How to do basic dance steps
5 Basic Dance Steps for Wedding that Everyone Should Know — Duet Dance Studio Chicago
Knowing some simple basic dance steps is helpful to anyone, whether you are preparing for a wedding, prom or social event. The tutorial videos below show you some of the most versatile basic dance steps for wedding. Instead of rocking side to side with your partner, impress your special someone with these simple yet fun dance steps at your next event!
1. The Side Basic
This basic dance step is easy to master and works great with 80% of the songs they play at weddings and parties. You can dance it slowly to slower songs or speed it up for songs with faster tempo. Not only can you dance this step with a partner, you can also use it as a solo dance move! The key is to dance to the beat and move your feet rhythmically. Practice this a lot until you don't have to think about it.
2. The Right Turn
Once you have mastered the side basic, you can surprise your partner with a simple right turn. This turn is an extension from the side basic. Footwork is the same for the leader. The key is to signal your partner at the right time and lead with confidence.
3. The Waltz Box Step
What do you do when a romantic waltz song comes on at a wedding? Learn this simple waltz box step and "sweep your partner off her feet!" Surprisingly, you might already know the wedding waltz basic. Remember the PE ballroom dance class you took way back when you were in grade school? Does the Box Step sound familiar to you? The waltz box step is one of the most versatile and most taught basic dance steps in partner dancing. Let's take a little refresher course on the box step here!
4. The Under Arm Turn
One of the most exciting things about partner dancing is that you get to turn your partner. And who doesn't like to turn? The Under Arm Turn we are showing you below is an extension from the Waltz Box. It's a graceful turn that will not only impress your partner but also the onlookers!
Lastly, no dance is complete without a fancy dip! Many people are afraid of this move. In fact, it is a fairly safe move if you understand the correct posture and body positions for this pose. Watch this tutorial and learn to dip your partner safely and gracefully.
What is your favorite dance step for weddings? Please comment below. And if you'd like to learn more dance moves for your wedding, click the button below.
Online Wedding Dance Lessons
The Duet Team is a group of friendly dancers who are passionate about helping people and sharing the joy of ballroom dance. And we love to make new friends and have fun at work! Duet Dance Studio is located in Chicago West Bucktown. We offer ballroom dance lessons, wedding dance instruction and private dance parties. Online Wedding Dance Lessons and Skype dance lessons are also available! Dances we teach include Salsa, Swing, Tango, Bachata, Merengue, Waltz and Foxtrot. Sign up for an introductory dance lesson now to get started!
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10 Basic Dance Moves Anyone Can Learn
Do you ever watch someone dance and wonder how they come up with moves so easily?
Great dancers often master a specific set of moves that they can fall back on again and again.
Read on for 10 basic dance moves you can learn in minutes and use every time you wanna dance.
P.S. You can learn all of these moves for FREE on STEEZY Studio! No cc required. 😉
1. The Two-Step
When I first started dancing at parties, the Two-Step was the first move that truly came naturally to me.
It really is as simple as stepping from side to side to the beat!
If you're looking for something foolproof that allows you to just groove and enjoy the music...
Boom. Here it is.
2. The Monestary
This move was born in a club called Monestary out in St. Louis!
It’s built on a Two-Step, so if you took that class, you’ve already got a foundation for the footwork.
But rather than bringing your feet together, you’ll tap them to the front with your knee and foot turned inward.
Then, as you tap the feet, you’ll move your arms and shoulders in a circular movement.
3. Booty Pop (Side To Side)
Like the Woah, this sexy move is super TikTok-friendly – but with more feminine energy.
To do a booty pop to the side, you’re gonna bend your knees, put your hands on one knee, and then bring the other leg from bent to straight while turning your knee inward.
If you’re a long-haired baddie, be sure to keep all your hair on one side so it doesn’t flop in your face as you pop!
Read this article on How To Dance Sexy to get more tips on pulling off moves like this one!
4. The Billy Bounce
Surprise – this club-ready move is built on… a bounce!
