How to dance like a black

how to dance like a black person

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jayhovergh

Jay Hover

Forget all this hard once ! #ghana_funny_videos #ghanafuodotcom #pulsegh #fypシ #ghana #jayhover #chopdaily #ghanatiktok_ #africandance #dance #🌍

252.7K Likes, 2.8K Comments. TikTok video from Jay Hover (@jayhovergh): "Forget all this hard once ! #ghana_funny_videos #ghanafuodotcom #pulsegh #fypシ #ghana #jayhover #chopdaily #ghanatiktok_ #africandance #dance #🌍". Simple way to Dance like An 🌍African🌍 . Googo.

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Googo - Jay Hover

tim.zz

Timi

Replying to @young_leyy_701__ +1 today🎊🎊| Dc:@Precious #fyp #legworktutorial #afrodance #afrobeat #pocolegwork #timzz

117. 9K Likes, 710 Comments. TikTok video from Timi (@tim.zz): "Replying to @young_leyy_701__ +1 today🎊🎊| Dc:@Precious #fyp #legworktutorial #afrodance #afrobeat #pocolegwork #timzz". Base movements: | Stand on R, L, rest | Stand on L, R,rest | .... Soweto.

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Soweto - Victony & Tempoe

itsracks_

ItsRackss

super easy tutorial, let me know if you got it! 🇿🇦✅ #fyp #belairdirectdrivechallenge #afrodance #PrimeDayDreamDeals

44.5K Likes, 130 Comments. TikTok video from ItsRackss (@itsracks_): "super easy tutorial, let me know if you got it! 🇿🇦✅ #fyp #belairdirectdrivechallenge #afrodance #PrimeDayDreamDeals". Afro tutorials Pouncing cat 🇿🇦 | step 1: push your arms out, in a circle motion, away from your body | as my arms go out, I’m pushing my body back | .... original sound.

528.4K views|

original sound - ItsRackss

shadyshay20

Sharon Jayy

#greenscreenvideo purrr I love these dances dc: @R Kelly son🐐 #dancetutorial #dancechallege #blacktiktok

42. 7K Likes, 145 Comments. TikTok video from Sharon Jayy (@shadyshay20): "#greenscreenvideo purrr I love these dances dc: @R Kelly son🐐 #dancetutorial #dancechallege #blacktiktok". TUTORIAL TO THIS DANCE‼️‼️. TAG ME FOR DANCE CREDS.

517.1K views|

TAG ME FOR DANCE CREDS - BarieSmackathotひ

itsracks_

ItsRackss

how easy do you think this move was on a scale of 1-10? #fy #fyp #afrodance #afrotutorials

22.9K Likes, 190 Comments. TikTok video from ItsRackss (@itsracks_): "how easy do you think this move was on a scale of 1-10? #fy #fyp #afrodance #afrotutorials". Afro tutorials How to poco dance 🇳🇬 | 1. Step on your tippy toes and lift the opposite heel off the ground slightly | See how my heel slightly comes up too | .... original sound.

365.3K views|

original sound - ItsRackss

jayhovergh

Jay Hover

Dance is life ! #ghana_funny_videos #dancechallenge #ghanafuodotcom #jayhover #ghanatiktok_ #dance #vibe #collectam #fyp #fypシ #chopdaily #chana #🇺🇸

133. 4K Likes, 1.3K Comments. TikTok video from Jay Hover (@jayhovergh): "Dance is life ! #ghana_funny_videos #dancechallenge #ghanafuodotcom #jayhover #ghanatiktok_ #dance #vibe #collectam #fyp #fypシ #chopdaily #chana #🇺🇸". Part 2 | Simple way to Dance like an 🌏African🌏. Collet am.

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Collet am - Jay Hover

itsracks_

ItsRackss

super easy Afro dance move: Zanku (what moves do you wanna learn next?)⬇️

3.7K Likes, 17 Comments. TikTok video from ItsRackss (@itsracks_): "super easy Afro dance move: Zanku (what moves do you wanna learn next?)⬇️". Afro tutorials: How To Zanku 🇳🇬 | Step 1: 🙅🏾‍♀️ | Step 2: 🙅🏾‍♀️/Bend your knees ⬇️ | .... Playboy.

85.5K views|

Playboy - Fireboy DML

dreaknowsbest

Drea Knowsbest

Teaching my friend African dance moves 🔥 how did @vanillatrill do?

