How to do an illusion turn in dance

Top 50 How To Do An Illusion Turn The 61 Correct Answer

11/10/2022 by Chakrii nathan

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Contents

What is illusion dance?

An illusion kick is considered one of the most eye-catching moves while dancing and doing gymnastics. It requires excellent flexibility, as well as the proper posture and position. It takes time to learn for most people, but it’s well worth the end result.

What is a turn in dance?

In dance and gymnastics, a turn is a rotation of the body about the vertical axis. It is usually a complete rotation of the body, although quarter (90°) and half (180°) turns are possible for some types of turns.

How do you do the splits?

Start standing in a wide leg position. Place your hands between your legs on the floor and slowly slide your legs apart. Stop when you’re extended into a full split or as far as you can go. “Your body will tell you right away when it’s ready to stop,” Sobers says.

What is the illusion of knowledge?

The illusion of knowledge is a cognitive bias involving a person feeling as though they know more or understand better than what their actual knowledge allows them to assert [1].

What causes illusion of competence?

The illusion of competence in learning is a misconception that learners hold where they think that they understand and have learned a certain concept or material because they have spent time attempting to do so. The familiarity of having gone through it is mistaken for having learned it.

How to do an Illusion

Illusion Tutorial – YouTube

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Illusion Tutorial – YouTube

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Gymnastics Explained – Illusion – YouTube

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Dance Talk : How To Do an Illusion Just For Kix

Have your splits and needles (six o’clock) is great to have perfected before doing your illusion.

Step onto your right foot. Tilt forward, put your hands flat on the ground and bring your left leg all the way up until your legs are in a straight line. Put all of your weight on your right foot, not on your hands.

Next, rotate your needle. Walk your right heel around and use your hands to turn around. This helps you get used to the rotation of an illusion.

Try doing a pirouette or a la secondes into an illusion! Swing your arms back, swing your right leg back while diving your head down to the ground. Drive your right shoulder to face back to the corner.

How to do an “illusion”?

from what my sister who teaches dance competion, she said you have to be flexible hamstrings, hip flexors and strong hamstrings. An illusion is basically a turning penche ( not that you’d have any idea what that is unless you take dance :3)

its like doing a cartwheel, with no hands. “you need your side splits for this one. To prepare before doing this turn, practice your needle stand against a wall, getting into your split as much as possible. A needle is where your torso drops and one leg lifts behind you so you create a straight line with the torso and that leg. After practicing some needles with a wall, do needle kicks (without the wall). Once you are warm, take 2 walks, right left. On the third step, right, you bring the left leg up behind you, and drop the torso so your head is by your knee, and come into your needle pose, arms in ballet 5th, turning outside (counter-clockwise if on the right leg). Spot to the front or side. As you come around, drop your left leg and lift your torso. As you land, step with your left leg. So when going across the floor, it’s (on beat) walk walk illusion walk… and so forth.”

So you have finished reading the how to do an illusion turn topic article, if you find this article useful, please share it. Thank you very much. See more: how to do an illusion gymnastics, how to do an illusion drawing, how to do an aerial, how to do an illusion with your fingers, how to do an illusion magic trick, illusion kick martial arts, illusion back walkover, illusion turn on beam

Illusion Dance Academy

About Us

A Mission of Movement

Illusion Dance Academy is the place to be! Learn to love the art of dance through music and movement. We offer a variety of styles of dance classes for all ages, including Ballet, Hip Hop, Jazz, Tap, Contemporary, Lyrical, Acro, Musical Theatre, and combo classes.

Studio classes

Now open for sign ups!

Illusion Dance Academy is a studio committed to giving your dancer the fundamentals of dance through music and movement. Each teacher exudes a love for dance unlike any other. Come become a part of our dance family!

Want to compete? Come be part of Illusion’s competition and performance teams. For ages 5 and up, in all styles of dance. Message us for more details.

CREATIVE MOVEMENT

Now open for sign ups!

Your child’s first dance class! In this class, they learn to sing and dance while building and tuning fine motor skills.

COMBO CLASSES

Now open for sign ups!

COMBO CLASSES

These classes are geared for 5 to 8 years old, when they are not quite ready for a full hour of each style of dance. They get two classes in hour (tap or jazz pair with ballet). A great start and intro to two styles of dance at once!