But what makes it unique is that your knees will come inward on each bounce rather than just up and down.
Once you’ve got the funky lil knee bounce down, you’ll add in an upward kick on each side.
The best thing about this move is that while the footwork takes a few minutes to learn, you don’t necessarily need to add an arm movement to make it look cool.
Just keep your arms front and center.
5. The Woah
Even if you’re not actively involved in the dance community, you’ve probably seen people hitting the Woah – on TikTok, Reels... all over your newsfeed!
Whether you wanna make a viral video of your own, or you’re just looking for a fun, basic dance move to pull out at the clerb, this one is too good not to learn.
Since the locking arm motion is so sharp and pronounced, use the Woah to accent the heaviest bass beats in your favorite songs.
6. The Dougie
Yes, the Dougie is a real dance move!
Like the Two-Step, you’ll be shifting your weight from side to side, but this time, adding some shoulder movements and a lil more attitude.
Try this one out to some songs other than the one that made it famous – you’ll find it works with any hype beat.
7. Scoop Arm Into Hip Sway
Sooo this one is more of combo than a move, but it only takes a few minutes to learn and it works with any fun sassy song…
So it deserves to be here, ok?!
For this move, you’re gonna scoop your arm across your chest, then bring it over your head, and finally point it in front of your chest.
Once you point the arm in front of you, you’ll sway your hips from side to side and groove it out.
8. The Bust Down
The Bust Down was popularized by LA rapper, Blueface, in his 2019 club jam “Thotiana”.
You’re gonna grab your belt, put one arm in the air, and allow your body to dip with the beat.
Note: Licking your eyebrows like Blueface is fun, but not required. 😛
9. The Biz Markie
The Biz Markie is an old school party dance inspired by, you guessed it, rapper Biz Markie!
It rose to popularity in the 90s, when Biz Markie himself began performing it on stage.
As you practice it, remember to allow your shoulders to bounce – the bounce is what gives this move its cool, laidback flavor.
Wanna learn more about classic Hip Hop moves? Read this: How To Dance Hip Hop for Beginners
10. The Humpty
For this bouncy move, you’re gonna circle your hips to one side as your bend your knees.
Then, you’ll jump and cross your legs, allowing your feet to tap the floor briefly before you jump back to your original legs apart position.
Once you’ve got that down, you can complete the move by adding in a windmill motion with your arms.
The leg cross in this move makes it perfect for any Hip Hop song that features a double bass (aka that BOOM BOOM sound that you hear in songs like “Lip Gloss” by Lil Mama)
We hope you enjoyed learning some of our favorite basic dance moves.
Of course, this list is just a start!
In addition to the 10 moves on this list, STEEZY Studio has 100+ other FREE beginner classes where you can learn step-by-step from the world’s best teachers.
What To Read Next:
30-Minute Dance Workouts That'll Trick You Into Becoming A Better Dancer
How To Learn Popping
How To Start Dancing Hip Hop For Beginners
How To Learn Dance At Home90,000 12 life hacks, to quickly learn how to dance from Mamita Dance
Author: Pavel Gather
Psychologist, Lecturer Salsa and Tango
Author: Pavel Pavel
Psychologist, Lecturer Salsa
on At the start, you always want to get a quick result. When it doesn't happen, the hypothesis arises that everything takes time. After a conditionally acceptable time, humility comes to mastering pair dances, which, perhaps, is not given, and I will just do what I learned somehow. nine0003
This is the most common story of those who believe that the mere act of attending a pair dance class is enough to learn how to dance.
Absolutely not. If you want to really dance well, you have to make an effort outside of the dance class. A good teacher will definitely be needed, but the initiative should be on your side.
1. Listen to music
The most common and accessible advice that is given already in the first lessons. And it definitely works. Music creates a certain atmosphere of the dance and intuitively you want to move to it. It doesn't matter where you listen to music - in the car, on headphones while walking or doing household chores. nine0003
An addition that will help you dance better is your active participation in the music. Sing along, dance or simply beat musical accents with any free parts of the body. In the subway, for example, it is enough to tap out bright moments with your fingers, in the car to sing along with sounds, and at home you can jump for pleasure.
