How to dance while gliding

Skydive Emote - Apex Legends Wiki

in: Cosmetics

Skydive Emotes are earnable cosmetics introduced in Season 2 that allow Legends to do special moves during the skydive.

Skydive Emotes can be earned in the Battle Pass or, starting with System Override, in a Collection Event.

1 About
2 List of Skydive Emotes
- 2.1 Ash
- 2.2 Bangalore
- 2.3 Bloodhound
- 2.4 Catalyst
- 2.5 Caustic
- 2.6 Crypto
- 2.7 Fuse
- 2.8 Gibraltar
- 2.9 Horizon
- 2.10 Lifeline
- 2.11 Loba
- 2.12 Mirage
- 2.13 Newcastle
- 2.14 Octane
- 2.15 Pathfinder
- 2.16 Rampart
- 2.17 Revenant
- 2.18 Seer
- 2.19 Valkyrie
- 2.20 Vantage
- 2.21 Wattson
- 2.22 Wraith
3 References

About[]

Once earned, they are automatically equipped and can be used by pressing the jump button while skydiving. If the player has multiple equipped, they can also hold the button to cycle through their current inventory of Skydive Emotes.

List of Skydive Emotes[]

Ash[]

Flourished Steel
Dodge This
Level 98

Bangalore[]

Salute
Level 10
Target Practice
Controlled Demolition
Level 34

Bloodhound[]

Stoic Stance
Level 20
Nevermore
Crossed Swords

Catalyst[]

Over the Moon
Level 2
Mystic Spiral
Level 90

Caustic[]

Feel the Power
Level 30
Knox Powered
Level 30
Chemtrails
Level 92
Unstable Footing
Level 73

Crypto[]

Danger Zone
Level 46
Hack and Slash
Kickin' It
Circling Back
Level 83

Fuse[]

Stage Dive
Level 69
Grand Slam
Hot Potato

Gibraltar[]

Front Row Seat
Level 40
Surf's Up
Level 13
Good Vibes
Level 83

Horizon[]

Game Time
Level 51
Black Swan Dive
Level 92

Lifeline[]

Peace Out
Level 45
Windmill
Level 85
Vibing
Level 37
Bringin' The Beat Down
Level 51
Winging It

Loba[]

Side Saddle
Level 42
Run the World
Head Over Heels
Flaunt It

Mirage[]

Curtain Call
Level 60
It Takes Two
Level 73
Private Dancer
Level 58

Newcastle[]

One, Two, Three
Level 2
Air Defense
Level 91

Octane[]

Full Circle
Level 70
Influencer
Level 21
Without A Paddle
Level 85
Fidget Spinner
Just Keep Swimming
Level 52

Pathfinder[]

Hi, Friends
Level 80
I Can Fly!
Level 93
The Kneeslapper
Level 13
Raven Rampage
Level 68
Swing And A Miss
Level 63

Rampart[]

Spray and Sway
Level 59
Recoil Control
Catching a Current
Level 91

Revenant[]

Dodging Death
Level 13
Exhumed
Level 83
Third Time's A Charm
Spinal Stretch
Level 90

Seer[]

Soul Invictus
Level 96
Style and Grace
Skate Or Fly

Valkyrie[]

Showing Off
Level 92
Inflight Entertainment
Laid Back
Level 96

Vantage[]

Wing It
Level 2
Snack & Grab
Level 65

Wattson[]

Grace Fall
Level 90
Tesla-Copter
Level 21
Spread the Wealth
Best Buds
Level 59

Wraith[]

Flip the Rift
Level 95
Think Fast
Level 93
Spiralling Void
Level 45
Perpetual Motion
Level 83

References[]

Community content is available under CC BY-NC-SA 3. 0 unless otherwise noted.

What Is Popping? (Popping Dance)

Popping dance is a style of dance that started in the late 1960’s and 70’s.

This dance style is characterized by sudden tensing and releasing of the muscles ("hitting") to the rhythm of beats in music.

Learn how to create the hit: How to Learn Popping

History of Popping Dance

Origins of dance styles can get tricky, because OG’s have different accounts and interpretations of that story according to their regions and circles of influence.

While there are several moving parts of Popping's history that sometimes conflict or overlap, one clear part of the dance style's origin is that it started among groups of teenage friends in deindustrializing parts of the city.

The dancers would come up with moves, practice them, then show them off at clubs or in dance battles.

In addition to being a hobby, Popping dance gave dancers an escape, an identity, and a family.

