How to dance like aaliyah
Hip Hop Dance Tutorial Aaliyah More Than A Woman
Hip Hop Dance Tutorial Aaliyah More Than A Woman
Irmana S.
Beginner
12:59
224
Views
Aaliyah "More Than A Woman" Hip Hop Dance Tutorial. In this video, Irmana will teach you her own choreography to Aaliyah song. The dance starts at the beginning of the song. It is a very easy choreography, complete beginner level. The entire video is mirrored (dance to the music and walk through). The video starts with the choreography to the music. After that the dance is broken down with counts. The explanation is very detailed, over 12 minutes long. Have fun and please also come to my online dance classes and check my other dance videos! Thank you! See you!
About Irmana S.
Hip Hop teacher and choreographer with over 20 years of dance experience. Trained in jazz and ballet. Have been teaching hip hop for over 6 years.
Teaching Hip Hop private and in studio lessons. Private lesson is great if you want to grow faster as a dancer or if you need help with certain steps or preparing for an event, audition etc. They are also great if you want to just do one on one class to get more comfortable for group classes.
In studio classes are held in Huntington Park next to downtown LA.
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2 Reviews
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So much fun. Positive upbeat energy. I am just a beginner so this is super encouraging for my dance future
Posted Jul 7, 2022
✨Tanya✨
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I went to my first Dance group class with her and she is amazing! She is so quiet and patient and makes the steps very easy to learn! 🌈🥳
Posted Jan 18, 2022
A Look At Aaliyah’s Style & Dance Evolution – VIBE.
comHow Aaliyah Transformed From Tomboy To High-End Threads
Through an insightful conversation with Aaliyah’s stylist, Derek Lee reveals how the “I Care 4 U” singer traded in her baggy jeans for designer dresses. —Richy Rosario
Right before the world got to see the visuals for Aaliyah’s stellar “One In A Million” video, fashion stylist Derek Lee had just started working with her. Their first encounter was in 1996 for a magazine photo shoot, which according to Lee, may or may not have been for Teen Vogue. Two days later, he was back in Los Angeles from New York City to work his magic for Baby Girl’s new video. He instantly understood her, and she very much so appreciated it.
Aaliyah took her time to grow into the sex symbol she became, but still, that didn’t mean she didn’t take risks or let her team do their job. It just so happens that they did it effortlessly, cautiously and effectively on her pace.
“Derek is so dope,” Aaliyah said in a 2001 episode of MTV’s Diary, a few months before she died.
“He can find something that you never heard of, and it would just be the illest. He’s got a sixth sense of style. But he wants to please me and put me in what I’m comfortable in. He never pushes me to do something I don’t want to do.”
Her beauty was impossible, and her style was worn on a body filled so deep with natural swagger it made the ocean jealous of the seismic waves she caused when she appeared. The sunglasses, mysterious aura and dark black tresses made her irresistible. She made ambiguity a trend, and mystery a fashion statement. Her style was a fusion of femininity coupled with the hard looks that hail from the street. She sounded like an angel, yet looked like a villain.
Who wouldn’t be attracted to the girl who looked like she could kill, but still be sweet enough to sing you a lullaby? (See: “It’s Whatever”)
Watching her transform into that was just as interesting and beautiful. The hood fly girl was introduced on Age Ain’t Nothing But A Number, then on One In A Million, that same trendsetter came with a sharper, sexier edge. On her last album, Aaliyah, she no longer was a girl. Aaliyah Dana Haughton was a woman ready to take the world by storm with lace dresses, and fiery red lipstick (See: “We Need A Resolution”).
Lee was also present on the “Rock The Boat” video set, but left a day after Aaliyah and the rest of the crew did. On the subject of her passing, Derek tells VIBE over the phone, “It’s just like when you see a flower, and you see it’s about to flourish, and somebody picks it, so it can’t grow anymore. Things had the potential to be so magnificent.”
With her death we gained an angel, but we lost the burgeoning icon who possibly would be taking over the game now.
Below, the man who dressed R&B’s immortal Baby Girl shares how Aaliyah put her spin on her many fashion statements.
VIBE: Where did you draw your inspiration from when styling Aaliyah, and how did you know that she was ready for that?
Derek Lee: If you look at her, the whole thing was very street New York — she was doing the baggy stuff, but it wasn’t really the same way. I grew up in the Lower East Side, so I saw a lot of Puerto Rican girls looking like this. And it was what I liked seeing on the streets, it was what I was attracted to. I know this girl. I know how to make her hot because I see her everyday on the streets of New York.
It’s what I think is pretty about that kind of girl, she’s so beautiful and confident, that she doesn’t have to wear something tight to show her a**. More so, she’s like, ‘I know I’m hot and I got swag.’ I never pushed her to do anything specifically, although I would always bring something to push it a little bit further.