BALLET

HIP HOP

COMBO CLASSES

A class that teaches Ballet technique and vocabulary. Dancers will learn professional and proper body alignment and flexibility. The dancer will learn the principals of turn out, and balance. The class will include barre and center exercises.

JAZZ

HIP HOP

Jazz is a Ballet based technique class that moves to popular styles of music. Dancers will learn coordination steps, turns, leaps and kicks. The class begins with a center warm up and then move on to ‘corner to corner’ technique. The class will finish with combinations of choreography that encourages self-interpretation and expression.

HIP HOP

Hip-hop dance refers to street dance styles primarily performed to hip-hop music or that have evolved as part of hip-hop culture. It includes a wide range of styles primarily breaking which was created in the 1970s and made popular by dance crews in the United States.

CONTEMPORARY

MUSICAL THEATRE

Contemporary dance is a style of expressive dance that combines elements of several dance genres including modern, jazz, lyrical and classical ballet. Contemporary dancers strive to connect the mind and the body through fluid dance movements.

MUSICAL THEATRE

Musical theatre is a form of theatrical performance that combines songs, spoken dialogue, acting and dance. The story and emotional content of a musical – humor, pathos, love, anger – are communicated through words, music, movement and technical aspects of the entertainment as an integrated whole.

ACRO

MUSICAL THEATRE

ACRO

Acro is a blend of classical dance technique with precision and acrobatic elements. This class is designed to promote strength, flexibility, and technique while safely mastering various levels of acro elements.

DANCE CLASS ATTIRE

Leotard of any color, pink tights, pink ballet shoes. Hair in a clean bun with a hairnet. Ballet wrap can be worn on top of leotard. No sweatshirts or baggy shorts. Boys can do a white shirt and black form fitting pants.

Leotard & tights of any color. Hair pulled completely up and out of face. Boys can do a shirt with pants. No jeans. Shoes will depend on which classes are in the combo. Creative movement can wear ballet shoes.

Shirt with leggings with hair pulled completely up and out of face. Jazz shoes and clean tennis shoes both needed.

Shirt and leggings/joggers/sweats. Clean tennis shoes required for class. Hair pulled completely up and out of face. No jeans.

Form fitting shirt with leggings. Ballet attire can also be worn if preferred. Teacher preference on shoes (jazz shoes for jazz and musical theatre, while others may be required for contemporary and lyrical. Hair pulled up and fully out of face.

Shirt and leggings with tap shoes. Hair pulled completely up and out of face.

Form fitting top with leggings. Unitard or leotard can be worn. Dancers are barefoot for acro. Hair pulled completely up and out of face.

Shirt and leggings. Ballet clothes can also be worn. Jazz shoes preferred. Hair pulled completely up and out of face.

Reviews

Help Our Cause

Your support and contributions will enable us to get our new studio up and going. As some of you may or may not know, we have only been open since October 2020, and we just got a brand new dance space! We are working hard on having our new dance rooms up and running right away. Any contribution will help transform the space into dance rooms. Thank you from the bottom of our hearts!

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Meet The Staff

Heather Goetz - Co Owner Artistic Director & teacher

From the age of 3, Heather has been dancing up a storm! Starting in a combo class, she started branching out and eventually found her love of hip hop and contemporary dance. In 1999 at the age of 16, Heather taught her first dance class: a hip hop class to Smash Mouth’s “All Star”. She was nervous about teaching, but within 4 months her one class turned into three, and she was hooked. From dancing in 49er halftime shows to music videos to the streets of France, nothing has slowed her down. She loves teaching because she loves to be able to make people love dance as much as she does. Dance is so much more than motion. It’s a feeling. It’s an amazing sense of freedom when you can tell a story through movement.

One of the greatest things about dance is that it doesn’t matter the day you’ve had or the mood you’re in, the second you walk into your dance studio and start to dance, all of that just goes away. You live in the moment of the music and the story you’re telling. If I’m angry, or sad, or happy, I put all of that emotion into the dance and choreography and I walk away feeling like a new me. It’s amazing that dance can have that effect on you!

Owning a studio has been a dream of mine since I started teaching in 1999. Never in a million years did I think it would just fall into our laps the way it did! I am so thankful to those that believe in my teaching! I wouldn’t be where I am without you!!