Over time, the word “Popping” (which is also often referred to as “hitting,”) started being used to describe the collection of moves and techniques invented by the OG Poppers.

Key moves in Popping Dance

Animation

Animation was inspired by the Dynamation films by Ray Harryhausen. It is meant to simulate an animated character moving frame-by-frame.

The technique involves abrupt tensing of the muscles to create a stop-motion illusion.

The Boogaloo

The Boogaloo, invented by Boogaloo Sam, is a loose, fluid motion that gives the impression of the body having no bones.

It incorporates isolated circular rolls of body parts.

The Robot / Botting

When you imitate a robot or mannequin using several different Popping dance techniques.

Dime Stop

Moving at a steady pace, then coming to a clean halt without any shaking or reverb.

The effect comes from being able stop suddenly and seemingly out of nowhere, or "stopping on a dime".

Gliding / Floating / Sliding

Footwork techniques that create the illusion that your feet are moving smoothly across the floor.

The backslide (which people commonly confuse as the Moonwalk), is a move that incorporates this technique.

Hitting / Popping

Flexing your muscle groups suddenly. You can hit continuously to a steady rhythm, combined with different poses and pathways.

Practice your hits in Clay's "7 Days of Hits" Program on STEEZY!

Isolation

When you keep the rest of your body still while you separate and move a part of it.

Miming

Inspired by classic mimes, miming is when you utilize isolations to create pictures and illusions of an object or scenery that isn't actually there.

Scarecrow

Moving and hitting with pictures that imitate a puppet or scarecrow with strings attached to your joints.

Snaking

Fluid rolls of the chest and body. It's a style that involves full body waves as if you're slithering around with your body like a snake.

Strobing

Moving and stopping your body quickly in steady increments using dime stops to make it look like you’re moving within a strobe light.

Poppers common use pedestrian movements (such as walking) with strobing.

Strutting

Struttin' is a dance style that originated from San Francisco. It involves hitting angles with your limbs as you hit.

Ticking

Ticking is a series of hits. You break up your pathway of movement into small increments and hit/pop at each one.

Waving

Fluidly move your body or parts of your body to imitate literal waves in the ocean.

Tutting

Tutting or ‘King Tut’ is when the you create angular shapes and pictures with your body parts, usually your arms or hands.

Its name and moves were inspired by ancient Egyptian hieroglyphics.

Notable Poppers and Popping crews

Boogaloo Sam

In 1975, Sam Solomon (AKA Boogaloo Sam) created a dance called the Boogaloo in Fresno, California.

His brother, Timothy Earl Solomon, was a huge influence in Sam's dance style.

Later, in 1978, their family moved down to Long Beach, California, where he and other dancers formed the Electric Boogaloo Lockers.

Interview with Boogaloo Sam of The Electric Boogaloo Lockers

Some members of the Electric Boogaloos included of Pop’in Pete, Skeeter Rabbit, Suga Pop, Mr. Wiggles, Cedric Williams (AKA Creep’n Sid), Gary Allen (AKA Scarecrow Scally), Marvin “Puppet” Boozer and Dane “Robot” Parker.

Tick’n Will and Darnell Twist-o-Flex McDowell

William Green Jr. (AKA Tick’n Will) met his best friend Ricky Darnell “Twist-o-Flex” McDowell in the West Fresno projects in the 1970’s.

They started making up dance moves and called themselves the Ace Tre Lockers, even though they didn’t Lock.

“We didn’t call it Popping because to us it was just dance moves. ”

– Will (Underground Dance Masters, 110)

The two would invent their own dance moves, and added their own interpretation to existing dance moves.

From then, they'd prepare dozens of steps and enter local battles.

Will and Darnell came up with different variations of Popping dance, as well as techniques for Ticking, Creeping, and the Backslide.

Some examples include The Old Man, Twist-o Flex and Neck-o Flex. In 1976, Will and Darnell met Sam Solomon at Roeding Park in Fresno.

They started practicing together at the Mary Ella Brown Community Center, learning and drawing from each others’ flavor.

The group named themselves the Electric Boogaloo Lockers.

The Electric Boogaloos (The Electric Boogaloo Lockers)

Once formed, the crew started performing together at local talent shows and started to expand to different areas.

They quickly gained popularity for their originality and talent in all of Northern California.

When the group moved down to Long Beach, they introduced the style to Southern California dancers – recruiting newer members and polishing both their technique and group performance routines.

