Goofy how to dance

How to Dance (Short 1953)

  • Cast & crew
  • User reviews
  • Trivia


  • 19531953
  • 6m






Goofy learns the basics of ballroom dancing.Goofy learns the basics of ballroom dancing.Goofy learns the basics of ballroom dancing.





    • Jack Kinney
    • Milt Schaffer(story)
    • Dick Kinney(story)
  • Stars
    • Firehouse Five Plus Two
    • June Foray(voice)
    • Alan Reed(voice)
    • Jack Kinney
    • Milt Schaffer(story)
    • Dick Kinney(story)
  • Stars
    • Firehouse Five Plus Two
    • June Foray(voice)
    • Alan Reed(voice)
  • See production, box office & company info
  • See more at IMDbPro
  • Photos

    Top cast

    Firehouse Five Plus Two

    • Themselves

    June Foray

    • Mrs. Geef
    • (voice)

    Alan Reed

    • Narrator
    • (voice)

    Pinto Colvig

    • Goofy
    • (voice)
    • (uncredited)

    Art Gilmore

    • Narrator
    • (uncredited)

    Lucille Williams

    • Mrs. Geef
    • (uncredited)
      • Jack Kinney
      • Milt Schaffer(story)
      • Dick Kinney(story)
    • All cast & crew
    • Production, box office & more at IMDbPro

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    Did you know

    User reviews5


    Featured review



    How to Dance with Goofy

    Goofy I have always liked, he is clumsy yet very funny and lovable. Alongside Motor Mania and Goofy Gymnastics, How to Dance is one of my favourite Goofy cartoons. With the vibrant colour palette, well-drawn character designs and fluid backgrounds, How to Dance is animated beautifully, while there is also a snappy soundtrack, thoughtful and somewhat sardonic narration(delivered to perfection by John McLeish) and many funny, imaginatively-timed moments with Goofy's chaotic but somewhat endearing attempts to ballroom dance. All in all, one of Goofy's best cartoons and certainly one of my favourites of his. 10/10 Bethany Cox



    • TheLittleSongbird
    • May 7, 2012

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    • Release date
      • July 11, 1953 (United States)
      • United States
      • English
    • Also known as
      • Jan Långben dansar
    • Production company
      • Walt Disney Productions
    • See more company credits at IMDbPro

    Technical specs

    • 6 minutes

      • 1. 37 : 1

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    Disney's An Extremely Goofy Movie Dance Party! (2000, CD)

    1Pat Benatar & Neil Giraldo*–Future's So Bright I Gotta Wear Shades

    Written-By – P. McDonald*

    Written-By – P. McDonald*

    2Cleopatra–Right Back Where We Started From

    Arranged By [Strings Arranged By] – Steve Boyce Buckley

    Management [Cleopatra And Sound Syndicate World-Wide Representation By] – L.E.T. Management

    Producer, Arranged By – Kenny Hayes, Tim Scrafton

    Written-By – V. Edwards*, P. Tubbs*

    Arranged By [Strings Arranged By] – Steve Boyce Buckley

    Management [Cleopatra And Sound Syndicate World-Wide Representation By] – L. E.T. Management