Julie Monroe- Co Owner Office Manager

Heather Goetz - Co Owner Artistic Director & teacher

Julie and her husband, Eric, have been married for over 30 years. They are raising three kids together, who have all danced since they were 3 years old and being a dance studio owner has been her dream for many years. Julie has over 20 years experience in the accounting field. Currently, she is the bookkeeper for a local restaurant in Issaquah, plus she managed the office at Dance Arts studio for several years and loves the dance community (she even danced when she was younger and loved every minute of it). She has previously owned and managed a Desert Sun Tanning Salon franchise location in Seattle, and she was the bookkeeper for her husbands own construction company. She is thrilled to be the Co-owner of Illusion Dance Academy and to be able to bring this art to our local community.

Kseniya Larsh

Heather Goetz - Co Owner Artistic Director & teacher

Hayley Monroe

Kseniya began taking dance lessons in Russia since she was 4 years old, focusing on Ballet and Russian folk dance. At the age of 13, Kseniya was adopted to America where she continued on with her passion for music and movement at Elite Dance Academy in California, focusing on Pointe work, Lyrical, Ballet, Contemporary and Horton style Modern dance. After moving to Washington in 2015 to attend Pacific Lutheran University, Kseniya earned her BFA with emphasis on Painting and a Dance Education and Production Minor. Some of her accomplishments also include earning the titles of “PLU Dance Team member” 4 years in a row and “Outstanding Choreographer of the Year for 2019”, as well as competitively choreographing a piece for the 2019 PLU Spring Ensemble, earning Artistic Achievement/Merit scholarships, and celebrating 18 years of dance performance experience! Kseniya has now been teaching dance for 2 years, and is looking forward to sharing her passion for movement as well as challenging students to become the best performers and artists they can be.

Hayley Monroe

Hayley began dancing at the age of 3. She trained competitively for 11 years in various styles, including ballet, jazz, lyrical, contemporary, tap, and hip hop. She has been a teacher for the past 5 years. Hayley has performed in the Disneyland parade, half-time for the Harlem Globetrotters, and at local parades and festivals. Besides continuing her dance training, Hayley graduated college with a degree in Accounting. She currently teaches many different styles of dance and is also a choreographer for our competitive teams. Hayley has recently brought K Pop to the studio! She has taken summer intensives, including one at Cornish College of the Arts. Hayley is dedicated to teaching young dancers in a positive and caring environment, helping her students to have fun and enjoy learning dance techniques. Hayley hopes to get into dancing professionally in the future.

Casey Monroe

Hayley Monroe

Casey Monroe

Casey has been dancing since the age of 3, and she began competitive dancing at the age of 8. She was always the youngest dancer on the team so she was pushed very hard, but the outcome was so worth it! She has a great passion for music and enjoys expressing herself through movements in dance. She has been assisting dance classes since the age of 12. Her favorite style of dance is Contemporary, but she has studied most forms of dance throughout all her years of practice. Outside of dance she enjoys reading (especially on rainy days), listening to music, watching movies, and hanging out with her friends. She is attending Green River College as a Running Start student and is working towards getting her degree in Business.

Jordan French

Hayley Monroe

Casey Monroe

Jordan French has 25 years of dance experience in jazz, lyrical, contemporary, hiphop, acro, tap, ballet, pom, and more, and 12 years of teaching experience. After graduating high school, she attended the University of Washington where she was a 4 year member and 3 year Captain of the dance team. At UW, she was able to dance in stadiums and arenas across the country, and was selected to travel to Canada, Mexico, and China to represent the dance team. After graduating college, she continued to pursue dance as a teacher, coach, and choreographer. As a dancer and a coach she’s had the opportunity to travel to multiple conventions in LA and Vegas and work with some of the country’s best professional dance choreographers and teachers. She is an active participant and volunteer for the National Dance Coaches Association and participates in monthly choreography calls with Shandon Perez, Toya Ambrose, and other dance professionals to stay up to date on current dance trends and teaching methods. She prides herself on hard-hitting and powerful choreography that challenges dancers while highlighting their strengths. She continues to choreograph and consult for dancers of all ages and levels across the country.

Emily Jacobson

Chloe Rundquist

Emily has been dancing from the age of 3 with 16 years of training in ballet, jazz, lyrical, musical theater, and pointe. The majority of her formal training was in the RAD, Vaganova, and Balanchine styles of ballet. She started with assistant teaching ballet at 14 and loved getting the extra time to hone her technique and learn how to teach a class.