The Electric Boogaloos also performed on the streets of Hollywood, trying to get discovered to work in the entertainment industry.

They met and started working with Jeff Kutash in 1978, who produced dance shows in casinos.

Their tour, titled “Jeff Kutash’s Dancin’ Machine featuring the Electric Boogaloo” was testing for the group.

The production repeatedly misrepresented their identity, and they felt compromised as dancers trying to stay true to themselves.

For this and other reasons, members eventually stopped working under Kutash.

The Electric Boogaloos still continued to dance, innovating a number of different Popping dance moves.

Fluid motions, incorporating rolls of the hips, knees, and head were signature characteristics of their dance style.

The Popping dance crew appeared on national television on a show called Hot City, were featured at the Chicago Playboy Club, and performed opening numbers for various vocal artists.

But the most pivotal appearance of The Electric Boogaloos was their debut on Soul Train in 1979.

‍Sam, Pop’in Pete, Creepin Ced, Puppet Boozer and Dane “Robot” Parker on Soul Train

Popping dance in the media

“As you may know, these very creative young men have invented a dancing style that’s becoming very popular, and it’s described as ‘Popping,’” said Don Cornelius in his introduction of the Electric Boogaloos.

Soul Train helped to popularize and publicize Popping dance.

The Electric Boogaloos' performances served as a catalyst for developing different styles of Popping dance in other parts of the country.

Popping and other street styles then started to be featured in Hollywood films, such as Beat Street, and Breakin’.

Bruno “Pop N' Taco” Falcon in 1984’s "Breakin’"

The Electric Boogaloo dancers also appeared on another music variety show called Solid Gold.

‍Though sometimes misrepresented, the media helepd put street dance and Popping on the radar of a national audience.

Notably, Michael Jackson had learned from Pop’in Pete and Pop N' Taco.

In 1983, he performed the Backslide on national television (but incorrectly called it the “Moonwalk").

Popping dance in the present

Popping dance is related to hip hop dancing and the other street/funk dance styles (such as Waacking and Locking), but is its own distinct style of dance.

It is often performed in battles and cyphers, or incorporated into choreography.

These Popping OGs' foundations have been viewed, learned, and modified by generations of dancers all over the world.

Poppers aim to maintain the authenticity of the techniques and traditions of the dance style.

With a better understanding of these origin stories, all dancers can learn to innovate their own Popping style while staying true to the integrity of the culture.

Helpful Popping dance videos:

Interview with Pop’in Pete & Suga Pop

Beneath the Surface: An In-Depth Look at Popping & Boogaloo - PART 2

Pop'in Pete Real Talk

If you want to learn how to Pop, then take our Popping program on STEEZY Studio with renowned Popper, Boogie Frantick!

You'll learn the basics of hitting, waving, isolation, glides, and more.

‍Sign up today for a free 7-day trial!

‍

What To Read Next:

What is Jazz Dance

How to Twerk

How to Dance at a Club

Hip hop Dance Moves

What is Salsa

What is Ballet

How to learn to dance shuffle - Lifehacker

December 15, 2019 Likbez Sports and fitness

Master the basic moves, then improvise and have fun.

Iya Zorina

Author of Lifehacker, athlete, CCM

This dance style includes a lot of freedom and improvisation. That is why he is so good. You can master the basic movements in a couple of hours, and then complicate them to infinity and combine them with each other, create your own combinations and spy on others.

Dance in sneakers, socks or barefoot, in any outfit, anywhere.

Master the basic movements of the shuffle

In this style, you do all the basic movements with your feet, the hands most often move freely - according to the heart.

Running man

This is the most basic and essential shuffle movement. You can do it in three different ways.

Full foot

The movement begins by bending your knee and lifting one leg. Next, you need to simultaneously put both legs - supporting and raised - at a distance of one step from each other.

The raised leg is placed forward on a full foot, the standing one behind slips back on the ball of the foot and remains on it - the heel is not placed on the floor. The weight is evenly distributed between the two legs.

After that, it remains to return to the starting position. To do this, the front leg slides back, and at the same time, the back leg is pulled up. You find yourself in the starting position and repeat the cycle. The movement itself is soft and springy: do not stick into the floor, keep your legs relaxed.

Heel

This is a lighter and faster running man look that may be needed for some combinations. Here you put your foot not on the whole foot, but on the heel. At the same time, the one standing behind remains on the toe.

