How to dance like a dancer

The Ultimate Beginner Dance Guide

Do you want to be a good dancer? Well, you've come to the right place.

STEEZY has organized this guide to being a good dancer into 16 steps:

Get inspired
Warm up and stretch
Study music
Learn basics and grooves
Take dance classes
Train technique and execution
Learn to dance with feeling
Explore through freestyle
Create choreography
Find what makes you unique
Stay growth-minded
Kill it on stage
Become a leader
Collaborate with others
Share your work
Take care of your body

Keep reading to see how you can become a good dancer – starting today.

P.S. Ready to start dancing now – like RIGHT NOW? Head on over to STEEZY Studio: the best place to take dance classes online.

We have a 10-day "Intro to Dance" program that's designed to get you moving and grooving, step-by-step, so you can get down in any social setting and lay the foundation for any other type of dancing you wanna do.

Click here to take the first four days for free!

1. Get inspired

Whether it's your first week or 10th year of dancing, the key to being a good dancer is wanting to be a good dancer. Remind yourself why you think dancing is fun or cool in the first place!

This "why" is gonna keep you going in the times you feel defeated or lazy.

Feed your inspiration by watching dance videos, talking to your dance friends, going to dance shows – whatever makes you feel that spark again.

2. Warm up and stretch

Before you start dancing, you need to make sure your body is ready for it! Because trying to dance when your body’s cold and stiff is no fun.

Pulling a muscle and sitting out is even less fun. And getting seriously injured is no fun at all.

Warming up and stretching before you dance will help you move with wider range of motion and more control, and help prevent injuries.

Follow these diagrams for an easy, quick daily stretch routine: Do These Stretches To Help You Dance Better (And Stay Injury-Free!)

‍And watch this video on how dancers should and shouldn't stretch:

3. Study music

Training your body is just one part of becoming a good dancer. Studying music will to give you a much, MUCH better understanding of how dance to it.

Dance is, after all, your body becoming a physical representation of the way that music sounds. Those dancers that you watch that somehow become the music?

They do this by first understanding the sounds mentally. Read this to study dance musicality: What Is Dance Musicality?

And watch this video to learn how to count like a dancer:

4. Learn basics and grooves

Narrow down the styles you want to learn, and focus on the foundational movements of that style. Something that all dance styles have in common is a groove.

You probably groove all the time already! Do you bob your head while listening to music in the car? Do you go to the club and sway side to side to the beat?

Those are all grooves! Of course, there are so many different grooves – some have official names and techniques that you can learn.

Bianca Vallar teaches tons of easy Hip-Hop-influenced grooves in her "Intro to Dance" program on STEEZY Studio.

Practicing grooves and getting comfortable with how your body moves will make you look better dancing in class, at a performance, anywhere.

Carlo Darang talks about grooving and loosening up:

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5. Take dance classes

Taking classes at a studio is a great way to learn choreography, practice performing, and meet new dancer friends! Not sure how to find one?

Use this guide for How To Take a Dance Class.

And if you're not quite ready to head to an IRL dance studio, try taking online dance classes, right at home.

In this video, professional dancer Alexander Chung shows you how to do just that:

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6. Train technique and execution

Techniques and foundation are the ABC's of all movements.

Drilling techniques will ingrain that movement into your muscle memory, so you can just do those without thinking.

For example, doing Popping exercises will train your control, power, and understanding of your muscle groups.

Learning House steps will make you more comfortable with your footwork.

Ballet can train, well, pretty much every part of your body.

Whatever the style, focus on the elementary techniques first using this easy-to-follow training method:

7. Learn to move with feeling

Executing movement the way you want has a lot of different parts.

There are the technical parts (which you'll master through learning the basics of a dance style and taking lots of classes) and the artistic parts (which you'll learn by connecting to the music and finding ways to convey the feeling of a sound).

