Breaking is the most physical of the hip- hop dance styles, but little research has examined the health and well-being of its participants. Using a cross-sectional recall design, a self-reported online health and well-being survey was open for a 5-month period (April 2017 to August 2017). Three hundred and twenty adult break dancers (16% professional, 65% student-recreational) with a minimum of 6-months experience completed the survey. The main outcome measures were injury incidence and etiology and training hours. Fifty-two percent of respondents trained between 4 and 9 hours per week over 3 days, which is significantly less than theatrical dancers. More than 71% reported a dance-related injury in the previous 12 months, and 44.5% were injured at time of the survey. Self-reported types of injury were significantly different from other dance genres. The most frequently injured body parts were arm-hand (40.6%), shoulder (35.9%), knee (32.2%), neck (22.8%), and ankle (15.6%). When injured, 29% of respondents either took their own preventative steps or continued to dance carefully, while 20% sought medical help. "Yourself" was the most cited influence on returning to dance after injury (47%). The current survey highlights breaking's differences from other dance genres, particularly with regard to injury incidence and etiology.

Hip hop is a popular dance genre practiced worldwide that has gained popularity since the 1970s. Despite this, studies related to the area and its physiological demands are still scarce. The purpose of this study was to report the cardiorespiratory profile of a group of male and female hip hop dancers to determine the zones of intensity of a predefined hip hop party dance sequence. Eight Brazilian professional hip hop dancers, four women and four men, mean age 22 ± 2.3 years, participated in the study. Using a portable gas analyser (Cosmed K5) their cardiorespiratory variables were measured at two different times: first, during a maximal treadmill test and later during a predefined hip hop party dance sequence. Descriptive statistics (mean and standard deviation) were used for calculating the dependent variables: oxygen consumption (VO2), heart rate (HR), and the intensity zones for the predefined hip hop sequence. Data normality was verified using the Shapiro-Wilk test. The Mann-Whitney U-test was performed to check any sex-related difference (p < 0.01). No statistical difference between male and female dancers was found in the cardiorespiratory profile and responses to the predefined hip hop party dance sequence. On the treadmill, the participants’ VO2peak was 57.3 ± 12.7 ml·kg-1·min-1, and HRmax was 190.0 ± 9.1 b·min-1. The predefined hip hop party dance sequence was mainly (61%) performed in the moderate aerobic zone. However, when the dancers jumped, the intensity of the sequence increased. This information could be used to develop a specific supplementary training protocols for hip hop dancers to improve their physiological fitness parameters and reduce the incidence of injury.

Dance technique includes the movement vocabulary used by each dance form to deliver a message, embody the style, reach its highest potential when performed at a representative level. The Breaking body's dance technique will be discussed along with the body of the dancer who performs the Breaking style. Breaking as a dance genre creates a platform, providing its practitioner bboys/bgirls with many positive aspects. It is an art form rich in content, possibilities, movement vocabulary fundamentals, opportunities for creativity and individuality. However, the fact that Breaking is physically demanding, with some extremes in range of motion in joints and some ‘unnatural' movement pathways, may be problematic for dancers, causing pain and/or injuries, which in severe cases can become chronic. The four levels of Breaking are presented through a technical analysis of their movements and possible risks the movements may cause.

The influence of complementary training on dancers' performance is well stated in the literature. Just the dance practice is insufficient to develop the required physical capacities and prepare dancers to dance. Although the training's specificity is an essential aspect of performance, the prescription of such training is challenged by how dance is conducted nowadays. Dance companies are increasingly appealing to dancers to perform different styles and varied movement repertoire. Each dance modality has its specificities that require specific training, and thus complementary training is essential for maintaining a healthy dance career. Despite the vast literature reinforcing the need for complementary training to increase performance and decrease dancers' injury rate, only a few specific training programs for dancers were found to the best of the authors' knowledge. This chapter aims to describe the development of three methods: best performance and movement (BPM), the breakalign methodology, and power ballet original.

Body conditioning and physical fitness are, in more recent years, becoming more popular physical activities. Injury locations on the body differ depending on the style, which is why it is important to have injury prevention management relevant to the dance genre. The Breakalign Method was born out of the research work of the Project Breakalign team. It is a step-by-step conditioning programme, which takes the body through levels, and it was created through the biomechanical and physiological analysis of the technique of Breaking. Physical fitness consists of various aspects, all of which create a strong body capable of performing optimally, this being the goal of every dancer and athlete. Components of physical fitness are introduced and connected to the creation of the Breakalign Method. The break-down of an exercise variation example is also being presented, the conditioning for the Breaking move called the backrock.