In December 2020, the International Olympic Committee announced the addition of breakdancing, as a new Olympic sport, for the 2024 Summer Olympic Games in Paris. Overseas, it has already been officially incorporated in the Youth Olympic Games. This indicates the widespread fame of street dance forms, including breakdance.
　　As a dance form, breakdance originated in the 1970s within the African American culture of the United States. Breakdance spread globally, targeting the youth, but its artistry was questioned.
　　This article examines the artistry of breakdance “battles.” First, we elucidate the history of breakdancing and describe the various characteristics of a battle. Further, we implement Landsdale and Dodds’s theory—which uses Kristeva’s theory of intertextuality—as a guide to outline the ideal path of intertextuality between breakdance battles and development. Next, the breakdance battles will be compared with the intertextual “borrowing/quoting.” Finally, we will use an actual case study of a breakdance battle to extract the conditions required for evoking artistry.

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