While it's important to start your dance training by learning the more technical building blocks that you'll need to move your body in a way that looks cool, confident, and relaxed, the next phase of your training should be focused on becoming THAT dancer –

The person who walks onto the dance floor or stage and makes EVERYONE think: wow, they don't dance to the music. They become the music.

To do this, you'll need to learn all about texture, which is how dancers describe how sounds feel.

For example, the sound of a cymbal being struck might feel sharp and sudden.

Or the sound of a bass note might feel intense and deep, like a boom that reverberates through your chest.

So when you hear a cymbal you might dance sharp and fast.

When you hear a bass, you might use heavy, grounded movements.

Learn more about texture in this video!

8. Explore through freestyle dancing

Freestyling is a great way to practice your fundamentals, get in touch with the music, and to explore the ways your body wants to move.

‍Here's a more comprehensive guide on freestyling: How To Freestyle Dance

‍If you feel insecure about your freestyling, then watch this video:

‍

9. Create choreography

Making choreography is a great way to challenge yourself as a dancer.

You'll be pushed to come up with creative new moves, freestyle, and pay attention to music in ways you never did before.

Never made a piece before? We got you: How To Choreograph A Dance In 6 Simple Steps

‍Watch this video when you get stuck:

10. Find what makes you unique

The most captivating dancers are the ones who have found their own voice and learned to use it.

Think about your music tastes, develop your natural groove, embrace those weird poses your body comes up with.

Your unique style won’t just make you a better dancer, it’ll make you the best dancer you can be.

11. Stay growth-minded

Don't pigeon-hole yourself into a "type" of dancer. Let yourself explore all different kinds of dance, let yourself fail, let yourself keep striving for growth.

Read tips on becoming growth-focused! 5 Ways Your MINDSET Is Holding You Back As A Dancer (And How To Change It!)

‍If you’re constantly growing, even in baby steps, you’ll soon be at a level you never thought possible.

So keep growing, keep changing, keep evolving – one day at a time.

‍Scared of judgement from others? Watch this video:

12. Kill it on stage

Dance is a performance art – so being a great dancer means that you know how to kill it on stage.

The next time you're at a show or competition, or filming a video, bring out your best performance.

Try these tips: 7 Easy Ways To Kill It On Stage

‍Make sure all eyes are on you.

Read: How To Dance Bigger, Stronger, And More Full Out

13. Become a leader

If you want a push yourself even further, then consider being a captain or director of your dance team.

Not only will being a leader teach you management and communication skills, it's an opportunity to give back to a team and community that gives you so many opportunities.

It all starts with the 'why.'

Write your team's mission statement the help of the pioneers: Dance Leadership Tools From Arnel Calvario And Anna Sarao

14. Collaborate with others

We’re blessed to be surrounded by talented, passionate, like-minded individuals in our community.

Share the love by collaborating with other dancers – this can mean working together to create a piece, host a workshop, whatever!

‍Tips on joint choreography creation! How To Collab With Someone To Make A Piece

15. Share your work

It's not about the video. out.

Power, facials, energy – everything .You probably can name a few dancers who “go awff.” You’re blown away by them every time they perform.

Well, we’re here to tell you that YOU can train to dance bigger, stronger, and more full-out, too! Follow these 9 tips to take your energy from 0 to 100!

Strengthen up!

You don’t necessarily have to get HUGE in order to dance huge.

Size is not a determining factor in how powerfully you can execute. (I mean, have you seen Sorah dance?!)

What is necessary is strength.

Work out to give yourself more power and control when you dance. #Gainz, breh.

You don’t dance big by being big. You dance big by being strong.

So lift some weights, do some push-ups, hold some planks, and build your strength!

Stretch it out

You can dance bigger by filling out each movement completely.

This means using your body’s full range of motion.

Make this easier by stretching regularly.

It’s best to warm up your body with some cardio before you dance, then do a longer stretching routine afterwards.

Being more flexible will set start and end points of your movements further apart, making your movements larger.

