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. 2024 Dec 17:6:1489456.
doi: 10.3389/fspor.2024.1489456. eCollection 2024.

From theory to practice: modeling performance in breaking

Lucie Lerebourg  1   2 , Brice Guignard  2   3
Affiliations

From theory to practice: modeling performance in breaking

Lucie Lerebourg et al. Front Sports Act Living. .
No abstract available

Keywords: Olympics; breakdance; hip-hop; optimization; sport; urban dance.

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Conflict of interest statement

The authors declare that the research was conducted in the absence of any commercial or financial relationships that could be construed as a potential conflict of interest.

Figures

Figure 1
Figure 1
Illustration of a performance model of breaking. Top panel: integration of numerous “physiological and artistic”, “psychological”, “environmental” and “technical, tactical and technological” factors. Bottom panel: transcription of the performance model into “observables” in line with the current WDSF breaking judging system (Level A) that incorporates five criteria (technique, vocabulary, originality, execution, and musicality, as defined in Figure 1) (3, 4). Note 1: taking physical qualities as an example, the proposed breaking performance model considers several qualities such as: Endurance: this promotes motor efficiency, while at the same time appealing to the psychological aspect through the repetition of effort, as well as recovery; balance: this helps to improve efficiency and control of movement (rhythm and amplitude) and changes of direction; strength: coordinates and transfers power between the upper and lower limbs; speed: this is kinetic speed of movement, explosiveness and analytical movement frequency; skill/coordination: this contributes to a better understanding of the body’s schema; flexibility: the ability to mobilize a joint and its muscle groups to the greatest extent possible, with the best possible mobility. It facilitates development and progress in building up a repertoire of movements. Note 2: the technique criteria demonstrates a more fundamental understanding of the physiological control and dynamics required for clean execution of the moveset [major focus areas: athleticism, form (lines, angles, shapes), body control, dynamics, spatial awareness]. The vocabulary criteria demonstrates a more extensive range of moves than the opponent, acquiring and internalising an extensive, varied movement vocabulary, with minimal repetition of moves or movement patterns (major focus areas: variation, quantity of moves, repeat); the execution criteria demonstrates a greater ability to execute the moves clearly and with a high degree of cleanliness, minimising slips, falls or crashes (major focus areas: cleanliness, minimal to no Slips, crashes, or falls, consistency of flow, composition, storytelling); the musicality criteria demonstrates a greater ability to synchronise movements effectively with the music to adapt and respond more quickly to the rhythms and textures present in the music, and to anticipate moments to accentuate the performance (major focus areas: rhythm, texture, synchronicity, accenting); The originality criteria demonstrates a clearer ability to develop creative variations on basic movements, whilst showcasing one's own unique set of movements (major focus areas: improvisation, innovation, spontaneity, personality, response) (3, 4).
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References

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    1. World Dance Sport Federation. WDSF Rules and Regulations Manual (Version 10). (2024). Available online at: https://dancesport.app.box.com/s/68qlyhgskc8wmzyp56t31y7qycqda8fj (Accessed November 19, 2024).
    1. DAN. Judging Systems—Dance Adjudication Network. Available online at: https://danceadjudicationnetwork.com/judging-systems/ (Accessed November 19, 2024).
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