What was it like working with her? Did she have a lot of input?
When it was time to dress her it was always a collaboration. I never wanted to take what was natural for her, because she owned that persona. So I wanted it to always be natural for her and not feel forced. The only time that I’d say she needed some convincing on was in the video for “Are You That Somebody.”
That is where we did the skirt and the heels for the end of that video. I had all that stuff made, and I brought it because she was still kind of (iffy) on it, but Fatima [Robinson, choreographer] was like, ‘No, you need to do that, you got to do it.’ And she was like, ‘Okay, if you think this is the right time then let it be the right time,’ so that was the only time that she was (iffy) on something. On everything else she was more than ready to go. She was slowly morphing into that woman anyway. And I loved her, she was like my little sister. I wanted to protect her innocence as much as she did.
What was it like when you had to pull sexier clothes for her?
I knew that if she was going to wear dresses and be a little bit sexier, it was going to have to have a harder edge to it. She was very feminine and sexy, but she didn’t want that to be the only thing that was about her. When she was getting sexy, I had to pull something a little bit more masculine even if she was wearing a dress — the dress had to be so that she can flip it either way. It can be sexy, but not overtly sexy and still be hardened. Like the black dress in “We Need A Resolution” but instead of wearing it the right way we turned it backwards because it had a little bit more edge, and she rocked it that way in the way she moved. It’s all about how it made her feel.
Who were some of her favorite designers?
She loved Roberto Cavalli. I put her in a lot of Cavalli, and it was right before everybody started wearing it.
And the reason why I put her in Cavalli is because more rock people were rocking Cavalli than hip-hop people at the time. She also loved Armani — she had a very good relationship with Armani, so when it came time for award shows and serious events I would get a lot of stuff from them as well.
For the video for “Try Again” that’s where we stepped away from the Cavalli and went towards Dolce & Gabbana, because that was the hardest look around. That look still looks incredible. It was everything and she was the first one to rock anything like that. As a matter of fact, she ruined it for anyone else that tried to wear it after. Then she always used to rock her Nikes or her Timbs, that’s kind of how she rolled.
YouTubeIn what direction do you think Aaliyah was going style-wise?
I was trying to turn her into a superhero. I know it sounds strange, but I was trying to turn her into like an anime. At that point right before she passed away I started doing a lot of research in Japanese bookstores in Little Tokyo.
I was trying to take elements from that, so to me that was sexy because it was fitted but it was still hard.
It would be like fitted stuff with straps and halters — it would have been almost like a superhero character from the Marvel movies. But if she were going to an award show it would be the complete opposite. I liked the dichotomy and the contradiction of being both soft and hard, and the beauty to be able to flip it naturally.
What are some of your fondest memories of working with her?
I just remember laughing every single time that we were together cause we all enjoyed what we did. Everyone was on top of their game. And she gave us free reign to do whatever we wanted. That’s what made it amazing. I’ve never worked with anyone that’s trusted you enough to give you free reign to let you do whatever you wanted because they knew you cared about them enough. She was so loved, by myself and other people that worked with her, because she always looked out for us.
#crew … #peoples … #fam … ❤️
A photo posted by Derek Lee – Stylist (@dleestyle) on
Did you have a close relationship with her family?
Yeah definitely, everyone that worked together with her had to have a close relationship with her family. It wasn’t really an option, because it was a tight knit family and your time was limited. You had to have a tight relationship.
Are you still in communication with them now?
No, I don’t talk to them. They just kind of disappeared. For years afterwards I did, but that was when I was living in New York, but then when I left New York things kind of changed. I didn’t see them or talk to them as often. But if I did or if I do, it would be exactly the same as before.
Any special memories of the “Rock The Boat” video shoot? Was there anything they didn’t show on BET when they were filming Access Granted?
They followed us around a lot so they captured a lot.
I don’t recall if they captured us riding mopeds, but I remember renting them and riding around the island with nobody but us. There was no security; it was just us chilling. Just me, her, Eric and my tailor and we had a blast like we were just regular people. And that was the only time we had off, other than that we were working the entire time. That’s one special memory that I have.
How did you go about styling that video?
Well I always had this strong connection with dancehall. Dancehall is probably my first favorite type of music. And it was ghetto dancehall that I liked — stuff that when you went to Kingston you would see in the dancehall clubs. She had Jamaican in her as well, so she was down for whatever and plus being on an island you had lots of opportunities to go in with this Jamaican stuff. It’s probably where I drew my inspiration from. I went to a club in Kingston and all the girls just wore that. Stockings, shorts — they all looked homemade. I did all the ripping, cutting and bleaching of the jeans in the video.
I remember cutting a Coca Cola can and putting it on the top of the brim of the hat that she is rocking because that is what you would see in Jamaica. I would make stuff all the time for her. I also made little earrings to go with it, she didn’t like the earrings, and thank God she didn’t.