723. 2K Likes, 4.3K Comments. TikTok video from Drea Knowsbest (@dreaknowsbest): "Teaching my friend African dance moves 🔥 how did @vanillatrill do?". Teaching my American friend African dances | Shaku shaku 🇳🇬 | Legwork | .... Beyoncé Already.

4.8M views|

Beyoncé Already - vincentvianen

roseylucci

Roseylucci

How to Network (dance) #network #learnontiktok #afrodance #tutorials

37.6K Likes, 228 Comments. TikTok video from Roseylucci (@roseylucci): "How to Network (dance) #network #learnontiktok #afrodance #tutorials". How to Network | Bend your knees! | Step out with your right, then left, 2x | .... Asew.

646.9K views|

Asew - Bisa KDei

Black History and Dance in America, a story

Black History and Dance in America, a story - African American Registry Tue, 03.

13.1500

Black History and Dance in America, a story

New Jersey, 1942

*This date is dedicated to African American Dance. Black Africans brought their dances to North, Central, and South America, and the Caribbean Islands as slave labor starting in the 1500s. In the west these dance styles of hundreds of Black ethnic groups merged with white dances, forming the extension of the African aesthetic in the Americas. Dance has always been an integral part of daily life in Africa. In the Americas, it helped enslaved Africans connect with their homeland keeping their cultural traditions alive.

As before enslavement, Africans danced for many special occasions, such as a birth or a marriage, or as a part of their daily activities, dance affirmed life and the outlook of the future. After the Middle Passage, Africans in the Americas sang and danced while working as slaves, and as they converted to the religions of white-Europeans and indigenous people, they incorporated these traditions into these cultures. Blacks who worked in the colonies of Spain, Portugal, the Caribbean, and South America were given more freedom to dance than enslaved Blacks in North America. Many white-American slave owners barred Africans from most forms of dancing. As African instruments were outlawed drums, in particular, early Stepping was created. Africans found ways of getting around these prohibitions. For example, since lifting the feet was considered dancing, many dances included foot shuffling and hip and torso movement. Dances dominant through the 18th century included the ring shout or ring dance, the calenda, the chica, and the juba. Asadata Defora and Master Juba were early practitioners.

The dances of the plantation moved onto the stage through Minstrel shows, which introduced Black dance to large audiences during the 1800s. As popular entertainment, both Blacks and whites performed them. Initially, Blacks appeared as caricatures that were often ridiculed, but they drew from their cultural traditions even as they made fun of themselves. In 1891, The Creole Show, a revue staged on Broadway introduced The Cakewalk, the first American dance created by Blacks to become popular with the whites. Other Black-influenced dance trends that followed were the Charleston, the Lindy Hop, the Jitterbug, and the Twist. The 1920s and 1930s were an especially fruitful time for Black dance in the United States. During the Harlem Renaissance, similar innovations in theater, music, literature, and other arts accompanied African American developments in dance. Black musical theater, derived from minstrel shows, continued to popularize and legitimize black dance traditions and black performers, as it had in the 19th century.

Outstanding performances raised professional dance standards for Blacks and whites alike. “Shuffle Along,” a landmark Broadway show created by Blacks and with an all-Black cast, was immensely popular with white audiences. Many other all-Black shows, including “Runnin’ Wild,” “Chocolate Dandies” and “Blackbirds” of 1928, also played to enthusiastic American audiences in the 1920s and 1930s. Tap combined elements of African-influenced shuffle dances, English clog dancing, and Irish jigs. Black dancers such as Bill Robinson brought the new form of respectability and popularity. Tap dancing developed further in the 1930s and 1940s when white dancers included it in motion pictures. During the 1930s and 1940s, Blacks moved into ballet and modern dance. Leading white choreographers integrated African American themes and movement styles into their dances and hired Blacks to perform them.

Also during this time, two American dancers who had been trained as anthropologists, Katherine Dunham and Pearl Primus made immeasurable contributions to African-influenced dance based on their research done in Africa and the Caribbean. These dances fascinated audiences with their use of freely moving torsos, rhythmic vitality, native-influenced costumes, and highly energetic and enthusiastic performers. The Lester Horton Dance Theater and the Alvin Ailey American Dance Theater contributed significantly to modern dance. Other prominent Black choreographers and artistic directors include Donald McKayle, Debbie Allen, Talley Beatty, Garth Fagan, Bill T. Jones, and Joel Hall, Virginia Johnson, Robert Battle, and others.

