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Sympoh breaks it down

Sore neck, sprained wrists, pinched shoulder, bad back. Sounds like any footballs team's standard injury list, right? Taka Okubo '06, co-president of the Princeton performing arts group Sympoh, feels each pain every time he shifts, twists, pops and locks to the hip hop music that he has grown to love. Even if breakdancing isn't a sport, it sure hurts like one.

"Breaking [breakdancing] is breaking your body," Okubo explained with a roll of his eyes.

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Despite the physical demands of breaking, participants are torn on whether to consider it a type of sport, or something more — a physical artistic activity, or perhaps even a way of life. Breaking — along with graffiti, rapping and being an MC — is one of the four pillars of hip-hop culture. A means of expression that combines elements of dance, acrobatics, gymnastics and martial arts, breaking is by far the most physically demanding of the four.

There is a popular urban saying that every athlete wants to be in hip-hop, and every hip-hop artist wants to play sports. Breakdancing finds its influences in the movements of streetballers and the touchdown celebrations of N.F.L players. It lies in a curious netherworld, somewhere in the nebulous intersection of sport and art.

"I once heard someone describe breaking as gymnastics to music," said newcomer Taofik Kolade '08.

Many of Sympoh's members have a strong, varied athletic background, though athleticism is not nearly as important as fitness. Kolade played soccer in high school and on travel club teams before switching to breaking during his freshman year. Okubo played tennis before arriving at Princeton from Japan. Senior co-president Bev Lien was a competitive gymnast until she began playing volleyball and lacrosse in high school. She also participated in ballet and Chinese folk dancing. Because of the close relationship of ballet and gymnastics to breaking, Lien experienced a much smoother transition than some of her peers.

"At first, I couldn't hold a beat," Okubo admitted. "I had no rhythm."

Many might not know that breakdancing competitions do exist, both for individuals and entire crews, and there are professionals. Competitions are judged like gymnastics, diving or figure skating, though the crowd's reaction is also taken into to account. Some voices in the breakdancing community are interested in making the activity an Olympic sport, while others are satisfied by competing for cash prizes at commercialized events like the Sprite Urban Sports Games in London. Still, some traditionalists hope that breakdancing will stay true to its heart by remaining indefinable and underground.

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"In a way, breakdancing is more than a sport," said Philip Van Stockum '06, vice president of the group. "Sympoh competes now and then, but we focus more on casual performance and personal improvement than on winning anything. A great deal of B-boy [breakdancing] culture is oriented towards camaraderie and entertainment. I don't break to win, I break to please."

Nevertheless, an undeniably competitive component does exist in breakdancing's "battles": one-on-one or crew-versus-crew improvisational displays of superiority. Battles derive from breakdancing's origins as a nonviolent means of conflict resolution between African-American urban gangs in New York during the 1980s. These early breakers would create moves that simulated stabbing, punching or otherwise attacking their opponent.

Now, the only objective is to be smoother, more creative and more technically sound than one's opponent. The activity has also become far more multicultural, which has led to a remarkable fusion of international styles. It is easy, for instance, to recognize remnants of Brazilian capoeira and Asian martial arts in most breaking demonstrations. Females, however, despite high participation in other forms of dance, continue to be a minority in the breaking ranks.

Most people who break dance share a similar ambition.

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"It's proving that you are simply better than the other person," Okubo said. "Yeah, we're feeding off each other, but I want to be better."

In this sense, breaking is no different than other competitive individual endeavors.

"We motivate by trying to show each other up," Kolade said.

Sympoh has a pecking order similar to an athletic squad. Though there are no posted rankings, breakers normally know where they stand in the crew. But Sympoh is far less structured than a team, deemphasizes traditional coaching and does not require its members to attend practices.

"On a team, everyone has a certain role," Lien said. "There are strategies, and everyone is working towards a certain objective. In breaking, there is no overarching goal."

Approaches to breaking vary depending on the individual's personal strengths and background. One might manipulate his body like a contortionist, while another uses her explosiveness to pull off power moves like flips and windmills. Flexibility, stamina, grace and inventiveness are just as important as brute strength or balance. A good breaker is both an artist and an athlete.

It is this relationship that explains why one can view Sympoh competing in Dillon Gym one night and performing on the stage of Theater Intime the next. Above all else, breakers are mavericks, intent on energetically expressing themselves — bumps, bruises and all.