JamsBash, the dynamic duo of Jamaal Parham and Bashan Aquart, are renowned for their unique storytelling.

Their work is characterized by boundary-pushing design and classic filmmaking techniques. Having collaborated with iconic brands like Mastercard, ESPN, Disney, and Warner Brothers, they have directed top-tier talent such as Michael B. Jordan, Robert DeNiro, and Lionel Messi. Their acclaimed projects include HBO’s “Pause with Sam Jay,” the indie feature “The Day Ones,” and ESPN’s groundbreaking special “A Room Of Our Own.”

Their latest project with ESPN/Andscape/Hulu, “Breakin’ On The One, ” is an in-depth look at the historic 1981 breakdancing battle between the Rocksteady Crew and the Dynamic Rockers in New York City.

We caught up with JamsBash to discuss the documentary, breakdancing’s debut at the 2024 Summer Olympics, and what the future holds for one of the foundational elements of Hip Hop culture.

The Hip Hop Museum: What sparked the idea of doing this documentary?

Jams: It was an exciting opportunity to tell the story of breakin’ in a way that hadn’t been told before. ESPN Films and Andscape came to us with the idea. We then started digging into the history and the archival footage. And the thing that unlocked for us was like, yo, these were kids doing this. Twelve—and thirteen-year-olds who started an art form. And for us, that was beautiful.

Bash: It was great to zero in on a moment that became this culturally shifting thing.

HHM: We see breakdancing debuting as an Olympic sport this month. Why do you think this is happening now?

Jams: I think the French really love breakdancing. One of the really interesting things we came to in the film is the explosion after this big bang event at Lincoln Center (the battle between Rocksteady Crew and Dynamic Rockers). After that event, breakin’ started to spread, and other countries took breakdancing on and made it their own. You see the explosion in Europe.

Harry Belafonte even talked about seeing German and Swedish kids in leather jackets doing breakdancing in the eighties. It’s such a global thing, and you had to have a country willing to take a risk on it, and unfortunately, that wasn’t the US. The fact that Paris stood up and said, no, we want this to represent our games, is an important thing.

HHM: When it comes to the various elements of Hip-Hop culture, breakdancing typically takes a backseat to MCing and DJing…and even graffiti, for that matter. Is that simply because of the monetization of those other elements of the culture, or is there something else at play?

Jams: Yeah, I think breakdancing is hard. It’s physically gruelling. Another thing that drew us to this project was the early days and the push they had to put on their bodies to do this well.

When people see footage of breakdancing, they’re like that’s cool but I don’t think I can do it. Meanwhile, to some extent, MC’ ing, DJ’ ing, and even graffiti seem more accessible to someone who’s not athletic.

Bash: Even on an intermediate level, breakin’ is extremely physical. So, it makes sense that something like graffiti would be more accessible.

It’s interesting when you think about the trajectory of breaking and whether or not the Olympics is going to be that for breaking. I think that the discussion that’s happening within the documentary actually explores that when you hear from members of the culture and you hear these sort of opposing ideas about whether or not it should be or shouldn’t be involved in the Olympics.

HHM: In the documentary, Michael Holman quotes that without breakdancers, Hip Hop wouldn’t have spread around the world. It’s a controversial statement. Do you agree with it?

Jams: I agree with this because these kids in the ’80s got paid to go on tour in the very early days of Hip Hop and showed an aspect of the culture that hadn’t been seen yet.

It was dancing, but it felt a little more lifestyle-forward. In the very early 80s, they were in France, the Scandinavian countries, and the UK.

You didn’t see rappers performing for Queen Elizabeth like you saw breakdancers in those early days.

HHM: Through the work on the documentary, were there any revelations that surprised you?

Jams: The most surprising thing to me was how many people were at the battle at Lincoln Center. They really brought the hood with them.

Bash: What surprised me was looking at these guys. This thing that happened decades ago still has it right on the edge of their hearts. There’s still beef from the battle, not harmful beef but, like founder, neighbourhood beef.

HHM: And finally, what’s the future of breakdancing?

Jams: I don’t have anything against the rings, the pummel horse, or hardcore gymnastics, but when you talk about having that strength of physicality mixed with rhythm and the music we love, it’s a missing combination that if I think the kids doing it didn’t look the way they did, it already would have been in the Olympics. Let’s push it forward and see how far it can go.

More interviews can be found on the Hip Hop Museum