2. Watch videos of good dancers
It's complicated, but also obvious. It’s more difficult, because without recommendations from more experienced dancers, unfortunately, it’s not so easy to find a good quality video on the net (I mean not the resolution quality, but the content itself). nine0003
Meaningful video viewing is about building an understanding of HOW dancers make a particular impression on a partner or viewer. Technology is at the heart of everything. Understanding how the pros do it is a big step forward.
It is important to distinguish a show from a disco dance, a staged performance from an improvisation, a stylized dance from an authentic one, etc. Ask for recommendations and dance teachers will always throw off a couple of videos of worthy landmarks. nine0007
Tango Z. Showreel.
Online modern tango courses
Tango nuevo is the most advanced version of tango. We can quickly learn to dance from zero to a steep level.
3. Dance in salsatecas/milongas/discotheques
A very delicate moment when it is worth coming to the first party. From a technical point of view, most students in 1-3 months have a sufficient set of figures and techniques to come and dance calmly. Psychologically, the same moment can be stretched out for an indefinite time. After all, it is imperative to “not lose face”, “learn more figures” and be sure what to do in case “there is an unfamiliar movement”. nine0003
In fact, the partygoers don't really care (except for a small layer of non-professional teachers who want to help inexperienced dancers by treating them as customers in the future). It is important to come and try dancing after a month of classes. You can only with friends or guys from your group. This will be enough to feel the adrenaline and inspiration from the dance.
4. Dance with partners or partners not of your level
The conventional wisdom that you need to practice in groups of your level does not withstand the test of experience. Perhaps now your eyes widened in surprise, and you want to meaningfully read the phrase again. Yes, you saw everything correctly: when you dance with a partner of your level, you don’t grow anywhere. nine0003
It's important to understand that not only does it work one way and you have to dance with cooler dancers, but it works even more effectively the other way. It is no coincidence that teaching pair dances dramatically raises the level of the teacher himself. You have an endless stream of very beginner dancers.
How it works. A more experienced partner needs to be "stretched". It's easy and obvious. With beginners, you need to take more initiative on yourself, see the general pattern of the dance more widely, turn on and insure more, try to be an example and be more careful. The quality of interaction begins to grow significantly. And wonderful partners too. nine0003
Dancing with partners of your level doesn't make you grow. Dance with both beginners and more advanced dancers
Dominican Bachata Women's Style Online Course
Want to learn how to hypnotize those around you with the most appetizing part of your body? On the course we will tell you all the secrets.
5. Learn to dance for a partner and for a partner
Turks and Argentines are one of the best partners in the world. In Russia, partners are highly valued. Why? The answer is simple. In Argentina and Turkey, it is not questionable for men to ask another man to lead in one piece or another and give feedback on the quality of the lead. For them, it will be a great shame to hear moralizing from a partner, or even more so to be known in the community as an insecure partner. nine0003
In Russia, due to the constant, often far-fetched, opinion that there are more women in pair dances, partners calmly get up and study their partner's part. Such partners then grow into very cool dancers and teachers. In no case do this at parties, only in class. Here we are talking only about the learning strategy. At parties, be yourself.
6. Do not memorize the links
Always try to look deeper and understand the through principle and idea of movement. Understanding what and how is done will make it possible to independently generate any sequences and chips. nine0003
Human memory is limited and there will always be a moment when something will escape and your repertoire will be limited by the size of RAM.
In Argentine tango, for example, there are seven levels of movement construction that, when mastered, will allow you to make millions of combinations. And how many dance sequences can you really remember? In rueda, more than 150 figures dance in a rare circle. It's hard to keep more in mind.