Emily has performed in the Disneyland Parade and Dance the Magic showcase, during half-time for the Harlem Globetrotters, various parades and festivals, and at anime conventions. She competed for six years, earning several top placements and special awards and assisted choreographing a small competition group during her senior year.

She took a brief break from dance to pursue a degree in Mechanical and Aerospace Engineering at West Virginia University. She knew she couldn't stay away from dance for long and is happy to be teaching dance as well as working as an engineer. She looks forward to leaving each dancer with a positive experience in the studio and inspiring a new love for dance in the next generation.

Chloe Rundquist

Chloe began dancing at the age of 7, and competitive dancing at the age of 10. She started out only taking hiphop but eventually branched out learning lyrical, contemporary, ballet, jazz, musical theatre, and she recently got on pointe. Her favorite styles of dance are now lyrical and contemporary because she feels like she can really express herself through them. Chloe has been to various dance competitions and conventions which she has picked up cool skills from both. She adores preforming and always has so much fun on stage. She is always willing to learn something new and is always trying to better herself. Outside of dance she likes reading, hanging out with friends, listening to music, and playing guitar. She is looking forward to creating a fun and safe environment for everyone to be their best selves and to help dancers achieve their goals.

Audrey Varriano

Chloe Rundquist

Audrey Varriano

Audrey began taking ballet lessons when she was three years old at the Metropolitan Ballet of Tacoma and later transferred to Dance Expressions. She has always found dance to be a great way to express herself.

Audrey is currently earning a degree in Drafting Design at Highline College to work part-time in the future as an Architectural Drafter. Aside from teaching and dancing, she also enjoys kayaking with her family, babysitting, reading, and is a keyboardist in a band.

Melinda Miller

Audrey Varriano

Melinda has been a gymnast for the last 6 years, doing a bit of competitive gymnastics as well. Floor and beam were always her favorite events. Melinda has also done a few years of cheer and dance as well. She loves being able to teach them something they have a passion for and create a good environment for them to grow and learn.

Dance Illusion Technique

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Dance Illusion Technique

(visual effects & body control)
online course recording

Duration : 240 minutes.
Price: 2455 rubles

Illusion Technique intensive program

4 hour workouts
Muscle tension and relaxation control (body control)
Flow "flow" - the basis of the illusion
Slow Motion
Technique Pop | Hit with all body parts
4 main visual effects: Explosion, teleport, strobin, air pos
Principles for combining insulation levels
"Invoice" of the movement
How to spice up improvisation with visual effects
More than 30 original exercises that you can then do yourself

Intensive for you if:

you want to learn how to control your body and manage it 100%
lacks clarity and precision in the movements you learn in class or at home
there are not enough movements for improvisation, constantly repeating
dream, learn to hypnotize the viewer. To look at your dance was speechless, and then wildly applauded
already dance (or want to learn) animation, popping, robot, wave, tatting, tribal, liquid - a visit is simply a must for you, as all these styles are based on the illusion
dance social dances, hip-hop, reggaeton, etc. - intensive will give you techniques and knowledge that will complement your baggage and that your fellow competitors do not have
want to stand out and win in battles and competitions. Shine in circles at jams
you teach and need fresh material for lessons
you teach a lot and "scored" on your development
get new information and inspiration
want to grow and develop further

How it goes

After payment, you will receive links in the mail. Follow them and watch video tutorials. Links are "eternal" and will always be available to you.

Who conducts the intensive

The intensive is conducted by one of the most experienced dancers in Russia, coach of champions - Alexander Dragon

Author of the "Quick Start" training program that gives results in a short time
Creator and owner of the largest dance-themed YouTube channel in Russia and the CIS (more than 25 million views)
Personally taught dance to more than 2,000 thousand people. Three students became Champions of Russia. Several dozen students have become professional dancers and teachers
Worked as a choreographer with Beeline, Intel, Microsoft, Mercedes, Pioneer, Sberbank, Toshiba, etc.
Author of the book "The Way of the Dancer".

How to pay for the course

By clicking "Order" you will be redirected to the ordering page. After filling out a simple form, click "send". You will be offered more than 50+ payment methods. Choose the most convenient for you and pay. After that, links to watch video lessons will be sent to your mail.

Reviews

Valeria: the course was very helpful in development! Now I know what to work on.

Natalia: I can use these chips in other styles!