See Related Video: Stretching For Dancers | Dancers IRL | STEEZY Original

Practice like you’re performing

“Under pressure, you don’t rise to the occasion, you sink to the level of your training. That’s why we train so hard.”

– U.S. Navy

What the U.S. Navy is saying is – practice like you’re performing.

Once you get on stage (or even in groups) there is no magic dance God that takes over, making you kill the piece...

If you’ve been half-@$$ing it the whole time while learning.

So when you mark a piece, still maintain the execution that you want.

The only reason you’re not giving full power would be to pay more attention to something else, like watching the choreographer, listening to the music, or looking around to set formations.

But if you’re doing a run-through of the piece, take advantage of each chance you have to do it exactly how you want it to look.

Use your core!

It may surprise you, but movement starts from your core.

Even if it’s your arm or neck – it all comes from the tumtumz.

For example, when you're reaching with your arm, you can extend that reach by reaching from the shoulder.

And you can extend that reach by shifting your torso toward the direction of the reach.

So if you want to dance bigger and more powerfully without looking sloppy, tighten your core!

Not only will it make your movements bigger, but they will also be more strong because the base of your movement is so firmly rooted.

See Related Article: How To Execute Choreography Better By Using Your Body

Don’t flick da wrists

Even if you are dancing super big and strong, the effect can get lost by something really really small. .. like limp wrists.

This is a habit that a lot of dancers have. Their arms make clean pictures… then it breaks right at the wrists! Ughh.

To combat this, channel your energy allll way through your fingertips!

This will ensure that your strength is being distributed in your whole arm without interruption.

And this will make your movements look bigger and more complete.

Focus on focus

Your head and eyes are a part of the picture you’re making with your body, too! Really important parts!

Not only can it look awkward if you’re constantly looking down or at the mirror, but it will also cut off your projection.

And dancing BIG is all about projecting UP AND OUT.

Lift your chin up – especially if you’re performing for a bigger audience.

And if the movements in a piece call for you to look a certain direction, commit to it!

This doesn’t mean “look with your eyeballs.” It means “look with your whole face.”

It will make the move looks more natural, and it will help guide whoever’s watching.

The audience looks at what you look at.

If you’re reaching to the right and looking right at your arm, their focus will follow yours instead of watching you from straight ahead and noticing a single arm sticking out.

Wear loose-fitting clothes

Although it has been consistently over 80 degrees in Los Angeles, you’ll never see me dancing in a tank top.

I prefer to dance in loose-fitting long sleeves.

It’s not because I enjoy sweating, but because it really does help create the illusion of bigger movement.

Our fashion trends have evolved over the years. We went from Wal-Mart sweats and giant cut-out tees to compression pants, leggings, and sports bras.

And there’s nothing wrong with that!

But it still feels so good to just put on a huge sweater or baggy sweats and go HAM with all that extra fabric to add extra effect. HIP HOP.

Remember your dead limbs

When you’re dancing, your entire body is dancing. What does that mean?

Even if you’re isolating one body part and the rest of your body is stationary, that doesn’t mean you just forget about it your “unmoving” parts of your body.

For example, for a “right arm iso” move, I find myself putting all my strength into my right arm, while my left arm just flippity flops all over the darn place.

Dead and floppy limbs can distract people from what you actually want them to see.

Instead of paying attention to select body parts, create a whole picture with your whole body – including the “dead” parts of it!

This will make your movements look bigger and be more impactful!

Commit to your moves

Committing to your movements makes a huge difference in your performance. It makes everything more purposeful, effective, and entertaining.

But commitment is hard without confidence. Killin’ a piece first requires for you to believe that you can!

See Related Article: How To Dance With More Confidence

Put on your game face, crack your knuckles, give yourself a pep talk, and KILL IT!

We hope this helped you get an edge on your full-out training grind! We can’t wait to see you go awff in the next class.

