The Not-So-Obvious Differences Between Hip-Hop and Ballet

INTRO

     When I was dancing ballet, my teacher had animosity towards hip-hop for its lack of construct. But it was common for ballerinas to quit ballet to dance jazz or hip-hop instead, and ever the other way. It wasn't until college when I met different dancers who taught me how wonderful and exciting other genre of dance are.

Tamara Rojo and Urban Dance School dancers

     Ballet and hip-hop are considered to be on the opposite sides of the dance spectrum. Not many people can dance both genres (unless you're Alex Wong). In my opinion, Step Up was the ONLY movie that succeeded in collaborating both genres. LXD (the Legion of Extraordinary Dancers) is also very good at collaborating different genres on stage. 

     The difference in ballet and hip-hop is very obvious. But WHAT is the difference? In this post, I have listed points that came up during a conversation with a b-boy. (Note that these points are from a ballerina's perspective. Some points may not apply to choreography/commercial hip-hop)


OVERVIEW

     Ballet has a history of more than 300 years. This form of dance was originally for royalties and people of high socio-economic status. On the other hand, hip-hop became popular in the late 1970's, but derived from earlier dance styles. This form of dance started amongst communities of low socio-economic status. Hip-hop dancers experience injuries in both lower and upper extremities (especially breakdancers), as opposed to the majority of lower extremity injuries in ballet. The setting of hip-hop is moving from streets to studios, as the current industry require fast acquisition of choreography for performances. Hip-hop is a growing industry as it is now implemented in communities as a youth-program. Some hip-hop dancers seek to incorporate ballet techniques for individuality and core strength. Ballet is now adapted as exercise (i.e. Pure Barre, Ballet Beautiful, etc.) for weight-loss. 

THE PURPOSE OF DANCE

      Ballet: Dancing is a discipline. Dance is being able to show grace through the formation of lines with one's body, and being able to accomplish highly technical skills without seeming to be working hard. Dancers need to replicate dances as precisely as possible. The importance of playing a role is to research and stay in character. If you stop taking classes, you stopped dancing. 

     Hip-hop: Dancing is a way of expression. Dance shows personality. Replicating dance is "biting," so dancers have to come up with one's own styles and moves. Dancing is about acquiring new skills and taking it to the next level. Once a dancer, always a dancer.



COMPETITION

     Ballet: You will see 10 or less different variations. Competitions rarely incorporate self-choreographed pieces. Results are announced after each round of competition. Individuality is important to highlight whether you're a good jumper or a good turner. 

     Hip-hop: Stereotypically battles. Each dancer is compared to the opponent. Results are announced on spot. Usually improvisation to music of the DJ's choice. Individuality and technicality is important for expression within a given amount of time. 



CLASSES AND PERFORMANCES

     Ballet: Focus on precision. You will stand out if you're doing something wrong, and that's bad because no one will even look at you. Class structure is usually barre-centre-choreography. 

     Hip-hop: Focus on individuality. You will not stand out if you're doing what you're told. Your take on music and cool improvisation will get you attention. Classes are not necessary for street styles. Class structure is usually warm-up, then choreography/practice.



PROFESSIONAL LIFESTYLE

     Ballet: Aspiring dancers hope to join a ballet company. Secured job but low salary, and threat to lose position after every seasons. Many teach on the side. Training can start as early as 3 years old, and some dancers seek for apprenticeship and professional training programs away from home. Retirement can be around mid to late 30's.

     Hip-hop: Aspiring dancers hope to have TV/film appearances, or as background dancers for artists, or as teachers. Less job security, but with the right opportunity, payments of each performances can be adequate or more than adequate. Many teach in studios and guest perform at shows and competitions, or work as full-time in other industry. 



DANCING IS DANCING

     It is interesting to see the differences, but regardless of the dance values and cultures, they are both considered "dance." Personally, the most interesting aspect to realize was how "boring" ballet is considered to be because there is no improvisation. I had always thought ballet was a form of expression, but how do you express yourself without your own choreography? I recently attended to watch dance battles, and it is exciting. I found hip-hop to be like a conversation where dancers express, and the audience replies with reactions to each moves they liked. Ballet will always be in my heart. But I really want every dancer to experience different dance cultures and not shut them down, because they all have a lot to offer.

     Recreationally, it keeps you physically and mentally healthy. So, researchers have been trying to determine the best form of dance to teach in physical education class, but it is important to know that there is no best form of dancing. Art, in general, is a tool for self-expression. Ballet and hip-hop, the two extremities in the dance spectrum, make this form of expression unique and diverse. 