Where do you think her career would be now?
She was probably going towards film and TV really hard. It was her next revolutionary step; it felt like she was willing to take it at her natural pace, not trying to force it. So I think she would have been in several movies by now. She also wanted to do a clothing line. Also, she would’ve had several different businesses. I’d see her as a multi-millionaire entrepreneur, and just a well-rounded woman.
How do you feel about the way Aaliyah has inspired this generation of up and coming singers, like Tinashe and Mila J?
It’s fantastic because it shows young women that you don’t have to put all your business out there in order to be sexy.
There is an alternative to certain other styles that are out there. It’s an important image for young girls to see, because not every girl is that girl who wants to be in a dress everyday, or something of that nature. Some girls want to be comfortable, sporty, but still have their hair and nails done. That again, was a very New York thing. She was that all day, everyday. I see girls walking around like that all the time, and it makes me smile that she owns that look.
… BG Day… #Aaliyah #dleestyle #dereklee #BabyGirl #BG
A photo posted by Derek Lee – Stylist (@dleestyle) on
Subtle Sexiness And Effortless Electricity Made Aaliyah One To Watch On The Dance Floor
VIBE caught up with Aaliyah’s long-time choreographer, Fatima Robinson, to discuss how her dancing embodied some of the key attributes a dancer should have, and why it still holds merit.
—J’na Jefferson
As an entertainer, Aaliyah was able to embody so many characteristics of what people look for in a good performer. Although I was a late bloomer when it came to starting my dancing career, I can see where some of the styles of the choreographers I’ve grown up loving have a similar flair to the late musician.
A lot of times in dance, especially when it comes to the hip-hop style, choreographers looking to hire dancers usually look for those who can balance both sharpness and fluidity, while still being able to showcase their effortless musicality. Looking back on her videos like “Try Again” and “Are You That Somebody,” Aaliyah’s talent in all of those techniques of dancing are apparent, as she’s able to hit every syncopated word and beat with ease as if she’s moving on air. She also had an effortless swagger in her dancing, which I believe is something that you can’t learn in a dance class; it’s something that’s innate.
Her longtime choreographer and friend Fatima Robinson, who has also worked with The Black Eyed Peas and Mary J.
Blige, remembers Aaliyah as someone who could be perceived as shy, but came alive on the dance floor when the beat kicked in.
“Like all great artists, as soon as you put on the music she came alive because that’s what she was happiest doing,” she wrote via email. “Her musicality was great. Her instincts were right on when it came to how she interpreted the movement with her lyrics and she picked up choreography super fast.”
Another positive attribute to Aaliyah’s dancing skills, Robinson explained, was that she was able to showcase the many sides of her personality. Not only could she perform choreography in a feminine and sexy way, but she could still break it down with the boys and be smooth and cool. Her choreography mirrored the groove of the music she was putting out.
“I don’t think we really see Aaliyah’s style of choreography today,” Robinson continued. “I think choreography has become much faster and way more intricate. Aaliyah’s choreography rode the pocket of a song because that’s what her music required.”
As for the musicians who also were given the gift of dance, I believe there are a handful who possess the qualities of what it means to be an electric performer. Aaliyah’s electricity as a performer came through her ability to catch her audience’s attention through the power of subtly.
She didn’t have to use fancy bells and whistles in her videos to get your attention or death-defying stunts and explosions to get your heart racing. All it took was epic choreography that could stand the test of time, incredible beats by Timbaland and a stunning glance from her enchanting eyes that signaled that she was about to bring you what you wanted.
Today, those attributes still hold merit. Without a doubt, her skills would have resonated with music fans today because she was always on the forefront of what was “in” in music and culture.
“She was an amazing human being who had a very distinct sound and vibe to her,” remembers Robinson of her friend, whom she notes is one of the most talented artists she’s had the pleasure of working with. “She was a gentle soul and everyone will remember her angelic voice.”
Happy Birthday Pretty. Photo credit @aturnerarchives
A photo posted by FatimaRobinson (@fatima_noir) on
The Looks That Spawned A Thousand YouTube Makeup Tutorials
From ‘Queen of the Damned’ inspired makeup to a fresh palette to showcase her natural beauty, Aaliyah’s makeup artist, Eric Ferrell, discusses how the songbird became his muse.
—Richy Rosario
Aaliyah has always been a trendsetter. From her street-smart looks to her sensual lace dresses, she practically grew up in front of our eyes. Throughout the years, it was refreshing to see how much her look evolved. Makeup wise, she went from soft neutrals to hard reds and dark eye pigments. Celebrity makeup artist, Eric Ferrell, was the man responsible for her ever changing look. Since the inception of her career in 1994 with Age Ain’t Nothing But A Number, he’s been a dominant factor in her cosmetic evolution.