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

Dances

Author: Pavel Gather
Psychologist, Lecturer Salsa and Tango

Dances

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. nine0003

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. nine0003

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). nine0003

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. nine0007

Tango Z. Showreel.

Online modern tango courses

Tango nuevo is the most advanced version of tango. We can quickly learn to dance from zero to a steep level.

View details

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”. nine0003

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. nine0003

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. nine0003

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

Dominican Bachata Women's Style Online Course

Want to learn how to hypnotize those around you with the most appetizing part of your body? On the course we will tell you all the secrets.

Interesting

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. nine0003

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. nine0003

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. nine0003

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. nine0003

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. nine0003

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. nine0007

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. nine0003

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. nine0003

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. nine0007

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. nine0003

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. nineOl000 Dangerous sexuality

Salsa: destroyers of stereotypes

Couple dancing as a source of strength.

Self-destruction of the couple dance community

The Salsa series as a mirror of the community

Mamita Fridays: salsa, bachata

Destroying the myths about leading pair dances

Does dancing make us better?

The seven deadly sins of teachers

Why we will never dance bachata like the Dominicans

Why tango?

Dispute over musicality

Selection of dances according to alcohol preferences

Where to find inspiration for dancing? nine0003

Terrible tango nuevo

Distribution of roles in a salsa party

Argentinean tango through the eyes of a salsa dancer

Is there a predisposition to dancing?

Which is more effective: individual or group lessons?

Sexual overtones in partner dancing

I want to dance. 10 misconceptions about dancing

The desire to learn to dance is natural and natural in the modern world. You can list the reasons, starting with obvious and popular pragmatic desires, for example, to start moving or losing weight, ending with unconscious and even existential ones. nine0003

This is due to the fact that dancing is at the subtle intersection of the inner and outer worlds, physical and spiritual. Above this, music becomes a driver that cannot leave anyone indifferent.

In dancing there is magic inside a person, which is not always noticeable when observed from the side. At the initial stage, it is the external picture that attracts to dances, and sometimes repels, as it seems too frivolous and superficial.

But there are even stronger obstacles that stop many people from starting dancing. These illusions and delusions roam the minds of the majority, and are often afraid to ask about them directly, or they ask the question about it so often that they are no longer ready to hear an honest direct answer. I will try to do it in this article. nine0003

There are many examples of contemporary dance educators sharing their thoughts about not expecting to be in the dance industry. Once upon a time there was a man and was engaged in adult, serious business. Sometimes even very serious. A person could have children and even grandchildren. I saw dances only on stage or on TV. For reasons unknown to himself, he ended up in dances. At first, everything seemed like entertainment and a useful pastime. But time has passed, and a person catches himself thinking that he thinks about dancing not just every day, but really all the time. A couple of years pass, and he already becomes a teacher or organizer of some event. nine0003

A similar path can start at 15 or 55 years old. The only difference will be in the self-perception of the starting stage, that it’s too late to dance. In fact, for each age there is its own dance direction, which can reveal it to the greatest extent at this stage. Hip-hop or breaking is closer to children and teenagers, and Argentine tango is closer to adults. It's never too late to start dancing. You need to make the right choice of dance style based on several parameters: age, gender, music, goal. There is a dance direction for any arrangement. nine0235

Misconception 2: men don't dance

Our culture has a number of restrictions related to dancing. Most of these causes are psychological and lie outside the realm of rational reasoning.

First, in our culture, in principle, dancing for pleasure or self-expression appeared relatively recently. 20-30 years ago dance clubs were only for children. To start dancing even in adolescence was considered exotic.

Secondly, the aesthetics of the body in our country for men is not in the focus of attention. In general, this can be attributed to the fact that Russian men try hard not to draw attention to their appearance and clothing. Men in our country use other tools for this. nine0003

Third, dancing is associated with entertainment and alcohol. If a man feels serious and respectable, then he either does not have time or desire for this.

