Actor Channing Tatum may have won the hearts of millions of love-struck teens in last year's teen flick Step Up, but his suave moves barely scratch the surface of the extensive and amazing subculture of break-dancing.

There is more to the world of break-dancing than one might imagine; stylish clothing, physically demanding moves and an affinity for scraps of cardboard make up just a small part of the cultural phenomenon.

The art of break-dancing (or b-boying, the preferred term of breakers) originated in the early 1970s in the Bronx. Used as a constructive alternative to violent urban gangs, b-boying quickly became a hip-hop movement. It started in the streets and in clubs during dance "breaks," when the music was emphasized by heavy beats. Since then, break-dancing culture has revolutionized communities across the globe.

"B-boying is the physical and kinetic manifestation of the four elements of hip-hop, which also include painting graffiti, deejaying and emceeing," senior Tim Uomoto said. "The basics of b-boying include top-rock, which are all dance moves performed when standing; down rock, which include moves performed on the floor; power moves, which are more acrobatic in nature; and the freeze, which is usually a finishing pose. B-boying has evolved to include many different styles of dance, including capoeira, certain gymnastic moves and an array of other styles as well."

B-boying is featured prominently in two ways: through performance and battle.

Battles are competitions where b-boys and b-girls show off routines that can be planned or improvised. Participants can compete in one-on-one battles or battle against opposing break dance crews.

"Battling in the U.S. is underground for the most part, but the bigger events draw thousands of people and usually involve big cash prizes," Uomoto said.

In addition, battles are often constructed through crews, which are groups of four to 15 b-boys and b-girls, created in a similar fashion to that of an informal sports team.

"My crew is called Flying Sneakers," freshman Mike Huang said. "It was formed at my high school, and we basically put a name on our group, kind of like a clique."

Having the ability to integrate dance styles like jazz, hip-hop, ballet and salsa might be a dancer's dream, but in the unique hip-hop culture of b-boying, it is an essential part of the creative process.

"In my mind, it is the ultimate expression of what the body can accomplish," Uomoto said. "It is an art form in every sense of the word. People take their bodies and express themselves however they choose. You have total control and yet total freedom. I've seen some sick breakers all of a sudden break out into salsa."

Freshman Aaron Webster agreed.

"B-boying to me is the art of movement," he said. "I got into break dancing because I was watching Ocean's Twelve and the scene where the thief break dances through the laser grid, and it got me wanting to try break dancing. ... It's dancing and gymnastics wrapped into one. It's one thing to be able to do a back flip or a handstand, but doing it and stopping on beat is a whole new ball game. The styles and possibilities are endless, so no matter how basic the move, you can always put your own spin on it."

Breakers can also use their dance to channel and express emotions.

"It's about venting aggression without any action, and [it] teaches you to learn about yourself and your body," Huang said. "It's a mixture of pushing yourself and creativity. There's a lot of thinking involved. B-boying teaches sportsmanship, respect and competition."

Another aspect of break dancing involves the eclectic variety of music used.

"Break-dancing music is great," Uomoto said. "There really is no requirement for what type of music we dance to, besides the fact that there needs to be a solid kick or snare, and it needs to be a faster tempo. James Brown was a huge influence to the b-boy community, [and] Earth, Wind, and Fire also [did] some great tracks. Most of the music we listen to, though, is dug up from the '60s and '70s, and unknown to most people."

Since the inception of break-dancing, the culture has expanded widely throughout various communities, including the University of Washington campus.

Uomoto teaches beginning and intermediate break-dance classes through the UW Experimental College.

"My classes are extremely diverse, and I've met a ton of great people through it," Uomoto said. "I've had a 40-year-old lady take my class. That's not to say anything bad about 40-year-old ladies, but it shows that you don't have to be in the prime of your life to experience breaking. It has a sincere way of bringing people together that might not have anything in common. Break-dancing really is for anyone [who] has an open mind."

Students who have taken the Experimental College class have left with similar thoughts.

"I originally wanted to do break-dancing because I was involved in other types of dance," freshman Caitlane Gangstad said. "I like how break-dance is a fusion of a lot of different styles of dance. It's untraditional, but it's so much about expressing yourself through dance. Even if you don't have much experience, it's still fun. Anyone who can break-dance is insanely skillful, so I'm so proud of anyone who does it. It was a little intimidating being one of the few girls in that class, but I had a good time."

Training other b-boys and b-girls has given Uomoto unexpected lessons and opportunities for reflection.

"I've learned a lot about myself [while] teaching this class," he said. "I've learned how to teach effectively while at the same time making it fun. I've learned that I love to teach, and that there's something great about inspiring other people to be interested in my culture. I'd like students to come away with a better understanding about the hip-hop culture."

Break-dancing has been revolutionized in the past 30 years during its evolution from the streets of Brooklyn to a dance class at the University. With the continuing evolution of this innovative art form, Uomoto, along with other b-boys and b-girls, foresees an optimistic future in break-dancing that includes breaking down stereotypes and transforming its image into one of a constructive culture.

"There are a lot of misconceptions about b-boying and hip-hop things like violence and negativity," Uomoto said. "If people can come away from [my] class knowing that hip-hop has a positive, conscious side to it, I'd be happy."

Huang emphasized the diversity among break-dancers.

"B-boying is completely colorblind," he said. "When you walk into a room, you look beyond race. Everyone can communicate through dance when you get down on the floor. Dance is [a] universal language, and especially b-boying, because it breaks down all types of barriers: social, racial, everything."

Reach reporter Vicky Yan at features@thedaily.washington.edu.