In recent years, several regional modern dance companies have been rich in innovations as well as connections with the past. The definition of dance has broadened to include the urban black dance forms of break dancing and hip-hop, which have been recognized for their artistry and expressiveness. All-female companies such as Urban Bush Women have been formed, as has a company devoted exclusively to hip-hop dance, The Pure Movement Dance Company. Tap dance found a new audience. Female tap dancers, who once danced in relative obscurity, have also achieved recognition and encouragement. They bring to light the legacy of women who have matched male tap dancers step for step. Dance created and performed by African Americans has become a permanent part of American dance. Contemporary dance companies founded by Blacks tour both nationally and internationally. These groups include the African American Dance Ensemble, Kan Kouran West African Dance Company, Ko-Thi Dance Company, Dinizulu, and His African Dancers, Drummers, and Singers; and Muntu Dance Theater.

Reference:
The African American Desk Reference
Schomburg Center for Research in Black Culture
Copyright 1999 The Stonesong Press Inc. and
The New York Public Library, John Wiley & Sons, Inc. Pub.
ISBN 0-471-23924-0

To become a Dancer

Reference:

BHM.org

New Poem Each Day

Let the knowing speak Let the oppressed tell of their sorrows, Of their salt and boundless grief. Since even the wise and the brave Must wonder, and the creeping mist Of doubt, creep... ADJURATION by Charles Enoch Wheeler.

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003 Balls and traditions. Interesting facts

Ball, ball, ball!!!

Ball is always a holiday. Bright, colorful, sparkling, cheerful. And this holiday has always been desired and loved in Russia.

Balls were given all year round, but the season began in late autumn and continued throughout the winter. Often in one evening I had to attend two or three balls, which required considerable strength, besides, many balls ended in the morning, and the next day it was necessary to make visits and prepare for the upcoming amusements.

Balls and masquerade balls were divided into class, professional, age categories, timed to coincide with special celebrations, and were court, public, private, merchant, wedding, children's ...

Balls of the Noble Assembly, balls of artists and balls held foreign embassies, merchant balls.

History of balls in Russia

The first ball in Russia took place in Moscow at the wedding of False Dmitry and Marina Mnishek.
Peter I resumed the balls, and since then they have become loved and revered both in the capitals and in the provinces of the Russian Empire.
Peter's assemblies became the prototype of future balls. The assemblies were gatherings with dances. Assemblies began to be held in St. Petersburg and Moscow as early as 1717 in the homes of the Russian nobility.

Assemblies served not only as a means of entertainment - "for fun", but also a place "for reasoning and friendly conversations."

Then, during the reign of Anna Ioannovna, Elizabeth Petrovna and Catherine II, assemblies completely supplanted balls and masquerade balls.

A ball is a solemn public or secular event, the main component of which is a dance program.

Therefore, since the 18th century, dance has become a compulsory subject in all higher and secondary educational institutions, schools and boarding schools. It was studied at the royal lyceum and at modest vocational and commercial schools, at the gymnasium and at the cadet school.

In Russia, they not only perfectly knew all the latest and old ballroom dances, but also knew how to perfectly perform them. The dance culture of Russia in the 19th century stood at a high level.

Ballroom dress code

The ball has its own ceremonial and rules of conduct, which makes it so majestic and luxurious. All this allowed to maintain sophistication and attractiveness.

It was customary to come to the ball dressed smartly. Cavaliers - in a tailcoat pair, tuxedo or suit (depending on specific requirements and conditions), white shirt and vest. By the way, tailcoats were of different colors, only by the end of the 30s of the XIX century the fashion for black was established.

White gloves were an obligatory item of clothing for gentlemen. The civilians wore kid gloves, and the military wore suede gloves.
Moreover, according to the rules, the lady had every right to refuse the gentleman without gloves. Therefore, it was better to come to the ball in black gloves than no gloves at all.

Civilian gentlemen's costumes depended little on fashion and were recommended to be sewn in classical forms.

The military came in full dress uniforms corresponding to their regiments.

Cavaliers came to the ball in boots. Ballroom boots were also worn by the military, and only uhlans were allowed to wear boots. The presence of spurs was not approved. The fact is that the spurs tore the dresses during the dance. But some lancers broke this rule for the sake of panache.

Ladies and girls dressed in fashionable dresses. As a rule, the dress was sewn for one ball and only in extreme cases was used twice.

Ladies could choose any color for the dress, unless otherwise specified. For example, on January 24, 1888, an emerald ball was held in St. Petersburg, at which all those present were dressed in the appropriate color.