On pads

In this variation, the foot is placed forward on the pad. At the same time, the one standing behind also remains on the ball of the foot, and the body leans slightly back.

T‑step

In this movement, one foot constantly makes a “herringbone” - turns the heel in and out - and the second touches the floor and immediately rises back.

When the heel of the skating leg turns inward, the toe of the other leg touches the floor; when outward, the other leg rises, turning the knee inward.

It turns out two positions: closed - when the legs are wrapped with the knees inward, and one leg is raised, and open - when the legs are turned out with the knees outward, and the toe touches the floor. Practice doing the T-step in both directions: slowly at first, then with acceleration.

Rocking

You jump on one foot while the other touches the floor in different places: on the side of the supporting leg, across, behind - anywhere you want. You can put your foot on the toe or on the heel - the latter is called a kick. The supporting leg can simply rise low or perform a T-step - move the heel out and in.

Charleston

To begin, you turn your knees and toes inward and lift one leg. Then turn your toes and knees outward, and put your raised leg forward crosswise. Repeat the same with the other leg.

All movement occurs on the balls of the feet, the heels do not fall to the floor. You can move both forward and backward.

Diamond

First, with a jump, you put your feet crosswise with your toes out, then you also spread your legs to the sides with a jump.

Slides

One leg is straight, stands on the whole foot, the other is with a bent knee on the pad. Leaning on the pad, you slip the foot of a straight leg back, as if wiping the sole on the floor.

Immediately after the slip, you turn around. In the turn, the straight leg bends and goes to the pad, and the one that was on the pad, on the contrary, turns on the heel. After that, it remains only to change legs and move in the same way in the other direction.

Scissors

From the starting position - standing with a raised leg, as in Running man - you turn your hips to the side with a jump and put your legs crosswise.

The front foot is on the heel, the back foot is on the ball. Then you jump back to the starting position and do the same on the other side.

Sidekick

From the starting position, you turn your hips to the side with a jump and spread your legs a step apart from each other. The standing foot in front is placed on the heel, the standing one behind remains on the pillow. Then, with a jump, you collect your legs and do the same on the other side.

Try other variations of the basic shuffle movements

You can perform basic movements in different directions: forward and backward, turning around. This will give you more freedom to improvise.

Variations Running man

Do several times in place and then turn around. You can also try walking this way to the side. Each time the leg will need to be placed slightly crossed in order to slowly move to the side.

Variations T‑step

You can lower your foot on the toe, on the whole foot, touch the floor to the side of the supporting leg or forward and behind it.

You can also keep the other leg on the floor at all - leave it on the toe and turn the knee in and out.

Variations Diamond

Here one more element is added to the movement – the heel strike. In the starting position, you wrap the toes of the feet and knees inward, and then jump on the heels, turning the socks to the sides.

From this position, without jumping, you turn your toes and knees inward, cross your legs with a jump, turning your feet with your toes outward, and then return to the starting position.

Charleston Variations

After three turns of the Charleston, turn both toes in one direction and then in the other. At the end, you can turn the knee to the side.

Combine familiar shuffle moves

While you lack the skills to move freely and come up with something of your own, learn a few combinations. They contain interesting movements that will replenish your dance vocabulary.

Combination 1

This is a simple combination of two basic movements - Running man and T-step. First take five Running man steps, then four T-steps to the side and repeat the same in the opposite direction.

Combination 2

Another combination of two basic movements. Here you do three Running mans, then one T‑step with a back foot touch, and two front heel touch kicks. The same on the other side.

Combination 3

There are no standard steps here, but there are already familiar Sidekick and transition from heels to toes.

Learn more difficult combinations

We will add some videos with good combinations.

1. Cool video for beginners: movements are repeated in slow motion to make it easier to dance to the music.

2. And here the combination is analyzed step by step in slow motion, dividing it into three parts. Very comfortably. Look for more on this channel, there are several such analyzes.

3. No slowdown here, just a great combination. But you already know almost all the movements, so you can figure it out. If something is not clear, watch the video at a speed of 0.25.

Pick the music and improvise

You probably have a favorite song to shuffle to. Include them and start with basic movements: just do the Running man and periodically add different elements when you want. Move in different directions, relax and have fun.

If you don't have favorite tracks, try our selection.

I must say that the shuffle is an amazing cardio workout. In just a couple of tracks, you will be out of breath and sweat, like after a run, but you will feel absolutely happy!