Alena: I have been looking for a long time where I can learn this and I am very satisfied. I got a lot of knowledge and motivation.

Q&A

I am new to dancing, will this help me?

Yes, the program is built in such a way that even a person from "complete" zero will firmly master the illusory techniques.

If I have been dancing for a long time, won't I get bored? Learn something new?

Absolutely. The program contains several dozens of original exercises that will seriously advance your dance.

If I'm dancing for myself and I don't have to be a champion, does it make sense to go?

Yes, it does. Many attend intensive courses in order to improve their physical and dance forms, learn new things and enjoy dancing.

If I buy now, can I watch later?

Yes, the links are "eternal". Take a look when you get a chance.

Any questions? Call: 8-916-725-57-77

King-tat - funk dance style

Foreword

The need for such material has been brewing for a long time, given the fact that king-tat itself is very popular. The style deserves special attention and, perhaps, goes beyond funk styles, being rather limited by these frames. Despite its apparent simplicity, king-tat is developing dynamically and already now includes various techniques, directions and sub-styles. In this article, we, to the best of our ability, will try to cover all aspects of this dance, presenting the material in an accessible form.

It must be said right away that the author cannot vouch for the 100% accuracy of the information presented, especially regarding the historical aspect and terminology. The history and terminology of funk styles has not yet been officially recorded or confirmed. However, the information below comes from the pioneers of modern dance styles and therefore deserves attention.

The sources for this article are the materials of the site www.mrwiggles.biz, the author of which is directly Sam Clemente (aka Mr. Wiggles), the forum of this site (it is difficult to mention everyone who shared information), as well as some modest contribution from the creator of "King- tat for teapots.

What is king tat and what is it eaten with. History and description of style

Unique and inimitable in its own way, king-tat deserves to be a separate and completely independent direction. Perhaps it will not be easy to trace the history of its occurrence. Oriental, in particular Indian, dances, at times, are very reminiscent of king-tat at its core, despite the different origins of the basic movements.
As for the name, everything is simple. King-tat is an abbreviation for the English "King Tutankhamon", that is, "King Tutankhamun". By themselves, these words already speak of where the dance came from. However, the following information cannot be ignored.

From the point of view of the history of king-tat, as one of the varieties of funk styles, we note that the cartoon character Bugs Bunny served as a serious impetus to development, no matter how strange it may sound. Early generation dancers such as Boogaloo Shrimp (Turbo in Breaking), Animation and Mr. They say that when the episode with Bugs Bunny, where the latter did things in the spirit of the Egyptian pharaohs, went on the air, many tried to use the poses and movements seen in the cartoon. Undoubtedly, the drawings themselves found in the Egyptian pyramids served as a source of inspiration. Their embodiment in dance became the prototype of modern king-tat.

However, if we look at the same Indian dances or belly dance, we will see that the original, “first position” of our direction, where the hands are folded together at chest level, is borrowed from there. And this is despite the fact that such poses of oriental dances do not copy the pharaohs at all, but rather the Buddha.

However, despite all the uncertainty about who created the style, one cannot fail to mention such pioneers as Poppin' Taco, Mark "King Tut" Benson, Skeeter Rabbit and Steve Martins. The dancers of the later wave were also influenced by Mr. Wiggles, who once released a video entirely dedicated to the king tattoo.

From a purely visual point of view, the king-tat is so original that it is almost impossible not to recognize it. The style is based on the construction of geometric figures with the help of legs and body. head, shoulders, forearms and palms. Of course, the hands play a dominant role in the dance, but a full-fledged king tat necessarily includes the movements and positions of the legs and body. Wrists, shoulders and elbows are key joints. Their flexibility and mobility largely ensure the quality and beauty of performance. Although we must not forget about the hips and knees.

The most important principle of king tat is keeping right angles between the palms, forearms and shoulders. As the famous dancer Vadim Savenkov puts it, in this dance there is a certain “Chinese-Egyptian theme, the theme of a puzzle, puzzle”.

Characteristic for king-tat are, say, poses where the elbows are raised to the level of the shoulders, being in line with each other, and bent at an angle of 90 degrees. The hands are bent at a similar angle and are either above or below the elbows. Thus, the figures resemble an inverted letter "C", or again an inverted "S" Latin, made in a broken line, without smooth bends.

