How do teens dance

10 Street Dance Videos For Teenagers

By Simon Books

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Dancing is the best form of physical exercise as it involves movement and stretching of every muscle in the body and these videos are great to follow.

Dance is a tool for the stimulation and development of talent and creativity for all people. It allows people an opportunity to channel and express their thoughts and feelings vividly and peacefully, with each body movement telling their story. Dance has several mental, physical, and emotional health benefits to the human body. They include improving stamina, increasing the flexibility of hands, feet, and joints, and improving body strength and balance. Dancing is the best form of physical exercise as it involves movement and stretching of every muscle in the body.

Street dance, which has been in existence since the 1970s, is a collective name given to dance styles that originated from the streets. The dancing styles, which include hip-hop freestyle, locking, popping, house dance, and break-dance, are a combination of both improvisation and choreography. Dancers can either follow a set of standard moves that they learn from choreographers or improvise by allowing the music to dictate their body movement. The dancing styles can be applied to different genres of music or songs.

RELATED: 6 Videos That Teach Kids' Every Viral Dance Move

Teenagers love street dancing as it is very entertaining, and it creates an outlet for their energy and passion. Dancing also keeps their bodies active and improves their concentration. They gain strength and self-confidence whenever they dance and create some new dance moves of their own. Here are some videos for teens who love street dance.

10/10 High School Dance Battle

After class, two high school freshmen went around the school searching for a club that they could join. They ended up getting involved in a dance battle between two of the best dance teams in their school, with each showing their best dance moves. The two freshmen could not be left behind in all the action, and they showed the two teams that they too had talent and great moves.

9/10 Plain Jane

A dance crew made up of young girls took to the stage at the Hall of Fame Dance Challenge and impressed the audience with their amazing moves and co-ordination. Their performance which was mainly of modern hip-hop freestyle was well appreciated and applauded.

8/10 That’s What I Like

A hip-hop teens' class for beginners made a dance video of Bruno Mars' song hit song called That's What I Like. The choreography is relatively simple and mainly consists of hip-hop freestyle along with other easy dance moves.

7/10 DVJ

This dance crew comprised of kids between the ages of 10 and 18 years thrilled the audience at Britain's Got Talent with their outstanding performance. Their cool moves and well-coordinated choreography compelled the judges to push them on past the auditions to the next round of the famous competition.

6/10 The Battle of GWAI

The dancing scenes from the 2010 film Step Up 3D are arguably some of the best dance scenes in any dance movie out there. In one of the scenes, there was a dance battle between two crews, each showing their prowess in the field of break dancing and hip-hop freestyles in tune with old school hip-hop music. The Step Up film franchise that consists of five movies and a television series is ideal for those who love street dance.

5/10 The Box

Matt Steffanina, along with other dancers in Studio V, came up with a dance video for The Box, a song by award-winning American rapper Roddy Rich. Different pairs of dancers created and showcased different styles and dance moves to keep the audience entertained.

4/10 The Main Event

A dance crew presented a thrilling choreography of house dance at the Main Event in Vancouver. There were also some sessions whereby each member did their freestyle and enjoyed themselves.

3/10 Level Up

A group of young dancers choreographed by Sabrina Lonis danced to Ciara’s song ‘Level Up’. Sabrina came up with a choreography that was different from that of the song's video but equally interesting. The young dancers put in all their energy and strength while dancing as the audience keeps cheering them on.

2/10 Summer Dance Forever

The event had popping and locking competition between Blondy and Jaja Vankova. Blondy’s moves were no match for Jaja, who amused the audience and stole the show with her skills.

1/10 Groove Session

It was an old vs. new affair in an event that saw a group of very young boys go up against a group of adults in a break-dance and freestyle competition. The adults were left surprised by the kids who were so young yet had amazing dance moves and great skills.