    Did I miss anything? What do you think is the difference between ballet and hip-hop?
REFERENCES

A community-based hip-hop dance program for youth in a disadvantaged community in ottawa: Implementation findings. (2010). Health Promotion Practice, 11(3), 61S-69S. doi:10.1177/1524839909353738

Ojofeitimi, S., Bronner, S., & Woo, H. (2012). Injury incidence in hip hop dance. Scandinavian Journal of Medicine & Science in Sports, 22(3), 347-355. doi:10.1111/j.1600-0838.2010.01173.x

When are adolescent dancers ready for pointe shoes?

…That is probably the ultimate question for every young girls that dance ballet. "When do I get my first point of pointe shoes?"

© 2011 Oliver Endahl 

INTRO

     Personally, I got my first pointe shoes when I was in 3rd grade. Some dancers brag about how early they got to start wearing pointe shoes. Yes, I did get a head start, but now I am permanently injured. When I was in 5th grade, I felt a pain in the middle-side of my foot. To this day, a bone called navicular in my foot is poking out, and I never saw a doctor for this problem. 

Most ballet teachers look at 3 factors to determine if the dancer is ready to be on pointe:

• Chronological age:  The average age is 12, and the range can be between 9 and 15 years old
• Years of training:  Usually around 3-4 years of ballet training prior to acquiring pointe shoes
• Range of motion in the ankle:  Studies showed that ballerinas have 10 degrees larger range of motion than non-ballerinas. Apparently, the narrower the range of motion, the more chance you can get pointe shoes related injury. 

But here's the problem. Chronological age and maturation age are very different. And, between age 12 and 14 is when the growth spurt occurs dramatically. The strength, flexibility, and proprioception (how you know where your limbs are) is distorted, and adolescents have to constantly adjust to the maturing body. In adolescents, parts of bones are weak because the epiphyseal plate (which is a layer of cartilage in a bone for growth) is not calcified (solidified) yet. That is probably why my foot is not in the right form. The rapid changes raise safety concerns for dancing on pointe, and the years of training isn't a good enough way to determine how ready you are. 

THE TESTS

     Some researchers decided to seek for more objective way to determine if a dancer is ready. So what is it to be "ready"? Ready is to have dynamic trunk control, neuromuscular control of the lower extremity (like legs, ankles), and the alignment of the lower extremities. Using already-existing performance tests, researchers worked with ballet teachers to decide what would be a good predictor for readiness. Here are the 3 tests:

• "Topple" test

          In this test, a student has to perform a single pirouette en dehors from 4th position. A passing test is when she is able to perform the pirouette with supporting leg fully extended, the other leg in full retire (aka passé), and maintaining a vertical alignment and a controlled decelerating landing.

• Airplane test

          Trunk pitched forward, other leg extended back, and keeping the pelvis square to the ground, a student has to perform a pile with one leg and touch the floor with fingers. A passing test is when 4 out of 5 plies are done with aligned supporting lower extremities.

• Single-leg sauté test

          Considered the most useful, this test is when a student jumps (or sauté) on one leg while maintaining an upright and stable trunk, neutral lower extremity alignment, proper toe-heel landing, and fully extended knee and pointed toes in the air. A passing test is when 8 out of 16 jumps are properly executed. 

          By using these tests, teachers can easily see if the dancer's body is built for pointe shoes. Keep in mind that flexibility, strength, and control are the necessities for dancing on pointe. 

LOOKING AT THE LONG TERM EFFECTS

      My friend told me that when she went to a doctor to seek treatment for her foot, the doctor replied, "It's hard to treat this, or tell you to stop dancing on pointe. Humans are just not build to be on their toes." And that is true! Since it is definitely not normal, you need to pay close attention to the body and stay attentive to all injuries when dealing with adolescents. I still get some pain in the winter when my foot gets cold. Puberty is such a fragile time for the body, so giving a huge impact on its maturation can cause damages, like my foot. It is important for dance teachers to know how to assess dancers for pre-pointe screening. Long-term health of a dancer is more important than getting a head start on the pointe training. It is also important to acknowledge that everyone's time of readiness  is different. Build your body. Become ready. Then you can start dancing unnaturally, like on pointe. 

REFERENCES

Meck, C., Hess, R. A., Helldobler, R., & Roh, J. (2004). Pre-pointe evaluation components used by dance schools. Journal of Dance Medicine & Science, 8(2), 37-37.

Richardson, M., Liederbach, M., & Sandow, E. (2010). Functional criteria for assessing pointe-readiness. Journal of Dance Medicine & Science : Official Publication of the International Association for Dance Medicine & Science, 14(3), 82-88.