What's more, if you have to force yourself to keep going while running, shuffle requires you to have the willpower to stop and not dance. As a bonus - a short video from a beginner after a couple of hours of practice.

Shuffle is cool!

Chapter 10. Sports dancing on ice

Sports dancing has much in common with pair skating, but both types are clearly different from each other. Sports dancing on ice is primarily a joint performance of dance steps in standard and non-standard dance positions. Sports dancing is a triathlon. Its first type - obligatory dances - has a clear description of steps, positions, patterns and is performed to certain music in a given character and musical rhythm. Each pair composes the original dance by itself, striving to perform it in the prescribed rhythm in the style of the obligatory dance (twice repeating pattern of steps, maintaining the direction of movement, etc.). The third type of dance triathlon is a free dance, which allows a couple to most clearly reveal their individual technical and artistic skills to the music chosen by the athletes. Before staging free and original dances, coaches and athletes should carefully study the rules for judging these sections.

The formation of a dance duet usually begins among skaters of about 12-13 years old, who are confident in the technique of gliding and basic dance elements. But this does not mean that the couple is already ready to compete. Only after a year of joint work, combined with the improvement of individual technique, can one begin to prepare for competitions. When forming a duet, the following indicators are taken into account: external data - attractive appearance, elongated muscles of the arms and legs, beautiful, straight posture. Height should not be below average, and the difference in height between partners should be no more than 15-25 cm. It is desirable that by the time the pair is created, the level of technical training of the partners would be the same. The optimal age difference between skaters is 1-3 years. Children with artistic inclinations, sociable, emotional, musical, who love to improvise to music on ice and in the hall, and also have good choreographic data: “eversion”, “step”, a sense of posture, “aplomb” are most suitable for sports ice dancing.

MAIN PARTS AND POSITIONS

Basic dance elements can be divided into two groups:

Elements without changing front of movement: basic step forward, backward, running steps forward, backward, simple and crossed chasses, cross rolls.

Elements with a change in the front of movement, which include the most complex dance elements: troika, mohawk, chok-tau, hooks, counters, twizzles.

When studying the 1st group of elements, special attention should be paid to the posture of athletes: the shoulders are deployed, the back is fixed, the arms are extended at the elbows and hands, the head is raised. Double bending of the knee of the supporting leg during one step is a characteristic sign of the correct mastery of dance elements. The essence of this step is that each push step is performed not with a leg straightened at the knee, but only after a second squat on it, which makes it possible to move plastically and softly and at the same time powerfully, since the push is performed with an edge, not a prong skate.

Running steps - a series of consecutive steps on the outer and inner edge. With each new step, the jogging leg sweeps next to the supporting one. It is useful to learn running steps in a circle in both directions. Moving in a circle to the left, pay attention to the fact that the right hand is extended forward, and the left is behind, keep your head so that it is directed to the left-up. Moving to the right, reverse the position of the hands and head. Running steps are performed not only in a circle, but also in a big eight, a paragraph at a variable pace.

The most difficult element of the 1st group is the backward running steps, since the latter, like the forward running steps, are a series of successive steps in which the free leg sweeps next to the supporting one. Unequal pushing with both legs, loss of balance due to loose back muscles and abdominals, and throwing the free leg high above the ice are the most common mistakes when learning running back steps.

An element consisting of three steps (for example, left front-out, right front-in, left front-out) is called a chassé. During its execution, the free leg when performing a simple chassé is placed on the ice next to the supporting one on the inside of the foot, and when performing a crossed chassé, from the outside. When learning a simple and crossed chassé, it should be remembered that removing free legs by bending the leg at the knee, and not by pulling up the hip, is the most common mistake.

The main thing in the cross-roll is the almost perpendicular intersection of the free and supporting legs during their change. When learning cross-rolls, the shoulders should be fixed. Three is the most common turn in ice dancing. The triple is performed by slightly turning the shoulders and hips in the direction of movement. The purity of the execution of this element depends on the sliding before and after turning on one edge of the skate. Correct posture, a free leg fixed behind, as well as a slight lifting of the heel of the supporting leg at the top of the turn will help to facilitate this task.

Mohawk is an element in which the change of the front of movement occurs without changing the edges of the skate, and the Choctaw is a turn with a change in the edges of the skate when the front of movement changes. Mohawks come in three types: open, closed and flywheel. When performing a mohawk turn, the legs rush side by side, but do not cross, while the tracks on the ice, with the correct execution of the elements, turn out to be crossed. When performing the Choctaw turn, pay special attention to the vigorous turn of the shoulders in the direction of the new arc. The change of legs must be silent. At the time of the turns, the hook and hook should be slightly raised with the heel of the supporting leg, and the free leg should be fixed in the thigh and the ankle should be extended. These turns must be performed boldly and decisively, but at the same time completely excluding jerky movements and bouncing of the skate.