Initially, king-tat was a set of movements repeating or imitating and built on the principle of the notorious drawings in the Egyptian pyramids. And this means that the positions where the hands are outside the body zone were predominant - the so-called "outer tuts" or "outer king-tat". In the dance, positions were changed, as a rule, this happened smoothly and at a low pace. Eddie Ellison's solo in the training film "Break it" is a great example of this.

Modern king-tat is more dynamic, includes much more complex patterns and principles of their construction. Different techniques use work not in two, as before, but in three dimensions, combining the same angles in different ways. The legs, the body are actively involved, and sometimes the dancer goes to the lower level, thus crossing the line between funk styles and b-boying style.

Where to start. Basic principles and auxiliary exercises

As for the basic principles of king tat as a style, everything is not so complicated here. There are perhaps two main points of particular importance.

First, of course, is the observance of right angles. This has already been discussed above. However, we note that although high-quality and well-placed angles play an important role in the dance, it’s not scary if you are physically unable to, say, bend the wrist to full 90 degrees. Following the rest of the principles more than compensates for such shortcomings.
The second point is the general setting of the hull. As in any other direction of modern dance, it must be remembered that you are dancing, figuratively speaking, with your whole body, and not just with your hands. Therefore, the way you carry yourself has a decisive effect on the overall impression of your performance. For such a structurally clear style, this is doubly important. A stooped pharaoh is unlikely to please others, so do not forget: the back is straight, the shoulders are lowered, the face is raised, we look straight and even. And remember about the legs, hips, pelvis.
The third point is the speed of execution. In general, at the moment, two manners can be traced. Someone prefers fast king-tat, with a rapid change of position, when the corners imperceptibly flow from one to another. For others, a hard, crisp, and probably more classic version is more acceptable, in which each pose is fixed and accentuated by downbeats in the music. There is no right option here and cannot be, many dancers successfully combine both modes, but the main requirement here is one thing - music. Forgetting that you are dancing to music is unacceptable. A dancer who does not follow the rhythm simply breaks the dance, turning the most intricate combinations into convulsive antics.

Separately, we can mention the setting of the palms. You may have noticed that your fingers bend slightly outward when you make an effort to straighten your palm. In order to avoid such "irregularities", there are several options for setting the palms. The first is when the palm is slightly bent, forming a certain angle. The fingers seem to be gathered into a pinch. This option is typical of the old school - say, Eddie Ellison in his film, when performing king-tat, holds his palms in this way. The second option, which the author of the article also adheres to, is probably less traditional, but visually better, although it requires some getting used to. Its essence is that the palm resembles a boat in shape. That is, the middle finger is in a straight line with the wrist, and the index and ring fingers seem to support it from below, from the inside of the palm, although not touching each other. The thumb is under the palm. At the same time, all fingers, including the little finger, are tense and “pull” forward.

Speaking of exercises, we should immediately understand what they are for and what we want to achieve with their help. Perhaps we should break them down into two types. Exercises of the first type will serve to improve physical capabilities, while the second type will be aimed rather at the technical and aesthetic side.

The first type includes everything related to stretching. To keep the working parts of the body bent at a 90-degree angle, you need to be physically able to bend them like that. Therefore, during the warm-up, be sure to pull the hands, shoulders.
We stand straight, legs together, arms straight and extended to the sides. Palms are straight, fingers together. We bend the hands so that the palms are turned inside out, and the fingers look up, and we pull the joints. Then we turn our palms towards ourselves and pull again. We lower our fingers down and repeat the procedure.

Another palm stretch was once given on the forum of the famous western dancer Mr. Wiggles. Its essence is as follows.

It is necessary to stand next to a flat wall and lean on it with your palm at shoulder level so that the angle between your palm and forearm is 90 degrees. Then, with some effort, you should bring your palm down without taking it off the wall. In this way, you can pull the ligaments using your own weight and physical strength.

The mobility of the shoulder joints is equally important, so we do the following exercise at every warm-up. Legs wider than shoulders, hands behind, fingers clasped. Without disengaging or bending our arms, we raise them up. Having reached the stop, we bend down. Keep your back straight and once again pull straight arms up.

The second type of exercise, as already mentioned, is aimed at developing technique, and here we will focus on the same angles.