Ferrell remembers their initial encounter being for her first music video and photo shoot, marking the first time she got her makeup done professionally. Aaliyah wasn’t used to the professional attention that came with the territory. Hysterically dissolving into a thunderstorm of giggles on the other side of the line, Ferrell remembers the time she told him she thought he was kind of creepy for staring at her the whole duration of the shoot.
When they reconnected for a magazine shoot in Los Angeles a year or so later, Ferrell remembers Aaliyah stating, “‘I’ve never had my makeup done professionally, so when you were looking at me on set I thought you were staring at me…When I went home I told my girlfriend, ‘I don’t know but the makeup guy was kind of weird, he kept staring at me.’” He replied, “I was watching the monitor to see if your makeup was okay, to see if you needed a touch up.”
“We laughed about that until the day she died,” he continued. It was that closeness and bond that they shared that Ferrell viewed Aaliyah as a source of creativity.
Tbt givin babygirl a touch up on the set of “Try Again”
A photo posted by Eric Ferrell makeup and hair (@ericferrellmakeup) on
“I was so inspired by her that I would just call her my muse,” Ferrell says matter of factly.
“I would have ideas and they would just pop into my head. And a lot of times I would have dreams. I got frustrated because sometimes you don’t remember your dreams, so I would wake up in the middle of the night and jot down something on a sketchpad that would help me remember.”
That innate instinct for making the late R&B superstar beautiful is what made her, in a sense, trust him with whatever he wanted to try — and then some. For every look he would present to her, she added a different twist to it. Ferrell says she was fearless and wasn’t scared to try something out of the box, no matter where it came from. “The whole look we did for the ‘We Need A Resolution’ video came from stuff that I saw on the runway from Alexander McQueen and John Galliano,” he recalls. “Every idea I brought to her, she was like, ‘Well why don’t we do this too?’”
Tbt we had so much fun makin this video she allowed me 2 experiment luv n miss u babygirl#Aaliyah#Paul Hunter#Eric Foreman#Derrick Lee
A photo posted by Eric Ferrell makeup and hair (@ericferrellmakeup) on
Aaliyah’s extreme loyalty to her team often times clashed with the label.
When photographers, magazine editors or video directors didn’t want to use her people, she wouldn’t oblige. It was all or nothing. Usually when pop stars start climbing the ladder, European glam squads and more elite publications start knocking on their doors. “I appreciate that because we were the ones that elevated her image to the point where those types of people started paying attention,” he says of her faithfulness to them.
But before the world started seeing Aaliyah’s style mature into the sexy young woman she was at the point of her untimely death, Ferrell notes she really took her time to turn up the heat when it came to her style choices. Instead of sporting skintight, revealing ensembles, she chose loose fitting, practical street garb. Bandanas, dark sunglasses, baggy pants and over flowing jackets concealed the beautiful, sexy young girl that lied beneath. It was like she was an enigma everyone wanted to come undone, and a mystery only those close to her could solve. Ferrell remembers she was obsessed with MAC’s Paramount lipstick, and had an affinity for dark mysterious things.
Her favorite makeup looks were the deep smoky-eye for the “Try Again” and “We Need A Resolution” videos. “I think she really liked that because it was smoldery, sexy and a little bit dark,” he says. “And a little bit dangerous. I remember she said, ‘I feel like guys are going to look at this and say I want to go towards you but then I am afraid,’” adding that, “She liked the power of a woman. She liked to be powerful.”
Tbt after the shoot baby girl gave me the Christian Dior shades she’s wearing and I still have them!
A photo posted by Eric Ferrell makeup and hair (@ericferrellmakeup) on
Besides being heavily involved in her work, she was a huge practical joker. He recalls a time when she and her then-boyfriend Damon Dash got into a fake heated argument in a hotel room just to scare him. While tiptoeing to the phone to call the hotel concierge for assistance, Ferrell remembers suddenly seeing “two little heads pop up laughing.
” She also used to refer to her hair stylist Eric Foreman (who also died in the plane crash), as “chocolate pudding, because he had this big head with no hair on his head. And has brown skin and he looked like a bowl of pudding,” he says laughing.
Overall, they were all like family. Derek Lee (stylist), Foreman and Ferrell were all really close to her and her family. It was pivotal for anyone that was going to work with her. In a twisted turn of events, Ferrell was supposed to be on the set of “Rock The Boat” in the Bahamas, but he couldn’t make it because he was on tour with Macy Gray. Instead, his best friend and fellow makeup artist Christopher Maldonado was there, and sadly lost his life in the plane crash.
The world always questions how big Aaliyah would be today if she were still alive. In 2001, she was at the top of her game starring in movies like Queen of the Dammed, Romeo Must Die and releasing her self-titled album with hits like “Rock The Boat” and “It’s Whatever” (a slept-on gem in her catalogue).
