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The lure of cash and elite competition drew top breakers, but to many the style practiced at organized competitions, and soon at the Olympics, is distinct from breaking as an art.
奖金和精英级赛事的诱惑吸引了顶级霹雳舞者，但对许多人来说，在有组织的比赛中以及在之后的奥运会上的舞蹈风格，与作为艺术的霹雳舞截然不同。
“I don’t think it’s an accurate representation of what breaking is,” said Odylle Beder, a B-girl from Brooklyn known as Mantis.
“我认为这不能准确地表现霹雳舞的本质。”来自布鲁克林区的霹雳舞女孩欧迪尔·比德说，她的绰号叫“螳螂”。
“Breaking is a lot more organic, and the way that we do it in the Olympics is, like, ‘Do a round. Stop, look at what your score is. Now do another round.’ ”
“霹雳舞更加浑然天成，但奥运会上的霹雳舞表演就是，‘来跳一个，停，看看你得分是多少。好的，现在再跳一个。’”
“It doesn’t feel real because when someone goes into the circle and they finish your round, you want to go right after to respond,” she said.
“这缺乏真实感，因为某个人走进大家围成的圈子，跳了一轮舞后，你会想立刻用舞蹈对他们做出回应。”她说。
The World DanceSport Federation, recognized by the International Olympic Committee during the organization’s efforts to introduce ballroom dancing to the Olympics, is breaking’s governing body.
世界体育舞蹈联合会（WDSF）是霹雳舞项目的管理机构，因其将交谊舞引入奥运会的努力而得到了国际奥委会的认可。
“They really have no clue what we’re doing,” said the longtime breaker Gabriel “Kwikstep” Dionisio.
“他们完全不知道霹雳舞是什么。”跳了多年霹雳舞的加布里埃尔·“快步”·迪奥尼西奥说。
In 2017, more than 2,000 people signed an online petition titled “Get the WDSF’s Hands Off Hip-Hop.”
2017年，2000多人在网上签署了一份名为“让WDSF的手从嘻哈上拿开”的请愿书。
Where early B-boys and B-Girls spun windmills and threw out freezes to the funk and soul breaks used by pioneering DJs, the large competitions are bound by copyright laws and use nondescript music designed for breaking.
早期霹雳舞男孩和霹雳舞女孩们伴随着先驱DJ播放的放克音乐和灵魂乐间奏，而做出风车动作和空中定格，而大型比赛却受版权法的限制，使用一些毫无特点的霹雳舞音乐。
“The music is what drove us,” said Chino Lopez. “These kids just took what we did, and they’re just copying it. And it evolved.
“我们是靠音乐激发热情的。”奇诺·洛佩兹说，“这些孩子只是照搬我们的舞步，他们只是在复制。然后舞步就发生了演变。
Don’t get me wrong.
别误会我的意思。
They’re doing crazy stuff now compared to what we were doing, but I see that they’re not living through the music, and that’s very, very important.”
与我们过去相比，他们现在做的事情也很疯狂，但我看到他们没有用全身心去感受音乐，而这是非常非常重要的。”
When breaking was included at the 2018 Summer Youth Olympic Games in Buenos Aires, more than 50,000 people attended events that garnered more than 2.5 million social media views, according to the IOC.
根据国际奥委会，2018年霹雳舞成为布宜诺斯艾利斯青年奥运会项目时，有5万多人观看了比赛，社交媒体浏览量超过250万次。
Kit McConnell, the IOC’s sports director, cited breaking’s diverse global communities as a major factor in the decision to add it as an Olympic sport.
国际奥委会的体育总监基特·麦康奈尔表示，霹雳舞社群的多样性和全球性是决定将其列入奥运会项目的主要因素。
Breaking, like the music that inspired it, had been successfully exported beyond the poor Black and Hispanic communities that birthed it.
霹雳舞就像曾为其提供灵感的音乐一样，已经成功输出到了其诞生地以外的地方，走出了贫穷的黑人和西班牙裔社区。
“Breaking is the lost leader of hip-hop culture,” said Michael Holman, the founder of the New York City Breakers and a conduit in bridging the Bronx and uptown’s nascent hip-hop scene to downtown Manhattan.
“霹雳舞是失落的嘻哈文化领袖。”纽约霹雳舞团的创始人迈克尔·霍尔曼说，他也是连接布朗克斯区和上城区新兴嘻哈文化界与曼哈顿市中心的桥梁。
“Breaking was the thing that brought in people who had no idea about hip-hop culture, and very little understanding of even urban culture.”
“霹雳舞吸引了那些对嘻哈文化一无所知，甚至对城市文化知之甚少的人。”
Holman, who submitted a proclamation for breaking’s Olympic inclusion 40 years ago, says it is a natural evolution of its competitive origins.
霍尔曼在40年前就提交了将霹雳舞列入奥运会的公告，他说这是霹雳舞原有的竞争性自然演变的结果。
Of course, hip-hop is no monolith and there is no consensus about its corporate embrace.
当然，嘻哈并不是单一的文化体，关于商业拥抱嘻哈文化，内部也有不同意见。
Some breakers are concerned that the Olympics will strip the soul from the struggle that breaking sprung from and contend that breaking is an art form, not a sport.
一些霹雳舞者担心，霹雳舞起源于生活的挣扎，而奥运会会使这种挣扎失去灵魂，他们还认为霹雳舞是一种艺术而非运动。