7. Develop your body
Many years of experience in teaching couple dance shows that as soon as everyone pairs up in a class, any progress in individual style ends. But it is the individual style that distinguishes everyone at the disco: partners change, and style is always with you. nine0003
The body as the main instrument of dance must be very plastic, responsive and emotional. Surprisingly, not all pair dance schools have a general physical warm-up. It is vital to tune the body and understand how it works.
You can always train extra and concentrate more on the basic steps, as their true value is as body work. The sequence of steps is, in fact, the simplest thing that can be in pair dancing. The quality of individual performance determines the craftsmanship. nine0003
8. Try on the images of inspiring dancers
A psychological life hack for those who have already mastered the steps, but still feel that there is not enough brightness and drive. Most are terribly afraid of being someone else's "clone". Here the action is the same as under the influence of hypnosis - the more you resist, the more you plunge into an altered state of consciousness.
With a high degree of probability, you are already dancing like someone else's "clone". A meaningful fitting of someone else's image is that you mentally take the image of the one who inspires you (inspiration is critical in this case) and "put on" yourself. Then you start dancing and trying to feel in general how it is to be able, for example, to be the best partner or the sexiest partner in a disco. This is much more difficult than it seems. But it works extremely efficiently. nine0003
9. Dance to offbeat music
Habitual rhythms keep you tight. Tango salon or speedy timba leave little room for experimentation and fantasy. Pattern dancing is always noticeable and is reserved for beginners.
The truly new is born outside of the usual. Look for places to experiment. If there is no place, organize self-training. The main thing is not to get carried away, because music determines the style. We bring something new to pair dances, rather than trying to change them. nine0007
Search, improvise, don’t be afraid to go beyond, develop in different directions, be inspired by music atypical for the style
10. Try your hand at basic dance directions
dances exist according to their own non-choreographic laws.
This is the deepest delusion, which has turned into a ceiling for the qualitative development of partner dances. After all, all professional dancers, for example, in salsa or bachata, build their ideas on the basic choreographic principles. nine0003
Do not think that choreography is only applicable on stage. Any meaningful movement of the body can be choreographic. In general, try classical or modern choreography. Basically, hip-hop can work too.
11. Look for battle sensations
Pair dances return us to an active position of manifestation of our body. As in the days of our ancient ancestors, we impress the members of the opposite sex by how dexterous, hardy, sexy, etc. we are. Modern laws of the jungle in the entourage of big cities. nine0003
If you look around the dance floor, it becomes clear that the majority are clearly herbivores (not in the sense of vegetarians, but in relation to those around them). I am sure that predators are always more interesting in terms of the attractiveness of the image - try to find a counterbalance among herbivores, for example, a cat woman or a lion man.
The conversation is about an internal position, not about aggressiveness. Lability and lack of control are inherent in adolescents, and not in adult self-sufficient people.
Accordingly, even a training or friendly battle gives, on the one hand, practical skills - to make a bright sequence of movements, bring an idea to a climax, show a spectacular feature, on the other hand, develops the psychological basis of the dance - self-confidence, resistance to extraneous attention, self-control and self-control in complex elements. nine0007
12. Communicate with professionals
The environment shapes the internal position. Basically, real passionaries of the dance community are ready to openly talk, discuss and support the development of dance in every possible way. Universal principles and the ideas they articulate have a much longer and more practical perspective than meets the eye.
Accept that, for example, behind the words "listen to your partner" is not only a beautiful metaphor, but also a practical skill to literally listen to your partner. At the same time, always treat every thought, even the most respected teacher, as a private opinion. nine0003
Your skill will lie in finding the scope of the idea even in conflicting opinions. Most often, the contradiction is speculative and the truth lies in the angle of perception or situationality.
Your dancing growth will stop sooner or later. This can happen at the level of three basic steps or years of experience in teaching and show performances. Regardless of your level, the suggested 12 life hacks can get you off the ground and greatly accelerate your dance growth. There is no way here without your motivation and activity. Take your dance development into your own hands. nineOl000 Dangerous sexuality
Salsa: destroyers of stereotypes
Couple dancing as a source of strength.