Joel Silver, the producer who cast her in Romeo Must Die was also ready to cook up a storm. According to Ferrell, he was slated to create an animated superhero series starring her based on the images you see in the beginning of the “More Than A Woman” video, which was directed by Dave Meyers.
Underneath her insular and private- yet-alluring persona was a young woman ready to take over the world. “She never wanted to be damsel in distress,” Ferrell affirms. “She wanted to be the superhero.”
TBT my client my sister my friend I love you always
A photo posted by Eric Ferrell makeup and hair (@ericferrellmakeup) on
Aliya, Belly dance teacher - reviews, prices
Belly dance teacher
Contact phone: +7 (495) 686 - Show+7 (495) 686 - Show
Receives at:
Dofine (Daufine)
Development Center
m.
VDNH
Organization telephone: +7 (495) 686 - Show+7 (495) 686 - Show
Services and prices Reviews
Aliya is a practitioner coach in the city of Moscow.
Provides dance and belly dancing services.
Works in club Dofine (Dauphiné) at Moscow, Zvezdny Boulevard, 1, Alekseevsky district, not far from the metro station VDNKh (600m).
Appointments can be made by phone club +7 (495) 686 - Show+7 (495) 686 - Show.
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Dance is an art form in which artistic images are created through plastic movements and rhythmically clear and continuous change of expressive positions of the human body.
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Dance is inextricably linked with music, the emotional and figurative content of which is embodied in its choreographic composition, movements, figures.
Dance existed and exists in the cultural traditions of all human societies. Over the long history of mankind, it has changed, reflecting cultural development. There is a huge variety of types, styles and forms of dance.
Dance is used as a way of self-expression, social communication, for religious purposes, as a competitive sport, as an exemplary art form. ...
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Bellydance
Belly dance (from English belly dance) is a Western name for a dance technique common in the Middle East and Arab countries. The peculiarity of oriental belly dance is in its plasticity.
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BellyDance is one of the most captivating shows that combines rhythm and plasticity, grace and sexuality. ...
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Aliya Lenivets // Cutlets for Pumpkin
Aliya Lenivets . Born in the Astrakhan region in 1985.
She graduated from the magistracy of the Astrakhan State University and the postgraduate studies of the Tver State University (Department of the History of Russian Literature). She worked as a museum worker, gallery owner, librarian, copywriter... In 2018, she began writing reviews of poetry collections and fiction. Book reviews and reviews have been published in the magazines Znamya, Friendship of Peoples, Volga and other publications. Finalist of the Frantic Vissarion Award (2019)). In the summer of 2022, she began to write miniatures, stories and fairy tales for children.
Editor's Note
Aliya makes her debut with fairy tales for children. In tiny stories, she creates a tangible, sensual magical world. Through the looking glass, princes on donkeys, talking buttons are magically woven into the reality that you believe in and live with the characters. Light, almost weightless language and subtly noticed details give the texts volume and depth.
Aliya Lenivets // Formaslov
Dance lesson
“One, two, three, four… Rhythm, keep the rhythm,” Evelina Viktorovna’s ringing voice vibrated in Varya’s ears. - Right. Hands, hands up. Back, three, four, turn. Tempo, pick up the pace. Belova! Legs, watch your sausages!
The quiet giggling of the girls, merging with the music, burst into an avalanche of laughter.
— Stop! You can’t dance with such rolling pins, but you need to crush potatoes for the whole company. But you can’t go into the kitchen either, you won’t leave a living place there, ”Evelina Viktorovna seemed to think. - What to do with you, Belova? Why are you keeping silent?! I'm talking to you, Barbara!
Little Varya with short dark disheveled hair looked like a fragile, not yet fledged crow that had accidentally fallen out of its nest. She batted her eyelashes defenselessly, trying to wipe away stubborn tears.
- Since you are silent, Belova, I will answer you myself. Such clumsy pumpkins are sitting at home! Houses! The floors are washed from morning to evening: she helped her mother and shook her fat.
Multicolored hailstones of laughter hit from all sides. Each beam of ceiling lamps tried to hit harder. And the mirror reflections teased with terrible grimaces: “D-my! Home!"
- Go to your corner and sit. Think. At least you have some small gray matter, - the loud pole did not let up. “Even cockroaches have a brain, Belova, and they use it. Take an example from them.
A flock of girls in white T-shirts and short black skirts continued to whisper merrily, glancing at Varya with nimble predatory eyes.
- So, everyone got up. Music! One two three four. Right, two, hands up. Back, three, four, turn. The pace, do not forget to increase.
The dance of the girls looked like a black and white drawing that rapidly changed its shape.
The points and lines, picked up by the music, lined up in a single impulse into intricate figures. Varya watched with greed and delight this swift dance of swallows before the rain. This was beautiful. Varya no longer remembered the offensive words and prickly glances. She enjoyed the dance, mentally repeating every movement. It seemed to her that she, too, in the hall, along with everyone, was flying along the parquet.