Nowadays the general cultural background has changed and the result is that men are learning to dance. It becomes as much a sign of masculinity as clothing, hair or beard.

Unfortunately, many misconceptions remain even among those who have already started dancing. Dance teachers do not always pay attention to this, as it seems to them that this is a matter of course. nine0003

Fallacy 3: special training is needed

For an outside observer, there is always a cognitive dissonance about what dance is. What he sees on the big stage in the form of a show with sweeping movements and splits is obviously dancing. Breakers doing unimaginable elements in the air and on their hands, competing with each other, also seem to be dancing. Pensioners in the park waltz. Dancing again, but for some reason everyone is so different. How to understand that this is a dance, and what physical criteria should be in the body. nine0003

In fact, any self-expression through the body to music can be attributed to dance. There are a number of reservations, but they are not essential. For self-expression, a person uses the set of plastics that he has. Subtlety and technique do not depend on extreme ways of self-expression, and it often happens that splits and somersaults interfere with a meaningful dance. The development of plasticity and the expansion of the body's capabilities are part of the preparation of the dancer, but not an end in itself.

Misconception 4: You must learn to dance in pairs

In couple dancing, the final learning outcome is that the couple dances at a party. It would seem that you should always train together to get the desired result. This is not true. Let's take an example from boxing. An indicator of a boxer's skill is a fight with an opponent, but this does not mean that he constantly has to fight. Also, the ability to dance is built on the possession of one's own body and the ability to interact.

The skill of the teacher is the correct selection of methods so that the student masters the skill. Based on the skill, you can engage in creativity and self-expression in dance. Not everyone knows, but it is no coincidence that almost all social dance dancers have a serious dance background, which is based on the development of individual techniques. nine0003

The same can be attributed to the interaction in a pair. The ability to separate in oneself the one who leads and the one who follows the lead is impossible within the framework of studying the sequence of movements in pairs. For this, there are special exercises that make the skill more versatile. For this, the presence of a permanent couple is not necessary, as well as the regular presence of a partner in general.

IMPORTANT! You can’t experiment at a party, and everything should be in its place there: men dance with women. nine0003

Getting rid of illusions is a complex internal process. If you leave them to yourself, you can even get the opposite result.

Misconception 5: plastique and stretching are obligatory attributes of dance

Much depends on the genre of dance that you want to master. In previous articles, I have already mentioned that different dance styles are suitable for different ages. It is appropriate to dance hip-hop in adolescence or youth, Argentine tango is a more adult dance, it is important to enter classical choreography at a young age. nine0003

The degree of necessary plasticity and sensitivity to the dance direction also correlates. For example, breaking requires great physical effort and dexterity. Elements are built on acrobatics and high speed of execution. Who are they more suitable for? Obviously young people.

There is a lot of interaction in salsa. It is necessary to feel the partner subtly, to be able to show a variety of figures and elements. Twine or acrobatics are completely inappropriate here. However, a variety of ways to show oneself are required. Accordingly, the dance is youthful, but not at all childish. nine0003

The older the dance, the less stretching or acrobatics is required. The main emphasis is on the quality of technology, the variety of ideas and the ability to show plasticity.

Misconception 6: Mirrors are necessary for learning

There is a set of instruments that dancers use to learn how to dance. The fact is that the dancer needs to receive feedback on how his movements look from the side. It is impossible to dance and see yourself from the side at the same time. The most common tool is a mirror. But not the only one. nine0003

Like any auxiliary tool, mirrors have positive and negative effects. The positive is that they can receive feedback in real time and technically it is not very difficult. The downside can be dependence on mirrors. A situation where a dancer cannot capture the feeling of dancing, such as on stage or at a party. For these purposes, you can use, among other things, video filming or proper preparation.