Self-destruction of the couple dance community
The Salsa series as a mirror of the community
Mamita Fridays: salsa, bachata
Destroying the myths about leading pair dances
Does dancing make us better?
The seven deadly sins of teachers
Why we will never dance bachata like the Dominicans
Dispute over musicality
Selection of dances according to alcohol preferences
Where to find inspiration for dancing? nine0003
Terrible tango nuevo
Distribution of roles in a salsa party
Argentinean tango through the eyes of a salsa dancer
Is there a predisposition to dancing?
Which is more effective: individual or group lessons?
Sexual overtones in pair dances
Dance sport Latina exercises
Basic principles of body work in latina. Posture and coordination in dancing.
Latin training process. Specialized exercises
Rules for the construction of choreography and dance scheme
Latin American dance program
Samba (Latin American dance program)
Cha-cha-cha (Latin American dance program)
Rumba (Latin American dance program)
Paso doble (Latin American dance program) 9002 Jive (Latin American Dance Program)
Exemplary Team Dance Sports Club Ajax
Basic principles of dance sport
(sports ballroom dance)
- Each dance is special and the character of each dance must be conveyed by the characteristics of the movements. You need a dance soul, you need to live the dance, tell your story through the dance.
- The partner should enjoy dancing, and the partner should enjoy dancing with her and leading the couple. It is necessary to observe the gender component - the separation of the principles of the dance of the partner and the partner. The partner goes to the parquet in order to show the partner. It is important to dance not next to each other, but to dance interacting in pairs! nine0251
- The main competition now is showing more contrasts per unit of time and the ability to present it, as well as show interaction in a pair.
- Talent Perseverance Purposefulness - key success factors
- It is necessary to constantly perform exercises to pump muscles and develop and practice the necessary key skills.
- Only skills reinforce knowledge! It is necessary to do all dance training exercises honestly for yourself first of all. nine0251
- It is necessary to give specific tasks to practice the action for the dancers! The dancer needs to keep a diary, with tasks and an assessment of progress. Be aware of your dancing! Practice must be conscious and effective.
- Natural movement. Natural movement with maximum control of body parts and engagement of all muscle groups. It is important to be able to perform elements of any complexity with a beautiful posture freely, without clamping, with a sense of weight.
- Continuous motion. nine0006 Permanent movement - either movement on the parquet, or body action movement of body parts in place. Continuous smooth movement without "stops", they must be excluded, except for special lines conceived according to the choreography. The dancer is never static, there is always stretching and stretching going on.
- Coordination, isolation, body axis. Volumetric, non-planar movement required. 3-D volume and natural movement through insulation and stretching. Any quick action must be done on the exhale. nine0251
- Timeliness and clarity of body weight transfer. It is imperative to monitor the timely transfer of body weight from one leg to the other leg. 2 types of weight transfer - first transfer of own weight, then synchronous transfer in pairs. It is necessary to feel the weight (the force of pressure on the floor). Weight can be felt in any part of the body separately (weight of the shoulder blade, weight of the thigh, etc.). It is necessary to find the optimal combination of relaxation and lowering the weight on the foot, with quick collection and movement.
How the body works.
5 main blocks (floors) of the building
The foot is responsible for the rhythm. Ringing stop work. Clear work to the floor and to the beat. Control and dance ups and downs.
Beating forward and backward, bending and straightening, lifting and lowering.
Hip part - rotation and figure eight. Costal part - Presentation part
Hip part of the body
It is important to control and remove blockage in the hips (sacrum forward). nine0007 We remove the arch in the back (excessive lardos), there should be a long back.
The center must be removed and drawn into the lower back.
Rotation and figure eight actions in the hip part of the body.
Rib part of the body
Stretching and "press line" of the sides of the body
Presentation part of the body (chest, shoulder blades, arms, shoulders, neck, head)
Stretching the upper part of the body, creating volume.
Neck without clamping, head position perfectly level, without ups and downs. nine0007 The chin line is parallel to the floor line.
