Street dance can be divided into two categories: b-boying which is about using the floor and standing dance with hip-hop, house and poppin’.
When hip-hop was the trend, b-boying wasn’t really popular. The dancers who did the standing style would say “why b-boying? This is total gymnastics. You must dance by getting into the rhythm”.
At the beginning of the 90’s, b-boying was just about spinning and tumbling. One day, a dancer from Los Angeles called Vill completely broke this mold. He was a b-boy. Yet, he enjoyed dancing.
B-boying requires many skills, but it’s done through style moves and power moves. The style move is about the b-boy getting into the rhythm to express with the right technique sometimes through the standing dance and steps using the ground. On the contrary, the power moves are actions requiring high technique with moves like the headspin, the windmill, the air track.
Clearly, power moves also have rhythm. However, the non-expert’s eyes don’t really realize that the b-boy actually gets into the rhythm to dance. In one word, it only looks acrobatic. It was the same in the beginning of the 90’s.
Vill appeared and showed the new concept of b-boying. I was really surprised when I saw him because his standing dance was perfect and his b-boy skills completely stood comparison with his power.
What was even greater was how he was able to mix the standing style and the b-boying. He was a big gift to the Korean b-boy world. However, he didn’t stay long in Korea. He’s a prominent figure that helped developing b-boying in Korea during his short stay and he solidified the foundation of the current globalization.