Twizzles - 1 turn turns on one leg. This is a combined combination of bringing the free leg close to the supporting leg and rotating on it. In this case, the trunk occupies a strictly vertical position.

Dance positions. Dance positions can be as simple as "hand in hand" when the partner is to the right of the partner and looks in the same direction as him. In closed, or waltz, positions, the partners stand facing each other and one of them slides forward and the other back. In this case, the partner’s right palm is on the partner’s left shoulder blade, and the partner’s left palm is on the partner’s right shoulder. The shoulders are parallel, the free arms are connected at the hands. The tango position, or side position, differs from the waltz position in that the hips and shoulders of the partners are parallel, but shifted to the right or left relative to each other. In the foxtrot position, the position of the arms and hands is similar to the waltz position, but the partners slide in the same direction. In the “kilian” position, as in the foxtrot position, the partners slide side by side in the same direction (the lady is on the right), the partner’s right shoulder is behind the lady’s left shoulder. The partner's left hand is extended and fixed in the partner's left palm. The partner grabs the partner from behind and puts his right hand on her waist, and she covers her from above with her right palm.

In all positions described, the partners must be mindful of their posture and keep as close as possible to each other.

COMPULSORY DANCES

The ISU has established three groups of compulsory dances for adult dancers:

1. Westminster waltz, paso doble, rumba.

2. Star waltz, kilian, romantic tango.

3. Ravensburg waltz, quickstep, Argentine tango.

There are four compulsory dance groups for juniors:

1. European Waltz, Quickstep, Argentinian Tango.

2. American waltz, rumba, blues.

3. Viennese waltz, kilian, tango.

4. Star waltz, paso doble, rocker foxtrot.

According to the rules, in all official competitions during one season, one group of dances for adults and one group for juniors is performed. At each competition, a draw is held, which determines one of the two groups named at the beginning of the year. However, from the point of view of the method of teaching the obligatory dance, another, unofficial, classification has been adopted, consisting of waltzes, fast and slow dances.

Let's consider the most important details of the performance technique and teaching methods for individual compulsory dances.

Westminster waltz. Music 3/4, dance consisting of 22 steps with a preferred pattern. In the first 10 steps, the same for both partners, an open inner mohawk is included: left forward-inward, right back-inward. The beginning of the mohawk is directed towards the center of the rink and is performed in the “kilian” position. In the first part of the mohawk, the right free leg is brought to the count of “three” to the supporting left leg, and with the vertical position of the body, a change occurs: the right leg becomes the supporting one. The free (left) leg is extended over the track. The position in the step right back-inward changes to reverse kilian. When performing this mohawk, an indistinct change of legs (scrapers with teeth, insufficiently pronounced sliding on the inner ribs of the skate) can occur due to the loss of correct posture, non-reversible bringing of the free right leg to the supporting left, and also due to non-parallelism of the partners’ shoulders to the track. Step #7 in the dance is a six-count left-back-outward arc where the pivot knee double bend should be applied.

Crossed landing gear of both partners and simultaneous turns: partner's counter-left forward-outward and lady's hook-right forward-inward largely depend on the close foxtrot position and clear synchronous swings of the free legs. For the convenience of performing these steps, the partner should be slightly ahead of the partner. The complexity of step No. 15 of the partner - the triple of the right forward-inside - lies in the fact that the turn is performed at the expense of "one" of the next musical dance. A common mistake is an underexposed arc, which entails turning a three on the count of three. Steps 16-22 should include a double knee bend to spice up the dance and emphasize its character. When working on a waltz, one should strive to avoid double-edge arcs, which can lead to the execution of the drawing in the form of straight lines.

Quickstep. Music 4/4, an 18-step dance with an attributed pattern performed in the kilian position. The steps for both partners are the same. Steps 5-6 - Fly Choctaw left front-out, right back-in with constriction out. Entry into the Choctaw must be made on a well-defined outer edge with control of the position of the shoulders. The right shoulder is laid back, and the left forward. This must be done on all four counts when swinging with the free leg. The partner should be slightly ahead of the partner. Relaxation of the shoulders will lead to a change in the position of the partners. A change in Choctaw occurs when the free leg is brought to the supporting leg at an angle of 90°. At the beginning of sliding along the arc, the right back-inside, the left shoulder is pulled back. On the count of "two", the free left leg is brought to the supporting leg, and then taken back to the side. At this moment, the supporting left leg is pulled from the inner to the outer edge.

