with liquid
dancing, especially when practiced within electronica communities.
Moves
The armwave is started by holding both arms out to the sides of the dancer's body, parallel to
the ground. The dancer lifts then lowers adjoining sections of his arm while keeping the rest of his
body at apparent rest starting with the fingertips in one arm and ending at the fingertips of the other
arm. It is very important that the rest of the body appear to be motionless. One movement in the
armwave that typically gives beginners trouble is lifting the elbow. When lifting the elbow and
otherwise remaining stiff, the dancer also lifts the hand. Lifting multiple points of the arm is
undesirable and so the dancer must actively "lower" his hand to maintain the illusion that it remains
still. When the wave reaches the chest, the wave can travel either in front of the chest or along the back
where the dancer can add accents such as turning his head in the direction of wave movement or
inhaling as the wave reaches the chest and exhaling as it passes. With practice, the dancer can appear to
have multiple waves travelling along his arms, start and end a wave at any point on his arms, and
transition the wave through his body as a bodywave. There are seven and eleven point waves. The
eleven point wave runs as finger knuckes-knuckles-wrist-elbow-shoulder-chest-shoulder-elbow-wrist-
knuckles-finger knuckles. The seven point wave begins at the wrists.
The bodywave similarly gives an appearance that a wave is traveling up or down the body. It
involves flexing muscles along the wave's path and bending knees and ankles.
Video clips
• AdrianCM Waving Video

COMPETITIONS
 Hip Hop International: World Hip Hop Championships is an international competition
based in the US where both crews and solo dancers compete. For the crews there are three
divisions: junior (ages 7–12), varsity (12-18), and adult. Each crew must have five to eight people
and must perform a routine that showcases three styles of hip hop dance. Solo dancers compete in
breaking, locking, and popping. For the 2009 competition there were 120 crews representing 30
countries. Hip Hop International also runs the USA Hip Hop Championships.
 Juste Debout is a large European street dance competition held annually in France.
Competition categories include popping, new style, locking, and house. Breaking is not included to
put more focus on hip hop dance styles done while standing up, hence the name (French for Just
Upright). Juste Debout also publishes a hip hop dance magazine of the same name.
 B-Boy Summit is an international four day conference that was created in 1994. The
conference includes competitions, panels, workshops, and a marketplace. The difference between
the B-Boy summit and other hip hop dance competitions is that the B-Boy Summit places a lot of
emphasis on the history of hip hop culture and the importance on bboys/bgirls across the world
understanding of the roots of where it came from. For this reason the conference brings together
rappers and DJs for a talent showcase and graffiti artists to do live paintings so that "each element
of Hip-Hop combine[s] together to make the cipher complete." There's also competitions for
Lockers and Poppers as part of the "Funk Fest" portion of the conference and a Battle of the Sexes
Super Jam.

NOTTABLE POPPERS
 Salah Benlemqawanssa[15]
 Michael "Boogaloo Shrimp" Chambers[16]
 Steffan "Mr. Wiggles" Clemente[17]
 Steven "Skeeter Rabbit" Nichols [18]
 Bruno "Poppin Taco" Falcon[16]
 Suga Pop [19]
 Nam "Poppin'" Hyun Joon[20][21]
 "Boogaloo" Sam Solomon[6][7][8]
 Timothy "Popin' Pete" Solomon[22]

POPPING MUSICAL ARTISTS

 Michael Jackson - Jackson's Billie Jean performance, which included the famous moonwalk,
at Motown's 25th Anniversary in 1983 was influenced by the legendary dancer and popperJeffrey
Daniel. Jeffrey Daniel originally called the moonwalk the "backslide". The backslide was already
known to poppers and mime artists, but it was made famous by Michael Jackson's
performance. Michael Jackson was coached by Bruno "Poppin Taco" Falcon and Timothy "Poppin
Pete" Solomon. Although this introduced a new naming confusion as the moonwalk was already
known by a different name in popping contexts (the backslide, see floating) before Jackson made
the move famous, he was very influential in popularizing popping and the robot (dance)
  Buckethead - The avant-garde guitarist is known to incorporate popping and (ro)boting into
his stage persona and performances.

SEE ALSO
 Locking (dance)
 Hip Hop dance
 Turfing

POPPING DANCE CATALOGUE (http://www.youtube.com/watch?v=tc6BTBtBz1k)

Boogaloo Sam :

1.pop
2. double pop
3. Fresno
4. egiptian twist
5. master flex
6.neck o flex
7. twist o flex
8. walk out
9. old man
10.scarecrow
11. boogaloo roll
12. moon walk
13. toy man
14. ?