NEXT: 'Just Dance 2021' Launching This November


Teen Dances of the 1950s

Teen Dances of the 1950s

Teen Dances of the 1950s
Richard Powers

After the Swing Era and World War II, American social dancing cooled down in the late 1940s, in a shift from dance bands to concerts in night clubs.   This was due to many factors — musician union fees that made big bands unaffordable, the undanceable aesthetics of bebop cool jazz, and a generation of post-war veterans with the new priority of settling down and raising a family.

But teenagers still liked to dance.  Teens' dancing during the 1950s was widely varied in steps and styling.  Most of it was still swing-based, but swing had been diverging into local styles and regional variations each decade for thirty years.  In one high school it might be low and smooth; in another, wild and angular.  In some areas it was constant swing moves, while in others it was dancing with steps in place, simply holding your partner's hand, with no swing moves.  Other innovations are listed below.

One incentive for new variations was the rebelliousness of the time — teens didn't want to dance like their parents who were actively disapproving of their lifestyle, so they invented a wide range of step and style replacements.   Another motivation for change was the music.  Rock'n'roll simply called for different styles of dancing, some of which mirrored the strong backbeat of rock.

Terminology was just as varied as the dancing.  This was called jitterbug, or swing, Lindy, the rock'n'roll, boogie-woogie or Bop.  The word Bop was new then, so almost everything was called the Bop.  But that word usually referred to a family of low swiveling Charleston-like steps danced in place, sometimes without a partner.

Some teens sought out African American sources for new steps and styles, sometimes from their black maids or from the cooks at a summer camp, and especially from black teens at high school and local dances, which started to become possible after a 1954 desegregation ruling.

Another source of new dance styles was from television.  Daily soap operas were finished by 3pm, and local stations needed programming to fill the void until evening shows began.   Since teenagers got home at that time, local stations hired radio DJs to play popular teenage music as cameras televised teens dancing.  One of the first was Bandstand on Philadelphia's WFIL-TV (1952) hosted by former radio DJ Bob Horn.  When he was fired after a drunk driving arrest in 1956, Dick Clark was selected as his replacement.

The increasingly wide regional diversification of dance styles reversed on August 5, 1957, when Clark convinced ABC to broadcast his show nationally, becoming American Bandstand.  Suddenly teens from coast to coast were seeing and copying the way the kids in Philadelphia danced, and that regional style soon became a national dance style.  Three years later, the same thing would happen with the Twist, and from then on, teenagers got most their dances from television.

Other dances:  In addition to the many styles of swing, there was also the Stroll, the solo version of Bop, Chalypso (American Bandstand's name for teen cha-cha), the line dance Madison (soon followed by the Hully-Gully), the Bunny Hop, various kinds of slow dancing, and more.   The dance later known as the Twist was also done by teens in the mid-fifties, years before Chubby Checker made it a hit in 1960.  (Watch the 1957 film Rock Baby Rock It  for a good example.)

Some specific changes made to swing by 1950s teens

As a reference point, the most common style of swing at the beginning of the 1950s was:

Counts 1-2:  Take a step, to walk through a swing move.
Counts 3-4:  Take another step, to finish the swing move.
Count 5:  Facing partner, rock back, in place.
Count 6:  Replace weight forward, in place.
      Timing is slow-slow-quick-quick, 6-count swing.  Some began with the rock step.
      With slower music, the two walking steps would be replaced by triple steps.

     Changes made by teens in the 1950s:

Change 1)  The walking steps were replaced by a tap-step, matching the strong backbeat of rock music.

Change 2)  Side-close-side triple steps were replaced by hook-replace-side triples, with the strong side step emphasizing the backbeat.

Change 3)  The tradition of executing one swing move after another was often replaced by mostly dancing in place, holding one or both hands, with fewer swing moves.

Change 4)  Push off with one hand, drifting back away from partner on counts 1-4.  Then walk forward to your partner on counts 5-6. (Shown at left.)  This replaced the rock step with walking forward.

Change 5)  Some teens danced in place on counts 1-4, then traveled forward through a swing move on 5-6, or 4-5-6.  This turned the figure inside-out — stationary where it used to travel, then traveling where it used to rock-step in place.