2 centers of the dancer's body
Lower center (lower torso, located just below the center of the lower part of the ribs - between the waist and ribs)
- Center of gravity, control of body weight. It is always necessary to be in the sensation of a retracted center. Performs the function of depreciation, reduction, rotation (rotation) and displacement (translation). The upper center is responsible for initiating movement.
Upper center (main upper torso, located in the chest area)
Referral center. When moving and rotating, the top center always comes first, then the bottom one in sequence. Like steering wheel and wheels. Responsible for the initiation of movement, the function of rotation (rotation) and displacement (translation)
Isolation of body parts and posture in Latin
3D dance: stretching in 3 planes: Frontal left and right. Sogital - twisting of the hips and body in rotational directions.
Proper positioning of the body - keep the axis of the body. nine0003
- Hunched shoulders
- Head and neck forward
- Shoulder blades exposed collapsed abdomen and lower back
2 types of posture:
Classical and Latin American (the body is slightly forward over the toes, the pelvis behind the heels - a diagonal line is created)
Principles of the legs, feet. Steps, movement, movement. 5 phase steps.
- 5 phases of the stride:
4. Extend - lengthening, stretching the free leg at the back. It is located on the extreme toe
5. Recover - recovery - the leg free from weight is bent at the knee. nine0003
Backstroke: 3 stages - leg in front with a natural turn of the toe, bending the leg at the knee and building a straight perpendicular line from the toe to the knee, slight tilt of the body forward, bringing the leg back to collect the knees, pushing out from the supporting leg. Emphasis on the knee - tends forward and is fixed for a moment. Knee work, repulsion, attack.
How the hands work
Hands help to make a coordinated movement, show beautiful lines, complete the meaning of the dance for judges and spectators. nine0006
The main principle of the hands: The hands repeat the work of the body with a greater amplitude and a slight delay - the continuation of the work of the body, except for staging moments! Avoid ventilators. It is necessary to combine the work of the hands with the work of the body. Brushes must always be kept in good shape.
- Shoulder, shoulder, elbow, hand control. Removal is slow with an accent in the final position.
- Closed and open hand position. If the hand goes from the center, then the palm immediately goes to the open position, if it goes up along the central axis of the body, then it goes to the closed position and then goes to the open position. nine0251
- 2 types of arm joints - elbow-rib, elbow-elbow. The shoulder is the highest part, when the arm is extended to the side.
- Practicing the interaction of the work of the arms and legs of the body according to the accounts.
- Charged hands (work with an accent). Arm twist (elbow to elbow feeling twisted in opposite directions)
- Hip rotation and rib side opening, arms toned at sides.
- 2 positions: parallel to the floor and just below shoulder level, set slightly forward so that the hands can be seen with peripheral vision. nine0251
- Hand: fingers in good shape, as close as possible, index finger slightly prominent. Girls can create any brush design.
- Arm extension: to the side - 3 stages - side, forward, down; Up and through the semicircle down; arms to the sides, hands in the field of lateral vision, elbows not behind the back (maintain volume, “balloons” under the armpits)
- Bringing the arm to the side: in turn, the elbow, wrist, hand. Back: turn the brush, break the elbow, lead to the lower center. nine0251
- Turning back with shoulders: shoulders, elbow, wrist, hand. Back: soften the elbow, turn the shoulders, return the brush to the center.
- Bringing the arm up: start the movement of the hand, a slight turn in the shoulders, a screw movement of the arm, then back.
Principles of positions and interaction in pairs
Gradual and gradual development of lead in pairs!
There should be no isolated dancing. Partner "passenger", partner "Driver". nine0003
Types of dribbles:
- Physical dribble - when the partner shows the partner the direction of movement, stops. The work of the hand, the correct distribution of weight and the interaction of partners together.
- Shape guide (with preservation of shape and lines).
- Permissive guidance. For example, Delay - tightening and stretching between partners and counterbalance, then high-speed movement.
- