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Relevant bibliographies by topics / Hip-hop dance

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Journal articles

Academic literature on the topic 'Hip-hop dance'

Author: Grafiati

Published: 4 June 2021

Last updated: 31 July 2024

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Journal articles on the topic "Hip-hop dance"

1

Jubb, Caroline, Leann Bell, Sonja Cimelli, and Roger Wolman. "Injury Patterns in Hip Hop Dancers." Journal of Dance Medicine & Science 23, no. 4 (2019): 145–49. http://dx.doi.org/10.12678/1089-313x.23.4.145.

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Hip hop dance is becoming increasingly popular. It is performed in a variety of environments and can be fused with other dance styles. There is limited research on this dance demographic. The object of this study was to record and assess the injury patterns and diagnoses of hip hop dancers who presented to a dancer injury clinic at the Royal National Orthopaedic Hospital (RNOH) in London over a 5-year period. Of the 800 patients who attended the clinic, 73 (28 males, 45 females) identified themselves as hip hop dancers. The mean age of these dancers was 26.1 years (± 6.59 years). The majority

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2

Jacintha Stella, Maria, Ni Luh Nopi Andayani, and I. Wayan Sugiritama. "Risk Factors for Lower Extremity Injuries in Hip-Hop Dancers." International Journal of Research and Review 11, no. 4 (2024): 358–62. http://dx.doi.org/10.52403/ijrr.20240440.

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Background: Hip-hop dance is one of many types of dances that is very popular in the international community. Dance is a profession that combines art with sports so it is very vulnerable to injury. Lower extremity injuries in dancers can occur due to muscle weakness, extreme movements, or overuse. Objective: To determine the risk factors that can cause lower extremity injuries in hip-hop dancers. Method: The method used is a literature review with a compilation of journals related to risk factors of lower extremity injuries in hip-hop dancers taken in the form of PubMed page. Results: It's rea

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3

Nur Amin, Takiyah. "Demystifying Hip Hop Dance?" Dance Chronicle 33, no. 3 (2010): 490–93. http://dx.doi.org/10.1080/01472526.2010.517503.

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4

Byrnes, Jo. "Beginning Hip-Hop Dance." Journal of Dance Education 19, no. 1 (2019): 42. http://dx.doi.org/10.1080/15290824.2018.1504200.

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5

Prates, Claudia Machado, Nefeli Tsiouti, Alex de Oliveira Fagundes, Thaís Reichert, Matthew Wyon, and Aline Nogueira Haas. "Hip Hop Party Dance: Cardiorespiratory Profile and Responses to a Predefined Sequence." Journal of Dance Medicine & Science 27, no. 1 (2023): 41–49. http://dx.doi.org/10.1177/1089313x231176627.

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Hip hop is a popular dance genre practiced worldwide that has gained popularity since the 1970s. Despite this, studies related to the area and its physiological demands are still scarce. The purpose of this study was to report the cardiorespiratory profile of a group of male and female hip hop dancers to determine the zones of intensity of a predefined hip hop party dance sequence. Eight Brazilian professional hip hop dancers, four women and four men, mean age 22 ± 2.3 years, participated in the study. Using a portable gas analyser (Cosmed K5) their cardiorespiratory variables were measured at

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6

Hylton, Robert, and Jonathan Burrows. "Creativity, Skill, Integrity, Intelligence and Community: A Conversation on the Nature of Practice in Hip Hop." Dance Research 41, no. 2 (2023): 170–80. http://dx.doi.org/10.3366/drs.2023.0401.

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Robert Hylton is a first-generation UK hip hop theatre practitioner, who is currently writing a PhD at the Centre for Dance Research Coventry University on the nature of transmission of knowledge in black British Popping. Jonathan Burrows is a choreographer and Associate Professor at C-DaRE Coventry, who has worked for many years with hip hop artist Jonzi-D, mentoring hip hop artists interested in theatre practice. Robert and Jonathan have shared a long and ongoing conversation over many years about the nature of hip hop and its uneasy relationship to contemporary dance. The following text ref

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7

Huang, Po-Lung. "Japanese street dance culture in manga and anime: Hip hop transcription in Samurai Champloo and Tokyo Tribe-2." East Asian Journal of Popular Culture 7, no. 1 (2021): 61–79. http://dx.doi.org/10.1386/eapc_00039_1.

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Street dance, one of the four most important elements of hip hop culture, was developed mainly by African American youths in the 1970s and imported to Japan in the 1980s. Since then, street dance has been diversified by local media such as manga/anime in Japan. This article therefore analyses how Japanese storytelling, exemplified by Shin’ichirō Watanabe’s anime Samurai Champloo (2004–05), Santa Inoue’s manga Tokyo Tribe-2 (1997–2005) and Tatsuo Satō’s anime adaptation Tokyo Tribes (2006–07), has transcribed the hip hop elements into the Tokugawa-Edo period’s art scenes and fictitious ‘Tōkyō’,

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8

Bronner, Shaw, Sheyi Ojofeitimi, and Helen Woo. "Extreme Kinematics in Selected Hip Hop Dance Sequences." Medical Problems of Performing Artists 30, no. 3 (2015): 126–34. http://dx.doi.org/10.21091/mppa.2015.3026.

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Hip hop dance has many styles including breakdance (breaking), house, popping and locking, funk, streetdance, krumping, Memphis jookin’, and voguing. These movements combine the complexity of dance choreography with the challenges of gymnastics and acrobatic movements. Despite high injury rates in hip hop dance, particularly in breakdance, to date there are no published biomechanical studies in this population. The purpose of this study was to compare representative hip hop steps found in breakdance (toprock and breaking) and house and provide descriptive statistics of the angular displacement

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9

Johnson, Adeerya. "Dirty South Feminism: The Girlies Got Somethin’ to Say Too! Southern Hip-Hop Women, Fighting Respectability, Talking Mess, and Twerking Up the Dirty South." Religions 12, no. 11 (2021): 1030. http://dx.doi.org/10.3390/rel12111030.

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Within southern hip-hop, minimal credit has been given to the Black women who have curated sonic and performance narratives within the southern region. Many southern hip-hop scholars and journalists have centralized the accomplishments and masculinities of southern male rap performances. Here, dirty south feminism works to explore how agency, location, and Black women’s rap (lyrics and rhyme) and dance (twerking) performances in southern hip-hop are established under a contemporary hip-hop womanist framework. I critique the history of southern hip-hop culture by decentralizing male-dominated a

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10

Koutsougera, Natalia A. "“Out in the Streets”." Meridians 22, no. 1 (2023): 204–28. http://dx.doi.org/10.1215/15366936-10220557.

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Abstract This article provides a socio-anthropological portrayal of the hip-hop narrational mosaics in Greece through the intertemporal exploration of two hip-hop scenes: the rap scene and the hip-hop dance scene. It explores the gray and contested zones of a local hip-hop culture—which reflect on global hip-hop imageries, norms, and antinomies–through permutations and manifestations of difference, hybridization and subcultural capital, and their subversive intersections with race, class, gender, and affective states in contemporary Greece in landscapes of crisis. Drawing on content analysis o

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