In the following exercise, we set ourselves the goal of achieving a clear and automatic reproduction of various patterns, with the highest possible quality for the dancer. It sounds complicated, but on the jelly itself, everything is much simpler. Muscle memory is a tough thing. Once you learn, you can't forget later. But retraining, however, is also not always easy. Therefore, it is better to learn how to perform corners right away.

To do this, we define for ourselves several - perhaps 8-10 basic postures. Of course, it is possible and necessary to use not only hands, but also the body with legs in poses. Now we stand in front of the mirror, take the first chosen position and stand. We stand until the muscles get tired, whether it's a minute or five. At the same time, initially it is necessary to correct the position, bringing it as close as possible to the ideal one. Then we take the next pose and repeat the above.

Subsequently, you can diversify the exercise by combining the pose with rhythmic muscle contraction to the music, which will allow you to work out the fixation at the same time. The main point is the clarity of the execution of the pose. The author of this article came up with a similar technique on his own, and, accordingly, tested it on himself and his students, getting excellent results. Mr. Wiggles also spoke positively about the exercise when I posted it on the forum of the current website www.mrwiggles.biz a few years ago.

Directions to King Tat. Descriptive terminology

Despite the visual integrity and general principles, king-tat as a style contains certain sub-styles, characterized by different principles of building sequences of angles, different visual effects and similar details. All the following terminology with descriptions is based on materials from the thematic forum of the site www.mrwiggles. biz. It should be noted that the initial information was often extremely unsystematic, and therefore it was decided to try to systematize it. These, of course, are not all terms, and not all directions that can be found in king-tat, however, we take the most common, detailed and popular styles.

3DTuts is king-tat in three dimensions. Its concept is in many ways similar to the principles of "boxes". One of the descriptions says - you need to imagine that the world around you consists of lines, like a drawing. And the hands themselves can also build these lines. In other words, the dancer draws complex three-dimensional geometric shapes and, in the process of dancing, changes them.
Inner/OuterTuts - here, unlike other terms, everything is simple. In literal translation, king-tat "external" and "internal" differ from each other in postures and hand position. "External" positions - the hands are outside the space of the body. In other words, these are all angles with arms spread apart, raised up or down. “Internal” positions, or “outer tats”, are performed just in the personal space of the body, that is, in front of you (in front of the chest, at the level of the shoulders, abdomen, etc.).
Boxes - literally translated as "boxes". Not the best translation option, however, so let's focus on the transcriptional "boxes". The concept of this direction deserves very detailed attention. "Boxing" is the evolution of king-tat, a new approach and a new mentality expressed by old means. The old-school king-tata dancer imagines the dance as changing a specific set of positions. With their help, a person can tell a story, express a feeling, or simply create an illusion. Like Bugs Bunny in one of the episodes of the famous cartoon, the dancer shows the viewer poses, focuses on them and, thus, conveys the general meaning of the dance. The essence of "boxing" is not only the poses themselves, but the transitions between them. Of course, the work of the hands comes to the fore. Working with space, outlining those notorious "boxes", lines, various geometric shapes, a complex and, which is very important, dynamic, three-dimensional drawing is created. As a result, an illusion of a different plan and a completely different, but no less fascinating visual effect is achieved.
Prayerposition/tuts - One of the basic positions of king tat. It is also “the posture of prayer”. Many, if not all, bundles begin with it. As a sub-style, "prior tats" implies frequent use of this pose, or its variations (say, when the palms are folded back to each other, fingers down).
WaterfallTuts - “waterfall tats”, or “waterfall”. Despite certain disagreements among the dancers, it is still worth saying that this is not one movement or a bunch, but its own style. Its essence lies in combinations built on the rotation of the palms in the wrists from top to bottom. For some, it visually resembles a waterfall, for some it doesn’t, but the direction got its name thanks to one of the pioneers of king-tat and funk styles in general, Mr. Re (Mr. Re), who, in the process of performing “waterfall tats”, imitates the sound of falling water.
BackTuts - “back tuts”. "Back" in English - "back". Here we draw a conclusion. This can hardly be called a separate style, however, "back tats" - bundles in which part of the movements and angles are built behind the back (behind the head) have a place to be.
Wristrolls - rotation with a brush. One of the main elements in the king-tat technique. The rotation of the hand should be carried out with complete isolation of the rest of the body, including the hands. In the simplest version, you can simply turn your palm towards or away from the body, thus describing a semicircle. More difficult is the movement when, for the same 180-degree turn, the brush describes a full circle. Perhaps the similarity in movement can be found with a propeller blade. Do not forget that when turning the first 180 degrees, as well as the second, the palm changes its position (for example, it is initially turned down, then in the middle of the movement up, and at the end down again).
Threads - "threads". The English verb "thread" means "to thread". In the presence of imagination, it is easy to imagine what a "threads" is. Let's explain with an example. Putting your arm straight in front of you, you bend it at the elbow parallel to the floor, forming a right angle, then bend your hand, getting another same angle and touch your shoulder. Thus, a closed space appears in front of the chest, outlined by your hand. Accordingly, being in this position, try to pass the other hand into this space from below (or from above, as you wish). Now you can congratulate yourself, you probably already understood the meaning of "threads" in king-tat.
WaveTuts - “wave tuts”. As the name suggests, wave tats is a synthesis of king tut and wave tats. These are not abstract waves built according to some incomprehensible geometric principles, but king-tat, in which the wave plays a connecting role. Thus, from one fixed position to another, you come by performing a wave. Or, in other words, start and end the waves with different king-tat positions. For example, your right hand is in position A, your left hand is in B. You need to change the position of your left hand to A. To do this, you from position A of your right hand release a wave into your left hand, moving it to the desired position by the time the wave ends.