1) Tap in place
2) Step to side
3) Tap 2nd foot in place
4-5-6) Walk forward through a swing move.

A fancier version, in triple-time, shown by several fifties teens:

1) Tap in place
2) Step to side, backing away from partner
3&4) Step back on 2nd foot, close back taking weight, step forward on the 2nd foot.
5-6) Continue walking forward 2 steps, through a swing move.

Note: The 1970s Latin Hustle is exactly this same step.  The version above it became the American Hustle.

This also became Sugar Push in West Coast Swing.  Today WCS dancers usually begin with the above 5-6, with the Follow walking forward to him before the same 1950s push-off on the 1,2,3&4 above.

Change 6)  While some rock and pop music continued the triple "swung" feeling of blues and big band music, teenagers also danced to straight 4/4 music (similar to cha-cha rhythm) — an innovation from the 1950s which continued into 1970s disco, and then West Coast Swing.

All six of these changes continued when 1950s teen swing became the Hustle during the 1970s.  Some believe that the Latin Hustle was created by Hispanics, from Cuban and Puerto Rican dances.  But it was the 1950s rock'n'roll teenagers who invented all of these changes.   New York Latinos do deserve credit for keeping this teen swing tradition alive from 1960 to the 1970s, while adding some of their own style, until it was reignited by the Disco scene.

All of these changes also continue today in West Coast Swing.  Contrary to claims on some WCS web pages, 1950s teenagers deserve the credit for many of the fundamental innovations that later defined West Coast Swing.

— Richard Powers

On to 1970s Disco

90,000 12 life hacks, to quickly learn how to dance from Mamita Dance


Author: Pavel Gather
Psychologist, Lecturer Salsa and Tango


Author: Pavel Pavel
Psychologist, Lecturer Salsa

on At the start, you always want to get a quick result. When it doesn't happen, the hypothesis arises that everything takes time. After a conditionally acceptable time, humility comes to mastering pair dances, which, perhaps, is not given, and I will just do what I learned somehow.

This is the most common story of those who believe that the mere act of attending a pair dance class is enough to learn how to dance.
Absolutely not. If you want to really dance well, you have to make an effort outside of the dance class. A good teacher will definitely be needed, but the initiative should be on your side.

1. Listen to music

The most common and accessible advice that is given already in the first lessons. And it definitely works. Music creates a certain atmosphere of the dance and intuitively you want to move to it. It doesn't matter where you listen to music - in the car, on headphones while walking or doing household chores.

An addition that will help you dance better is your active participation in the music. Sing along, dance or simply beat musical accents with any free parts of the body. In the subway, for example, it is enough to tap out bright moments with your fingers, in the car to sing along with sounds, and at home you can jump for pleasure.

2. Watch videos of good dancers

It's complicated, but also obvious. It’s more difficult, because without recommendations from more experienced dancers, unfortunately, it’s not so easy to find a good quality video on the net (I mean not the resolution quality, but the content itself).

Meaningful video viewing is about building an understanding of HOW dancers make a particular impression on a partner or viewer. Technology is at the heart of everything. Understanding how the pros do it is a big step forward.

It is important to distinguish a show from a disco dance, a staged performance from an improvisation, a stylized dance from an authentic one, etc. Ask for recommendations and dance teachers will always throw off a couple of videos of worthy landmarks.

Tango Z. Showreel.

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3. Dance in salsatecas/milongas/discotheques

A very delicate moment when it is worth coming to the first party. From a technical point of view, most students in 1-3 months have a sufficient set of figures and techniques to come and dance calmly. Psychologically, the same moment can be stretched out for an indefinite time. After all, it is imperative to “not lose face”, “learn more figures” and be sure what to do in case “there is an unfamiliar movement”.

In fact, the partygoers don't really care (except for a small layer of non-professional teachers who want to help inexperienced dancers by treating them as customers in the future). It is important to come and try dancing after a month of classes. You can only with friends or guys from your group. This will be enough to feel the adrenaline and inspiration from the dance.