When the music stopped, Varya felt that something was wrong! The girl did not understand: she, as before, saw and heard everything from her corner. But the sounds were different, muffled, or something ... And for some reason she was standing, and not sitting, on the bench, leaning on the mirror wall. And the smell. The smell was completely different. Varya deliberately drew in a breath of air. Yes, it smells like cold hard laundry when mom brings it from the balcony in winter. Gradually, towels, trousers and dresses thaw, and the room is filled with this freshness for a long time.
Varya even shook her head to shake off the memories. She carefully looked around her - there was no one and nothing nearby. But she saw the girls well. Varya took a step and rested against something hard and cold. Glass?! "I'm inside the mirror," suddenly flashed a hunch. Varya wanted to scream and cry at the same time. But the fear that they would hear her and laugh, fettered her whole body. Varya did not move, but convulsively thought: “How did I get here? What should I do? How to get out of here? What will I tell mom? What should I do?!" It seemed to her that these questions were coming at her like a wall. She involuntarily began to back away. And suddenly she stopped. It became quite quiet. Varya quickly ran to the mirrored wall. There were no girls in the rehearsal room. As if no one remembered her. Evelina Viktorovna, already at the very exit, looked in the mirror. Noticing Belova, she grimaced, silently pressed the switch and slammed the door. Mirrors and chandeliers frantically clinked.
It seemed to Varya that something glass inside her had shattered into many small fragments.
And in this ringing silence, she distinctly heard a quiet: “Dance.” Varya turned in search of the one who had spoken the word. But there was only emptiness around. White glowing void. The girl did not even understand where the ceiling and walls were, and whether they were at all. Then she again heard the demanding: "Dance." This time, the sound came from all directions. Space itself spoke to her. Varya stood silently, afraid to move. "Dance! Dance! Dance!” was heard from everywhere. The word bounced around her like a rubber ball.
— Why?! Varya suddenly dared to shout out. - I will never succeed! I will never be thin and light. There is no grace in me...
The girl uttered the last words barely audibly, not believing herself what she was saying.
“That's someone else's words,” she heard the voice again. “You need your words, your voice, and your desires.
If you love to dance, dance.
Yes, Varya had wishes. Or rather, one wish. Mom had already asked her so many times to leave the dance studio, but Varya, with inexplicable stubbornness, was going to the rehearsal room three times a week. Varya knew how to dream, although she did not believe in herself every day.
“Dreams must come true.” The voice seemed to hear her thoughts. “And you have a good dream, a real one. And true dreams always come true. Dance!
Varya closed her eyes and slowly began to move. Each new step gave confidence and strength. Music sounded. Varya had never before experienced such lightness and such freedom. She felt like a butterfly enjoying the beauty of a summer meadow. Varya whirled, and with her fluttered hundreds of the same girls. The mirrors multiplied and multiplied along with her dancing reflections.
Suddenly the music stopped. Varya stopped and opened her eyes. She stood in the middle of an empty, dark rehearsal room.
The door opened loudly, a switch clicked and the hall was filled with light. Aunt Panya stood at the door with a mop in her hand.
“Oh, you've gone completely crazy with your rehearsals,” she waved her hand. What are you doing here in the dark? So it's your jacket hanging in the wardrobe, and I've already broken my whole head! So it closed. How long to wait, my floors are unwashed! Let's go, wretch, get dressed. At home, I suppose, they are already waiting for you, the dancer, - Baba Panya winked merrily and held out her hand to the girl.
Varya looked at herself in the mirror, smiled and ran to get ready. She knew that she would definitely dance every day no matter what. After all, it was the dance that brought her back from the Looking Glass. She now knows for sure: real dreams always become a reality.
Night talk
- Gathered here. These pieces of iron are ringing and ringing.
There used to be buttons! And bone ones. And glass ones. And wooden ones. And these buttons are some kind of rattling. They don't let you rest in peace. Where the world is going, Old Button grumbled.
- Once upon a time there were other buttons. Similar to bells. They chimed happily every day. You must remember those like that, - the Copper Button turned to the old woman with a sly smile.
"But I'm not that ancient," Old Button protested. Even the plush on her sides darkened with indignation.
- And buttons once rivaled brooches. They were decoration, not grumblings and grumblings, - added another Button and spun around next to her friends.
- Decoration! You are right about that, young lady. Your company of ringers was created to scare away dogs or cockroaches, Old Button retorted instantly.
Alya lay in the dark, afraid to move. She could not understand in any way whether she was dreaming or the buttons were really quarreling on the desk. The girl laid out beads and buttons in the evening so that in the morning she could immediately get to work.
