Mixed Reactions to Breaking’s Olympic Debut: Cultural Representation and Concerns

Breaking’s Olympic Debut: A Mixed Reception

The recent Olympic debut of breaking, the dynamic dance form rooted in hip-hop culture, has sparked diverse reactions from audiences around the world. From the Australian b-girl known for her quirky “kangaroo” dance move to the silver medalist from Lithuania sporting a durag, many viewers have raised questions about whether the true essence of this art form was adequately represented at the Paris Games.

Rachael Gunn, affectionately dubbed “b-girl Raygun,” is a 36-year-old professor hailing from Sydney, Australia. She quickly gained internet notoriety, though not necessarily for her technical prowess in breaking. Unfortunately, Gunn was eliminated from the round-robin stage without scoring any points, and her unique moves failed to resonate with the judges, standing in stark contrast to her competitors’ skills.

In one of her performances, Gunn executed a standing pose with one leg raised, leaning back while bending her arms towards her ears. In another moment, while lying on her side, she reached for her toes, flipped over, and repeated the maneuver, which she playfully dubbed “the kangaroo.” With a PhD in cultural studies, Gunn’s LinkedIn profile highlights her keen interest in the cultural politics surrounding breaking. She reflected, “I was never going to beat these girls on what they do best — their power moves. What I bring is creativity.”

Despite her early exit, clips of her routine went viral on TikTok and other social media platforms. Many viewers expressed discomfort at her performance, questioning its representation of hip-hop and breaking culture. One user on X remarked, “It’s almost like they are mocking the genre.”

Cultural Appropriation Concerns

Another highlight from the competition involved Lithuania’s silver medalist b-girl Nicka, whose legal name is Dominika Banevič. Some viewers, particularly from the Black community, criticized her choice to wear a durag during her battles. Historically, durags have been worn by enslaved Africans to manage their hair while working. They evolved into a symbol of Black pride in the 1960s and 1970s and became a staple in hip-hop fashion in the late 20th century. However, when worn by those outside the Black community, durags can be perceived as cultural appropriation.

Actor Kevin Fredericks voiced his concerns on Instagram, stating that it appeared “weird to see somebody who doesn’t need it for protective styling or waves to be rocking the durag.” Despite this criticism, Banevič, a 17-year-old breaker, ultimately secured the silver medal after a tough battle against Japan’s b-girl Ami (Ami Yuasa) in the finals.

Banevič acknowledged the influence of the original breakers from the 1970s in the Bronx, referring to them as the “OGs” or “original gangsters” of hip-hop. “It’s a huge responsibility to represent and raise the bar every time for breaking because they did an amazing job. Big respect for the OGs and the pioneers that invented all those moves. Without them, it wouldn’t be possible,” she remarked. “Breaking wouldn’t be where it is today without them, so I’m grateful for their contributions.”

Concerns Over the Future of Breaking

As the Olympic organizers sought to introduce breaking and hip-hop culture to a wider audience, there were concerns that Friday night’s performances might have alienated potential new viewers, thereby undermining the anticipated excitement for this Olympic premiere. Zack Slusser, the vice president of Breaking for Gold USA and USA Dance, commented, “We need to change the narrative from yesterday’s first impression of breaking as an Olympic sport. There were significant organizational and governance shortcomings that could have been easily reconciled but, unfortunately, negatively impacted breaking’s first touchpoint with a new global audience.”

Critics worry about the commercialization and rigid judging structures that can accompany Olympic recognition, fearing that the spirit of breaking, which originates in local communities and thrives on street battles, cyphers, and block parties, could be compromised. Hip-hop itself emerged as a vibrant youth culture within Black and brown communities in the Bronx, providing a means of expression and empowerment amidst socio-economic struggles and societal labels that often portrayed these young individuals as lost and lawless.