Q&A

Q: My arms don't bend as they should (can't get right angles in my hands).
O: Bend and everything will work out! With the help of regular stretching and performing appropriate exercises, you can achieve very good results. The main desire.

Q: Still the brushes don't bend. Probably king-tat is not for me...
A: Even if you can't achieve right angles in your hands, it's too early to give up on yourself. In king-tat, as in any other dance, the appropriate visual effect is achieved through a combination of parameters. Pay attention to the setting of the body, to whether you hold your hands evenly. The quality of movement, clarity and smoothness are also important. And, of course, isolation plays the most important role, that is, the ability to work with different parts of the body and muscle groups separately (say, while maintaining complete immobility of unused parts of the body). By perfecting your own technique, you will easily surpass someone who puts flexibility and natural ability above the skill and quality of dance.

Q: Do I need to use fixation in the dance?
A: Not necessary, but possible. In general, this is a matter of taste and personal preferences. It can only be noted that in the old-school king-tat, where the emphasis is on poses, fixation perfectly helps to emphasize these poses. If you prefer "boxing" or "wave tats", use the "waterfall" technique and generally highlight not so much poses as transitions between them, you can probably do without it.

Q: On the imported videos, king-tat dances slowly, while Vasya (Petya, Liza) dances very fast. Why? How right?
A: Indeed, many dancers of the national school dance king tat at a very high pace. However, it should be remembered that it is not the tempo of movements that is important, but the ability to perform them to the music, to keep the rhythm. For the West and, in particular, Americans, the main music in the performance of funk styles has always been funk itself, with its energetic, but average, rhythm. In our country, many initially focused on faster electro and electro funk. This is where the difference seems to come from. However, once again we will make a reservation that the main thing is not speed, but rhythm and the ability to get into it.

Q: Is it necessary to dance king tat with ready-made strings, or is improvisation allowed? (Is it necessary to improvise, or are links allowed?)
A: It all depends on your level and your own preferences. Any serious dancer has in his arsenal one or another number of links, schemes or "chips" that he uses in the dance. Therefore, dancing them is quite natural. To achieve high-quality improvisation in king-tat, without losing the illusion and remaining within the framework of the style, is very difficult. However, with time and practice, a lot comes. Perhaps at some point you will notice that in the process of dancing you are able to combine different schemes and their pieces in different ways, create new movements and connections. Don't stop there and hone your skills. Everything will work out.

Q: I'm stuck, no fresh ideas. Where to draw inspiration?
A: There are many ways. You may find yours, but here's what you can look for:
1) Study traditional Egyptian hieroglyphic writing. On the Internet, you can find drawings taken from the ancient pyramids. Try not just to copy them, but to understand the principle of construction and create something of your own based on it.
2) Watch a fragment of the cartoon about Bugs Bunny. He has inspired more than one generation of dancers, let him serve you too.
3) Watch the working mechanisms, catch the principle of movement and try to put it into practice. Many dancers, both domestic and foreign, draw inspiration from looking at tower cranes at a construction site (from Russian "oldies" to American "newbies")
4) Look for videos of other dancers.

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