    Producer, Arranged By – Kenny Hayes, Tim Scrafton

    Written-By – V. Edwards*, P. Tubbs*

    3Peaches & Herb–Shake Your Groove Thing

    Written-By – D. Fekaris*, F. Perren*

    Written-By – D. Fekaris*, F. Perren*

    4ESPN–ESPN X Games Theme 1 And Theme 20:42
    5Carmen Carter–Knock On Wood

    Written-By – E. Floyd*, S. Cropper*

    Written-By – E. Floyd*, S. Cropper*

    6John Avila, Terrence A. Carson, Carmen Carter, Carl Graves–Don't Give Up

    Written-By – S. Bartek*

    Written-By – S. Bartek*

    7Carmen Carter And Donnie McClurkin–You Make Me Feel Like Dancing

    Written-By – L. Sayer*, V. Poncia, Jr.*

    Written-By – L. Sayer*, V. Poncia, Jr.*

    8John Avila–Nowhere To Run

    Written-By – L. Dozier/B. Holland/E.Holland, Jr.*

    Written-By – L. Dozier/B. Holland/E.Holland, Jr.*

    9The Specials–Pressure Drop

    Written-By – F. Hibbert*

    Written-By – F. Hibbert*

    10ESPN–ESPN X Games Theme 30:15
    11The Partridge Family–Come On Get Happy

    Written-By – D. Janssen*, W. Farrell*

    Written-By – D. Janssen*, W. Farrell*

    • Phonographic Copyright ℗ – Polydor Records
    • Phonographic Copyright ℗ – Virgin Records
    • Phonographic Copyright ℗ – Columbia Records
    • Phonographic Copyright ℗ – Walt Disney Records
    • Copyright © – Disney
    • Licensed From – ESPN
    • Licensed From – Walt Disney Records
    • Manufactured By – Universal Music
    • Distributed By – Universal Music
    • Pressed By – Cinram
    • Produced For – Sound Syndicate Productions
    • Mastered At – Oasis Mastering
    • Published By – IRS Music, Inc.
    • Published By – Mambadaddi Music
    • Published By – Sony/ATV Music Publishing (UK) Ltd.
    • Published By – EMI Virgin Music Ltd.
    • Published By – Sony/ATV Songs LLC
    • Published By – Universal - Polygram International Publishing, Inc.
    • Published By – Perren Vibes Music, Inc.
    • Published By – Irving Music, Inc.
    • Published By – Wonderland Music Company, Inc.
    • Published By – Silverbird Songs
    • Published By – Braintree Music
    • Published By – Rondor Music (London) Ltd.
    • Published By – Almo Music Corp.
    • Published By – EMI Blackwood Music
    • Published By – Stone Agate Music
    • Published By – Screen Gems-EMI Music Inc.
    • Art Direction – Luis M. Fernández
    • Design – Kelvin Nguyen, Marcella Wong
    • Executive-Producer [Executive Album Producer] – Bambi Moé
    • Mastered By – Eddy Schreyer
    • Mastered By [Mastering Supervised By] – Nancy Matter
    • Producer, Arranged By – Steve Bartek

    Track 1 © 1986 IRS Music, Inc. / Mambadadi Music (BMI).

    Track 2 produced and arranged for Sound Syndicate Productions. Cleopatra appears courtesy of Warner UK and Maverick Records. © 1976 Sony/ATV Music Publishing (UK) Ltd / EMI Virgin Music Ltd. All rights on behalf of Sony/ATV Music Publishing (UK) Ltd. administered by Sony/ATV Songs LLC.

    Track 3 © 1978 Universal-PolyGram International Publishing, Inc. / Perren-Vibes Music, Inc. (ASCAP). © Polydor Records.

    Tracks 4 and 10 courtesy of ESPN.

    Track 5 © 1966 Irving Music, Inc. (BMI).

    Track 6 © 1999 Wonderland Music Company, Inc.

    Track 7 © 1975 Silverbird Songs Limited (PRS) / Braintree Music, all rights administered by Rondor Music (London) Ltd. on behalf of Silverbird Songs Ltd. for the world, Almo Music Corp. administers for Silverbird Songs Ltd. in the U.S./Canada / EMI Blackwood Music (BMI).

    Track 8 © 1965 Stone Agate Music (BMI).

    Track 9 © 1972 Universal-Songs Of Polygram International, Inc. ℗ Virgin Records.

    Track 11 © Screen Gems-EMI Music, Inc. (BMI). ℗ Columbia Records.

    Album mastered at Oasis Mastering, Studio City, CA.

    ℗ 1999 Walt Disney Records © Disney. Manufactured and distributed in Canada under license from Walt Disney Records by Universal Music. Printed in Canada.

    • Barcode: 0 50086 06607 0
    • Barcode (String): 050086066070
    • Matrix / Runout: #000204CC DIS606607 CINRAM
    • Matrix / Runout (Mother / Stamper Code): 21
    • Matrix / Runout (Hub): 15
    • Mastering SID Code: L382
    • Mould SID Code: IFPI 6000
    Disney's An Extremely Goofy Movie Dance Party! (CD, )Walt Disney Records60660-7US2000

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    How not to look stupid on the dance floor?

    How not to look stupid on the dance floor?

    1. The dance floor is a “stage” with special rules. The main rule is "Do not disturb others" : do not push, do not whip everyone with your hands, do not stomp with your heels, do not stick cigarettes, do not pour drinks, do not be pushy. To make it pleasant to be around you and look safe for others, you should adapt the dance to the conditions of a limited space. Amplitude swings, kicks, elbows, jumps, splits and randats are not suitable for the dance floor. You must be able to move compactly and in a variety of ways. nine0006

    2. The only dance suitable for the dance floor is improvisation where you move spontaneously in real time. Movements arise as a consequence of the reaction to the sound, and not the repetition of memorized "expressions". Have you ever interacted with a robot at a technology expo? Remember your emotions when you ask him a question and wait for an involved reaction, and he monotonously answers you with a formulaic answer, often unrelated to the question. People dancing bundles evoke similar emotions. nine0006