The final stage, her favorite, was approaching. When the panel is almost ready, there is very little left. “It is necessary to correctly place the accents,” as Natalya Alexandrovna says. Alya really likes to place these very “accents”. It seems, well, what can a small button, bead or string change in the finished picture? But if you look more closely, the beads-fires on the Christmas tree are lit, or the horse's mane and tail flutter with multi-colored ribbons.
Alya has been working on a summer flowering meadow for the last month. In winter, you really want the hot sun, wet grass and bright fragrant flowers! This panel was prepared for the New Year's competition. All the guys from their studio participated in this all-Russian competition every year. And they won gifts. Last year, the jury awarded Alina the Christmas tree with a special prize. Alya herself did not expect it, because she had been studying at the needlework studio for less than a year. And this time she really wanted to make flowers, and she had three huge bags of multi-colored pieces of fabric.
This is my mother in the summer at the dacha, finally, she took apart the old grandmother's chest. And there is so much wealth! And colored cotton, and shiny velvet, and soft plush, and patterned guipure ... And such a flying blue fabric with a barely noticeable sheen. And the fabric is rough to the touch. And called the strange word "crepe de chine". Alya specially went to a sewing store for several days and felt all the material in order to find out this name. Even the salesgirls began to follow her closely: Alya immediately noticed that they were constantly looking at her back.
It's always like this. It is worth thinking about something, as thoughts drag on and on one after another. You already forget how it all started. Alya wrinkled her nose and remembered the buttons on the table. I listened. They continued to talk. Old Button's grumblings were interrupted by ringing voices and the bursting laughter of buttons and beads.
Alya carefully got out of bed.
And began to move towards the table with small steps. She didn't want to scare anyone. And only at the very table, the girl dared to cough softly. It seemed that in the night silence of the room there was a thunder. Engaged in conversation, buttons and beads jumped in surprise.
“Excuse me, please,” Alya began. “I just wanted to say that you shouldn’t swear over trifles. That's what mom always says.
Before Alya had time to finish, they made noise, rustled, squealed on the table:
— Yes, who is cursing here?! We didn't even think about fighting! It was necessary to invent this! Ugliness!
Alya was embarrassed and hurried to apologize:
— Excuse me, please. It just seemed so to me...
— And eavesdropping, my dear, is not good. Didn't your parents teach you that, - Old Button gave her a contemptuous look
- But she wanted the best! Is it true?! - Buttons and beads stood up for Alya.
Alya nodded her head so as not to burst into tears from resentment.
“Well, all right,” Old Button relented. — You have a beautiful picture of fabrics obtained.
Ali's ears began to redden from such unexpected praise.
“Thank you,” she whispered gratefully.
And looked closely at the Old Button. She is big and round. Lined with yellow plush. Once the color was sunny, but now its sides have faded. The fabric not only faded, but shed a little. Although the button itself was on a copper leg with a hole. Then Alya looked at her work. The panel stood on an easel next to the table. The girl immediately found a place for the Old Button in her flower field. The large red velvet flower was still without a core. The velvet from the grandmother's chest is also a little faded. But when the light fell on the flower, it sparkled orange and burgundy. Alya liked to move her fingers: she felt every hair on the leaves.
“I'm sorry,” the girl said to Old Button. — Could you help me?
- Of course. I'm always happy to help polite and sweet young ladies, - Old Button glanced towards the flock of buttons.
- Could you decorate the largest and most beautiful flower on my panel? Alya asked.
Old Button has never been asked such questions. Previously, it was simply grabbed and sewn on. Her life began with a camisole, which was worn by various gentlemen for two hours. And all evening hundreds of eyes from the auditorium looked at her. Then she moved on to an ugly orange dress, worn once for the celebration of the anniversary. Then she hung for a long time in a dark closet on some kind of corduroy jacket. Then there was something else, I can’t remember everything ... But the last refuge was a tin box from under the cookies. This round box contained many buttons with different fates and different histories.
— Do you agree? Alya asked quietly.
Buttons, beads and buttons were eagerly waiting for an answer.
“Yes, I think it will be a wonderful end to my long journey,” Old Button sighed.
There was a sigh of relief and everyone tinkled and laughed happily.
Alya carefully sewed the button back in place. Carefully ran her fingers over the flower and smiled. The old Button was pretty shiny.
It was quiet: even the buttons enthusiastically admired the Old Button. Alya crawled under the covers. Falling asleep, she already knew where she would sew the beads.
A jar of jam
Tasia was sitting on the steps and drawing an imaginary cat on the wooden planks with her finger. And suddenly she heard cat voices. But it was not a quiet "meow" or affectionate "mur"! It was a chorus of angry beasts, like a parade of special vehicles. It was as if firefighters, policemen and construction vehicles from all over the world had gathered to hold a rally.