In many countries in Latin America, dance classrooms are not equipped with mirrors. Classes are held in bars or large halls. The dancers initially form the skill of focusing on the inner sensation, and not the habit of looking for their reflection in the mirror with their eyes. nine0003

Misconception 7: there is a lot of obsceneness in dancing

A common question from novice dancers who are taking their first steps in more contact couple dances is “in order to dance cool, there must be passion inside the couple?”. I immediately answer that no, not necessarily. Kizomba, bachata and Argentine tango attract many with their close contact. Like any other contact in our everyday life, in dances, contact can be different. We hug friends, parents, children. These hugs can wear many different shades. Sexual overtones are one of many. nine0003

The culture of dance also includes the boundaries of what is acceptable. A compliment from a well-mannered person is different from a statement about female sexuality by a gopnik. Usually, those who study at a dance school already have an idea of what boundaries should not be crossed. A good dance from a technical point of view will never look vulgar or vulgar.
Dancers always have a choice about the boundaries of contact. Most prefer to leave a good impression of themselves, as word spreads just as fast in the dance world. nine0003

Misconception 8: the best dancers are the bearers of culture

Even the very question of the origin of a particular dance can be paradoxical and ambiguous, especially when it comes to its development and performance.

For example, the Viennese waltz did not originate in Vienna, but in Germany. Salsa has its main roots in the USA, not in Cuba. The famous Greek folk dance sirtaki was invented for the film "Zorba the Greek" and appeared only in 1964.

The same can be attributed to the development of modern dance styles. Korea is known for its world-leading break dancers. People go to Turkey for Argentine tango, Spain is strong with excellent salsa and bachata dancers, in Egypt, Russians are considered the best belly-dance performers. nine0003

A good dance is based on quality training and diligence. Skin color, place of birth and age are secondary. Exotic appearance, unfortunately, is often a reason to be more superficial about one's own professional development. This becomes the reason for the low level of teaching among the bearers of culture. I am sure that few readers of this post will be ready to conduct a master class in Russian folk dance outside of Russia.

The mastery of mastering and teaching a particular style does not depend on the dancer's homeland. And "they absorbed the dance with their mother's milk" is nothing more than a common misconception. nine0003

Misconception 9: You have to know a lot of moves to learn to dance

Focusing on learning a lot of moves often detracts from the essence of dance. Of course, the sequence of figures is important. Especially at the start. Over time, the dancer should have an understanding of how movements can be generated independently. Accordingly, instead of memorizing millions of figures, you can understand how to create them.

From every system of improvisation that a dancer can use as an instrument, dozens, hundreds or thousands of variations are derived. This frees the head from trying to reproduce the exact sequence and definitely adds freedom in the performance of the dance. nine0003

The huge theme of musicality can be attributed to the same question. Not every pre-conceived or learned sequence will fit specific music. The dance should give freedom, and not drive the dancer into the shell of the ropes.

Misconception 10: dancing is homosexual

The unusually high attention to the body and the flair from stories about professional ballet led to the spread of this myth, among other things. Unfortunately, such an idea still exists in the minds of our fellow citizens. nine0003

The dance industry is now very broad and is represented by many dance styles. Some of them can even be called homophobic. Dances reflect the general attitude to the world and it is different depending on the life position and worldview of a person.

In many dances there is contact between the dancers. In Russia, dance contact between men has always been perceived very intensely. In most other countries it is different. An example of the fact that this tension is associated only with the dance theme and does not apply to other areas is, for example, wrestling. When practicing techniques, men are in much closer contact with each other. Sometimes lying on the floor and holding each other tightly. The historical roots of Greco-Roman wrestling are also ambiguous from a sexual point of view. But in our country, unlike dance, they are perceived as acceptable and brutal. nine0003

Dance, like the culture of speech, makes a modern person more successful and self-confident. The ability to control one's body, tune in to another person and the ability to be aesthetic in the plasticity of movement is valuable in the modern world. If we add here the pleasure of the process and the availability of dance as such, then the possibilities of this activity can hardly be overestimated.

It's sad when interested people are stopped by prejudices and myths that have nothing to do with dancing.