    3. Dancing on the dance floor is a form of communication, not a performance . The movements create the background, but are not the goal. "Dance for relaxation" means that you dance while relaxing, chatting with friends. When you dance a bunch, you completely deprive yourself of the opportunity not only to communicate with friends, but also to perceive others, enjoy the party, listen to music. All attention is directed to remembering and reproducing the sequence of movements. Movements must be performed automatically at the level of motor memory in order to engage in improvisation, creativity and communicate freely. nine0006

    4. In order to win people over properly, you need to move in a relaxed and natural way, for this movement should be simple and comfortable. Movements should convey the mood of the music, they reveal your state and perception of the sound. From the point of view of style, the movements should correspond to the music that sounds, so a bunch invented for music of a different style will not look harmonious.

    5. Move according to your style . No matter how beautifully the choreographer dances, but if you have different types and you don’t feel the same as him, his movements will look sticky on you. It is important that the movements you are taught be flexible in style, i.e. so that they can be given different properties and manner. Only under these conditions will your knowledge be applied in practice and merge with your personal style and charisma. All movements in our program are freely adaptable to any style of music and suit people of different types and builds. They can be danced both at a disco in a stiletto skirt, and at a social reception in an evening dress. nine0006

    6. Move in a balanced way whole body, including all muscle groups; this will allow you to dance for a long time and not get tired, due to the fact that the load will be evenly distributed throughout the body. This will allow you not to overwork, not sweat like a horse and stretch the pleasure of dancing for the whole party.

    7. You need to be able to move in a wide range of moods : from light unobtrusive dance to active and incendiary at peak moments. To do this, you need to be able to do the same movements, do it differently in terms of presentation, style and activity. nine0006

    8. Your dance should reveal your strengths, not your weaknesses . Dance is a weapon, but it should not be directed against you. If your muscles are atrophied, then your every movement will scream about it. With good physical shape, even the simplest movements will delight with their beauty. The main objective of our program is to restore atrophied muscles, and teach you how to do simple things, but beautifully.

    9. You must have a good rhythm, basic movement and coordination . Without these skills, dancing will not work. Plastic is loyal: it cannot be done wrong, you can always refer to your taste. With rhythm, everything is much tougher: if you do not get into the rhythm, it is immediately noticeable, and smearing past the rhythm is not forgivable.

    10. Now the most important thing: in order to dance well, it is enough to master only a few movements of high quality . No one will count how many movements you know, but everyone will see whether these movements are beautiful or not. What matters is not what you dance, but how you do it! The overall impression of the dance will be determined not by the quantity, but by the quality of the movements. The good news is that it only takes a few sessions to master a few movements. nine0006

    How not to feel stupid in your first dance class

    You have decided to enroll or have already enrolled in your first dance class. This is good work. But we guess that you feel uncomfortable knowing that there is no experience behind you. It's quite possible that you feel like an eccentric (poorly said, right?), like any person on the first day at a new school, at a university, at a new job.

    Even a strong will at best will make you smile sweetly, but will not give you inner confidence. Now we will try to fix it with this mantra:

    “We are all in the same boat, the teacher is on my side, this will be over soon. And in general - I'm cool.

    And to be more convincing, let's take the mantra apart as professional surgeons (who said that surgeons don't dance?).


    Look around. Do some new students seem more confident than others? Maybe even with a smart look they talk about movements and music? This is all will, gathered into a fist, and inside they are no better than you. The same flashing neon sign-question: "WHAT AM I DOING HERE?!" If you look at these "confident" a little longer, you will notice both embarrassment, and awkwardness, and everything else that is always inherent in a person in an unfamiliar environment. nine0006

    And in general, everyone, even a professional dancer, once came to an unfamiliar place with strangers and tried to do something that he had never done before.

    And if you've never felt stupid, you've never done anything new.


    Your dance teacher wants you to succeed. He wants it even more than you. Every night he falls asleep with the thought that tomorrow the student will come, who will definitely succeed, who is so great to teach something, who will succeed. Perhaps he is thinking about you. And, except by experience, this cannot be known. nine0006

    If the teacher corrects you, it does not mean that you are a bad dancer. He just wants you to experience a surge of strength from the realization of how much hard work you have achieved something.

    And when a dance teacher tells his friends about his students, he is most proud of those who may not always succeed all at once, but who do not quit halfway through.


    And I don't mean the first class at all. Your panic will end, and with it your failures. nine0006

    The brain would be great at writing a melodrama script, it's so good at making things worse.

    Learn more