In steps 7, 9 and 10, special attention should be paid to the clear crossing of the legs. The complexity of this technique is that the dance takes place at a fairly fast pace. Therefore, it is necessary to practice these steps slowly in the beginning. Execution of steps on the front of the skate with the transition to the teeth is the most common mistake. To avoid it, it is necessary to ensure that the position of the body is strictly vertical, and the head is raised. When taking steps, aim to cover as much of the area as possible. On the internal two-count arcs, the left forward-inward and right forward-inward bend the knee of the supporting leg as much as possible, and straighten the free leg and stretch it back. Make these arcs steep, sustained and fast at the same time. The lively rhythm of the dance will well emphasize the double knee bend.

Blues. 22 bars, 4 counts. The slowest of all dances, consisting of 17 steps performed in closed waltz and foxtrot positions. The main task in this dance is to show long rib arcs with “soft” knees. A complex technical feature of the blues is the closed choctaw - left front-in, right back-out (steps No. 12-13), performed in the foxtrot position. Since this element is difficult, it is recommended that you first learn it without a partner. Entry into the Choctaw is performed to two beats of music on the steep inner edge of the ridge of the left leg, strongly bent, the right shoulder laid back. On the count of three, the free right foot comes close to the left and there is a Choctaw turn with a two-count exit on the right foot back-out. In this case, the left shoulder is retracted. The slope of the exit must be the same as the slope of the entrance, and the free legs at the entrance and exit of the Choctaw must be raised to the same height. When performing this element, the partner slides along the trail of the partner.

European waltz. This is one of the most difficult obligatory dances for all its outward simplicity and monotony (the steps consist of repeated triple turns in a waltz position). The step arcs forming the entrances and exits of the triples are alternately turned either towards the longitudinal axis of the rink, or away from it. Entries into man's triple turns start from a cross roll, but the closed position must not change. This is achieved by controlling the shoulders fixed throughout the dance. When entering the three, the partner's supporting leg should be directed between the partner's feet. It is very important throughout the dance to bend the knee of the supporting leg in the same way, which makes the performance smooth. The free leg is slightly turned outward, after repulsion it is in front or behind the supporting leg. Pay attention to a slight counter-movement of the shoulders to avoid twisting the torso when performing a three-way turn. It is important to observe the count of the execution of each step, since in the European waltz any of them is performed in three counts. The higher the skill of the dancers, the more uniform and smooth the dance looks. It should be remembered that the European waltz is useful even for highly qualified athletes and should invariably be included in their training process as an excellent method for improving the classical alphabet of sports ice dancing.

ORIGINAL, FREE AND DESIGN DANCE

The original dance is a repeated sequence of steps in half a circle or a whole circle. Each pair performs an original dance invented by it in a certain given rhythm and pace proposed by the ISU for all competitions of this sports season.

The specificity of the pattern of the original dance. The original dance is performed clockwise or against it with a change in front of movement, but without a change in direction of movement. The original dance is performed along the perimeter of the rink, but on the condition that the main longitudinal axis of the rink intersects along the line of short sides. Loops in dance patterns are not allowed. 9change of position. Their number in the dance is not limited, but the positions themselves must correspond to the nature of the dance being performed. You can use both standard dance positions and positions invented by the athletes themselves. Hand-in-hand skating, like shadow skating, must not be included in the original dance. They can only be used in the intro and ending.

Usually, work on original dances begins with the selection of music and the study of the most characteristic features of this dance: the history of its creation, national color, costumes, etc. The sources of study can be books, videos, eyewitness stories, concert, ballet, pop, folk , ballroom dancing. Having received an idea of the style and nature of the dance, they begin to arrange the music. Each new series of the original dance in terms of sound time, accents, duration of pauses must exactly match the previous one. The introduction and finale in the dance should, as it were, frame the series and create the impression of a finished dance-musical work. Remember: the higher the technique of mastering dance elements, the richer your imagination, the brighter and more convincing the dance will turn out.