And through this noise, the defenseless neighing of a horse barely made its way. Tasia jumped up and rushed to the gate. Here she was almost knocked down by a horse with a rider. She flew up the stairs and into the house. And cats and cats, which followed the fugitives in a whirlwind, stopped at the fence. They did not break into the front garden with lavender and mint, but continued to scream heart-rendingly.
The girl shushed the cats and ran into the house.
She's never seen such a rout! Grandmother and mother will soon return from the station. She won't have time to put everything in order! And also wash the currants and remove all the berries from the branches. Wednesday is jam day! Again, everyone will swear and call her a clumsy...
This whole cascade of thoughts flashed through Taska's head and crumbled into peas. There was a prince in front of her! It was definitely a prince. Tasya incredulously adjusted her glasses, but the guest had not disappeared.
He wore a golden crown set with multicolored gems on his head, and a fur-trimmed robe was thrown over his shoulders. Also a white horse. Of course it's a prince! The girl dusted off her dress, smiled and stepped forward carefully.
“Good morning.” Tasia wanted to be polite: she knew that first impressions mattered most.
She had many questions. But Tasya remembered her mother's words about hospitality and that one should not torment a person with questions on the threshold. So she asked shyly:
— Can I help you with something?
The prince carefully looked at the girl with two dark thin pigtails. Her large green eyes shone even through the glass of her glasses. And he turned to her.
- Yes, I need a plate, fork and knife.
Tasia nodded and went to the kitchen. She did not invite guests. They already mutilated the terrace and broke half the corridor.
What will she say to her mother and grandmother? Grandma went to the station to meet her mother with bags from the city. They should be back soon. “If this is an unsightly country house, this is not a reason to cripple it like that,” it seemed that my mother's voice rang in Tasha's ears. The girl shook her head, grabbed everything she needed and returned to the prince. He was waiting for her with a gold-woven knapsack in his hands. Taking his plate and cutlery, he knelt beside the horse. He took out cutlets from the bag and began to cut them into equal parts. The room smelled of morning freshness, wet grass and a lake in which fish splashed. Tasha's stomach rumbled, and she remembered that she hadn't had breakfast yet. Although my grandmother went to Aunt Glasha in the morning for milk and baked pancakes. Now it is clear why the hungry stray cats liked the prince so much. The horse chomped appetizingly, and the prince spread his arms guiltily:
— Pumpkin needs to eat now, otherwise she will turn into a donkey.
- Taskino's face was drawn, and the prince hastened to add. “There are no horses in our kingdom, only donkeys. But the king and the prince can't ride donkeys! You have to go to such a trick: magic cutlets for one hour will turn anyone into a horse.
Taska chuckled, imagining a herd of white homeless horses walking around the dacha village.
— But my Tykvina is a hundred thousand times better than any of the most thoroughbred horses. Pumpkin, still chewing, reached out to the prince and put her muzzle on his shoulder. “Although I understand that this is not the best place and time for a meal.
- Time! The prince shouted so that everything around him rang. “I don’t have much time left!” The passage will close in…in a minute…” He glanced at the watch on his shaking wrist. It seemed to Tase that a downpour was about to fall on them.
- I couldn't even get the berries. I am the most useless and worthless prince! Sad sack! He tormented himself with hurtful words.
It seemed that the prince was afraid to burst into tears.
— Why do you need berries? Tasha dared to interrupt him.
- For my younger sister. She is ill. The doctor said that only jam from the berries that grow here can cure her. They are small and red, like glass. And sweet with sour exploding in the mouth.
Taska instantly beamed and took off. The prince did not have time to be surprised when the girl had already dragged a large bucket of grandmother's currants. And then it was the prince's turn to shine with joy and delight: these were the very berries. But the smile faded from the prince's face:
— How can I get to the castle?! After all, the rain on the outskirts of the village ended a few minutes ago...
— Why do we need rain? Tasha asked.
- I do not need rain, but a rainbow. The sun and water open the entrance to my world.
- If you don't stop squealing, but take your feet in your hands, then maybe you will have time to meet the watering machine, - two large yellow eyes were looking at them from above.
A skinny and shabby cat jumped off the chandelier onto the back of a horse. Pumpkin shook her head and tail in displeasure. Tasia could not understand how the cat appeared in the room.
- I'm not a watering machine, don't look at me like that, - the cat sat on its hind legs, straightened up and became a bit like a prince. “But the watering machine would be very useful to you and in one minute and eight seconds it will drive past the house.
The cat jumped off the horse and moved slowly towards the door. At this point, all the others have already fallen out of place. Indeed, a watering machine was driving along the road. She didn't even know where she came from. The prince, riding on the Pumpkin, was already rushing to the saving "waterfall". Tasha was doused with water. She closed her eyes. She quickly opened her eyes, but the prince was gone. Only the cat sat on the gate and wagged its tail.
— Aren't you afraid of lavender and mint? the girl asked.
- I'm not afraid of anything! I am a cat that walks by itself.