Dresses for girls were made in white or pastel colors - blue, pink and ivory, that is, the color of "ivory".

Matching gloves or white gloves were matched with the dress. By the way, wearing rings over gloves was considered bad manners. Even more interesting facts can be found in the historical park "Russia-My History".

Ladies could adorn themselves with a headdress.

The girls were encouraged to have a modest hairstyle. But in any case, the neck had to be open.

The cut of ball gowns depended on fashion, but one thing remained unchanged in it - open neck and shoulders.

With such a cut of the dress, neither a lady nor a girl could appear in the world without jewelry around the neck - a chain with a pendant or a necklace. That is, something had to be worn necessarily.

Ladies' jewelry could be any - the main thing is that they were chosen with taste. Girls were supposed to appear at balls with a minimum amount of jewelry, for example, with a pendant around their neck or a modest bracelet.

An important component of the ladies' ball costume was the fan, which served not so much to create a fresh breath, but as a language of communication, now almost lost.

Recovering to the ball, the lady took with her a ball book - carne or agenda - where, opposite the list of dances, she entered the names of gentlemen who wanted to dance this or that dance with her. Sometimes the reverse side of the fan could be used instead of the agend. It was considered excessive coquetry to brag about your completed agenda, especially to those ladies who were rarely invited.

Rules of conduct at the ball

By accepting the invitation to come to the ball, everyone thus assumed the obligation to dance. Refusing to participate in dances, as well as showing dissatisfaction or making it clear to a partner that you dance with him only out of necessity, was considered a sign of bad taste. And vice versa, it was considered a sign of good education at the ball to dance with pleasure and without coercion, regardless of the partner and his talents.

At a ball, more than at any other social event, a cheerful and amiable expression is appropriate. To show at the ball that you are not in a good mood or are dissatisfied with something is inappropriate and impolite in relation to those having fun.
Starting conversations with acquaintances before paying tribute to the owners was considered indecent. At the same time, not greeting acquaintances (even with a nod of the head) was also unacceptable.

There was a special culture of invitation to dance at the balls. An invitation to a dance was allowed in advance, both before the ball itself and at the ball. At the same time, it was considered impolite if a lady arrived at the ball promising more than the first three dances in advance.

In the ballroom, order and dancing are supervised by the ball steward.
During the ball, gentlemen should monitor the comfort and convenience of the ladies: bring drinks, offer help. The gentleman had to make sure that his lady was not bored.
Talking at a ball is certainly permissible. At the same time, it is not recommended to touch on complex and serious topics, as well as to gather a large company around you.

Buffoonery is not appropriate at balls. Even gentlemen who have a too cheerful disposition are advised to behave with dignity at the ball. Quarrels and quarrels between gentlemen are highly discouraged during the ball, but if disagreements arise, then it is recommended to resolve them outside the dance hall. Ladies are the main decoration of any ball. Therefore, it behooves them to behave affably and nicely. Loud laughter, slander, bad humor can cause disapproval of a decent society. The behavior of the ladies at the ball should be distinguished by modesty, the expression of extreme sympathy for any gentleman can give rise to condemnation.

Most of all, any manifestations of jealousy on the part of ladies and gentlemen are inappropriate at the ball. On the other hand, immodest looks and defiant behavior that provokes other participants in the ball are also unacceptable.

Dancing

According to the rules, the gentleman began the invitation to dance with the hostess of the house, then all her relatives followed, and only then it was the turn to dance with their familiar ladies.

At the beginning of the 19th century, the ball opened with a polonaise, where in the first pair the host walked with the most honored guest, in the second pair - the hostess with the most honored guest.
At the end of the 19th century, the ball began with a waltz, but court, children's and merchant balls opened with a majestic polonaise.

During the 19th century, the number of dances that a gentleman could dance with one lady during a ball changed. So at the beginning of the century this number was equal to one, and already in the 1880s two or three dances were allowed, not following one after another in a row. Only the bride and groom could dance more than three dances. If the gentleman insisted on more than expected number of dances, the lady refused, not wanting to compromise herself.

During the dance, the gentleman entertained the lady with light secular conversation, while the lady answered modestly and laconic.
The cavalier's duties also included preventing collisions with other couples and preventing his lady from falling.

At the end of the dance, the gentleman asked the lady where to take her: to the buffet or to the place where he took her from. After exchanging mutual bows, the gentleman either left, or could remain next to the lady and continue the conversation for some time.

How to dance like a black