The content of the original dance consists of various dance steps. Their basis is the elements of obligatory dances. A successful combination of these elements, as well as original elements invented by the athletes themselves, performed at different tempos, scores and positions, determine the complexity of the original dance. It should be borne in mind that the value of the content of the dance depends primarily on the confident, easy execution of steps in unison with the music. When staging an original dance, it is necessary to avoid riding on two legs, to monitor the equivalence of the parties of both partners, to pay attention to the alternation of steps with arcs of different duration and steepness, performed with contrasting positions of the bodies of the partners.

When working on an original dance, style must be emphasized. The posture of the partners is one of the most important conditions in the work on the style decision of the dance. Movements of the arms and torso that emphasize the rhythm and character of the music should also be widely used in original dances. The most memorable movements and elements should correspond to bright musical accents. This will enliven the dance and emphasize its character.

Ori staging a free dance aims to create an original composition in full accordance with the nature of the selected music. A clear rule should be followed: the higher the skill of the skaters, the more difficult the musical work is chosen in terms of tempo, rhythm, character, and artistic image. When an arbitrary composition is prepared to pre-composed music composed of parts of various musical works, it should be borne in mind that such musical segments must be combined into one program either by a homogeneous sound of the orchestra, or by one era of the creation of a musical work, or by a single style or character of music . If you chose sharply contrasting musical parts of the program, then each of them should represent a complete musical miniature. When choosing music for juniors, it is best to turn to musical works that correspond to a childish, joyful perception of the world, which are not yet capable of conveying a lyric-dramatic image prompted by a complex piece of music. Compositions composed to folk melodies or certain dance rhythms look interesting.

When creating a dance, one should pay attention not only to the difficulty, but also to the artistic side of the performance. Good roll-up of partners, change of dance positions, synchronism in the performance of elements and combinations, change of tempo and speed of sliding, high musicality, lightness, artistry - these are the main requirements for dance.

When staging a free dance, a number of recommendations should be taken into account:

Elements of the same name (supports, jumps, spirals, etc.) should be used evenly in different parts of the dance. The free program drawing should be drawn on paper, then you will avoid monotonous movement in one direction or incomplete use of the entire ice area throughout the dance. Try to perform the brightest combinations in the central part of the rink. Alternate steps, connections and combinations, watch for alternating steps, long and short arcs. Limit hand movements if it is not related to accents, semantic phrases and the nature of the dance. Associated with the change of music, the transitions from one part of the dance to another must have a complete and original character of positions and movements.

Do not be afraid to enrich the dance with new interesting movements, even if it is already ready. After all, searching and improving is the way to success.

Demonstration dance. A good means of developing the technical and artistic skills of figure skaters is a demonstration dance. Most often, the performance of a demonstration dance coincides with a decrease in the load of the competitive period, when the main events of the season have already been completed, and the transition period is ahead.

Work on staging a demonstration dance is started only after the choice of musical material and the clarification of the basic ideas and design of the dance.

Due to the fact that the demonstration dance, unlike the free dance, does not have clear judicial restrictions in the content of elements, positions, execution time, saturation, etc. , its means and tasks are much wider.

In the course of the development of general and special endurance of dancers, when staging a demonstration dance, the following must be taken into account: its duration, the pace of execution of movements, the inclusion of various supports; the development of endurance to some extent contributes to the encore of the number, which is possible only in demonstration performances.

The development of agility is facilitated by the use of various objects in a demonstration dance: a ball, a hat, a cane, a scarf, etc., as well as acrobatic elements previously mastered by the skaters in the hall.

Versatile possession of various technical skills is possible only with the introduction of elements of related disciplines into the demonstration dance - pair and single skating, elements and poses borrowed from ballet.

A rational sequence of teaching compulsory, original, demonstration, free dances helps to improve the quality of training and reduce its time.

The following sequence can be recommended:

1. General idea of the studied dance - steps, drawing, character of performance, musical rhythm, tempo.

2. Separate and joint work with a partner on the main elements of the dance without musical accompaniment, then to the melody.

3. Analysis of one series or part of the dance separately, then together with a partner in the hall.

4. Mastering one series or part of the dance separately, then together with a partner on the ice without musical accompaniment, then to the melody.

5. Work on the dance as a whole: a) each partner performs the required number of series or parts of dances to the music; b) partners jointly perform the required number of series of dances to the music.

When perfecting the dance, the partners must follow: a) the conformity of the steps with the description of the dance pattern; b) for the performance of dance steps in the rhythm of music; c) for synchronism and clarity of steps; d) for artistry, ease and ease of execution.