Hip-hop is a culture that was created organically by Black, Latinx, and immigrant communities in the Bronx during a socio-economic crisis during the 1970s. The birth of hip-hop was a response to the social injustices that Black and immigrant communities faced while living in urban centres in America. Hip-hop, to this day, continues to be innovated by Black and brown youth, particularly within urban centres, and is still used to promote the voice and experiences of Black communities. Hip-Hop has become the most consumed genre of music in the world. However, many consumers of hip-hop music fail to recognise the rich history behind the birth of an innovative and progressive culture. Like many genres of contemporary music, Hip-Hop has roots in other musical genres, such as Jazz, Blues, Rock, and Funk, to name a few.

In the 1960s, the Bronx began to deteriorate as a response to increased challenges, including a steady rise in crime, a struggling economy, budget cuts to key social services such as the fire and police departments, and construction projects that displaced thousands of Bronx residents. During the early 1900s, the Bronx was planned to be a suburban community in which people could conveniently travel a short distance to their jobs in Manhattan; however, during the 1950s and 1960s, crime across New York City rose dramatically, particularly in relation to drugs. Poverty was an underlying issue affecting many New Yorkers, but while the entire city experienced an increase in crime and poverty, the Bronx was hit the hardest. In the 1970s, the elders of the Bronx community recall a time when gang violence over turf reached its peak and poverty was catastrophic (Gonzalez, 2004). Gang violence between various crews became problematic, which encouraged the New York Police Department to launch efforts to penetrate local gangs that ultimately failed. The increased crime rate encouraged many community members to relocate, especially those who were affluent and had access to the resources to relocate, which caused a significant change in the community as many homes, buildings, and commercial property became vacant (Gonzalez, 2004).

In the midst of this social and economic crisis that plagued the Bronx, hip-hop was created as a social and therapeutic outlet by and for Black and Latino youth, many of whom were either immigrants and first-generation Americans, in response to the effects of industrialisation in the Bronx (Chang, 2007; Rose, 1994). Cindy Campbell, the mother of hip-hop, and Clive Campbell, who is better known as DJ Kool Herc, the father of hip-hop, were siblings and migrants from the island of Jamaica who hosted a back-to-school party as a means to generate income. Young people and adults from the community all attended this party, where DJ Kool Herc served as the DJ. Block parties like the one hosted by DJ Kool Herc, Afrika Bambaataa, and the Ghetto Brothers (a hip-hop crew) created a space for young people in the Bronx to celebrate being young and free. The power of music, dance, and camaraderie united Bronx youth, and “for the youth, the block party was the space of possibility (Chang, 2007).” The block party was an outlet that countered the oppressive realities that were faced by community members. The block party became the space where community members gathered to experience joy, fellowship, and liberation. It was a space where the hip-hop breakers (a common term for breakdancers) would demonstrate their complex skills, battle one another, and put on a show for the community.

Breakdancing began as a direct response to the social factors that urban youth experienced in the late 1960s and during the 1970s in the South Bronx. Instead of fighting, gangs formed breakdancing crews where their best breakers would battle one another on the dance floor. Breakers would dance to the rhythm of the beat played by the neighbourhood DJ. Youth at the time saw breaking as an alternative to violence and thrived from the competitive aspect and community notoriety that the best breakers claimed. Breaking became an outlet for youth to resist the oppressive social conditions that existed in the Bronx and encouraged youth to contort their bodies as a radical act of joy and liberation. Breaking was birthed out of a desire for Bronx youth to experience joy, as a response to the distress experienced as a result from poor social conditions. As time progressed, breakers took the art of dancing more seriously and always strived to perfect their moves as they incorporated moves from various sources, including the Brazilian martial arts capoeira and gymnastics (Dossar, 1991; Gogerly, 2011). They danced faster, developed more complex moves, and improved their form. Breakers emphasise their use of energy, movement, creativity, and humour in their routines. Breakdancing received its name because breakers would dance during the breakbeat of a song. Since its inception in the late 1960s, breaking has gained global popularity as it was included as a professional sport in the 2018 Youth Olympics in Buenos Aires and is set to make its Olympic Games debut in Paris in 2024. While breaking isn't as commonly practiced in inner cities and amongst youth, I argue that this style of dancing has influenced contemporary hip-hop dance, which continues to be a pivotal part of hip-hop culture. The intricate, well-thought-out, and well-performed dances that hip-hop dancers perform demonstrate a kinaesthetic aspect of hip-hop culture.

Since its conception, hip-hop culture continues to be used as a tool to promote social justice and advocate for the needs of historically marginalised communities. Hip-hop centres the community and provides opportunities for young people, adults, and elders to gather, dance, and ultimately enjoy life regardless of the harsh realities people in The Bronx face. At its core, hip-hop is a culture that promotes social justice and provides an outlet for youth who have been systemically marginalised to experience joy and share their stories and realities with the world.