4. Dance with partners or partners not of your level

The conventional wisdom that you need to practice in groups of your level does not withstand the test of experience. Perhaps now your eyes widened in surprise, and you want to meaningfully read the phrase again. Yes, you saw everything correctly: when you dance with a partner of your level, you don’t grow anywhere.

It's important to understand that not only does it work one way and you have to dance with cooler dancers, but it works even more effectively the other way. It is no coincidence that teaching pair dances dramatically raises the level of the teacher himself. You have an endless stream of very beginner dancers.

How it works. A more experienced partner needs to be "stretched". It's easy and obvious. With beginners, you need to take more initiative on yourself, see the general pattern of the dance more widely, turn on and insure more, try to be an example and be more careful. The quality of interaction begins to grow significantly. And wonderful partners too.

Dancing with partners of your level doesn't make you grow. Dance with both beginners and more advanced dancers

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5. Learn to dance for a partner and for a partner

Turks and Argentines are one of the best partners in the world. In Russia, partners are highly valued. Why? The answer is simple. In Argentina and Turkey, it is not questionable for men to ask another man to lead in one piece or another and give feedback on the quality of the lead. For them, it will be a great shame to hear moralizing from a partner, or even more so to be known in the community as an insecure partner.

In Russia, due to the constant, often far-fetched, opinion that there are more women in pair dances, partners calmly get up and study their partner's part. Such partners then grow into very cool dancers and teachers. In no case do this at parties, only in class. Here we are talking only about the learning strategy. At parties, be yourself.

6. Do not memorize the links

Always try to look deeper and understand the through principle and idea of ​​movement. Understanding what and how is done will make it possible to independently generate any sequences and chips.

Human memory is limited and there will always be a moment when something will escape and your repertoire will be limited by the size of RAM.

In Argentine tango, for example, there are seven levels of movement construction that, when mastered, will allow you to make millions of combinations. And how many dance sequences can you really remember? In rueda, more than 150 figures dance in a rare circle. It's hard to keep more in mind.

7. Develop your body

Many years of experience in teaching couple dance shows that as soon as everyone pairs up in a class, any progress in individual style ends. But it is the individual style that distinguishes everyone at the disco: partners change, and style is always with you.

The body as the main instrument of dance must be very plastic, responsive and emotional. Surprisingly, not all pair dance schools have a general physical warm-up. It is vital to tune the body and understand how it works.

You can always train extra and concentrate more on the basic steps, as their true value is as body work. The sequence of steps is, in fact, the simplest thing that can be in pair dancing. The quality of individual performance determines the craftsmanship.

8. Try on the images of inspiring dancers

A psychological life hack for those who have already mastered the steps, but still feel that there is not enough brightness and drive. Most are terribly afraid of being someone else's "clone". Here the action is the same as under the influence of hypnosis - the more you resist, the more you plunge into an altered state of consciousness.

With a high degree of probability, you are already dancing like someone else's "clone". A meaningful fitting of someone else's image is that you mentally take the image of the one who inspires you (inspiration is critical in this case) and "put on" yourself. Then you start dancing and trying to feel in general how it is to be able, for example, to be the best partner or the sexiest partner in a disco. This is much more difficult than it seems. But it works extremely efficiently.

9. Dance to offbeat music

Habitual rhythms keep you tight. Tango salon or speedy timba leave little room for experimentation and fantasy. Pattern dancing is always noticeable and is reserved for beginners.

The truly new is born outside of the usual. Look for places to experiment. If there is no place, organize self-training. The main thing is not to get carried away, because music determines the style. We bring something new to pair dances, rather than trying to change them.

Search, improvise, don’t be afraid to go beyond, develop in different directions, be inspired by music atypical for the style

10. Try your hand at basic dance directions

dances exist according to their own non-choreographic laws.

This is the deepest delusion, which has turned into a ceiling for the qualitative development of partner dances. After all, all professional dancers, for example, in salsa or bachata, build their ideas on the basic choreographic principles.

Do not think that choreography is only applicable on stage. Any meaningful movement of the body can be choreographic. In general, try classical or modern choreography. Basically, hip-hop can work too.

11. Look for battle sensations

Pair dances return us to an active position of manifestation of our body. As in the days of our ancient ancestors, we impress the members of the opposite sex by how dexterous, hardy, sexy, etc. we are. Modern laws of the jungle in the entourage of big cities.

If you look around the dance floor, it becomes clear that the majority are clearly herbivores (not in the sense of vegetarians, but in relation to those around them). I am sure that predators are always more interesting in terms of the attractiveness of the image - try to find a counterbalance among herbivores, for example, a cat woman or a lion man.

The conversation is about an internal position, not about aggressiveness. Lability and lack of control are inherent in adolescents, and not in adult self-sufficient people.

Accordingly, even a training or friendly battle gives, on the one hand, practical skills - to make a bright sequence of movements, bring an idea to a climax, show a spectacular feature, on the other hand, develops the psychological basis of the dance - self-confidence, resistance to extraneous attention, self-control and self-control in complex elements.

12. Communicate with professionals

The environment shapes the internal position. Basically, real passionaries of the dance community are ready to openly talk, discuss and support the development of dance in every possible way. Universal principles and the ideas they articulate have a much longer and more practical perspective than meets the eye.

Accept that, for example, behind the words "listen to your partner" is not only a beautiful metaphor, but also a practical skill to literally listen to your partner. At the same time, always treat every thought, even the most respected teacher, as a private opinion.

Your skill will lie in finding the scope of the idea even in conflicting opinions. Most often, the contradiction is speculative and the truth lies in the angle of perception or situationality.

Your dancing growth will stop sooner or later. This can happen at the level of three basic steps or years of experience in teaching and show performances. Regardless of your level, the suggested 12 life hacks can get you off the ground and greatly accelerate your dance growth. There is no way here without your motivation and activity. Take your dance development into your own hands. 9Ol000 Dangerous sexuality

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Dance territory Everyone dances Kostroma. Dance School Kostroma Lenina 49 76, Chernogorskaya 2.

Dance Territory Everyone dances Kostroma. Dance school Kostroma Lenina 4976, Chernogorskaya 2.

Our school is suitable for:

Children from 3 years old

From an early age, children learn to dance. Rhythm and Funny-dance groups


Fashionable dance styles - Dance mix, hip-hop, jazz-funk


Adult dances - latina, reggaeton

Special people

The school is equipped with all necessary equipment. Thanks to a grant - classes are free

Our school is suitable for:

Children from 3 years old

Children start dancing from an early age. Rhythmic and Funny-dance 9 groups0003


Fashion dance styles - Dance mix, hip-hop, jazz-funk


Dances for adults - bachata, salsa, lezginka

For special people

The school is equipped with all necessary equipment. Thanks to a grant - classes are free

School benefits

Experienced teachers

Masters with regalia who constantly improve their skills

More than 20 directions

Everyone can choose what he likes

The best competitions

Every month our school members perform at the best venues in the city3 9002 9002 large branches

Different parts of the city, convenient for everyone

School benefits

Experienced teachers

Masters with regalia who constantly improve their qualifications

More than 20 destinations

Everyone can choose what he likes

The best competitions

Members of our school perform monthly at the best venues in the city

2 large branches

Different parts of the city, convenient for everyone

Photos of our school

Our school in numbers

Our school in numbers

Feedback from our dancers

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Were at your trial lesson. Liked. Very nice atmosphere, cozy, beautiful, I want to come back. I know that a children's group of stretching three twines is planned.

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Anastasia Svetlova

Hello! I would like to express my gratitude to the teachers of your, and now ours, dance school. So much work, patience and love are invested by teachers in their students! Our children grow and develop with you!

Galina Zigunova

Were at your trial lesson. Liked. Very nice atmosphere, cozy, beautiful, I want to come back. I know that a children's group of stretching three twines is planned.

Svetlana Korableva

You liked it very much!!! The atmosphere is great and so beautiful! Choose a subscription.

Anastasia Svetlova



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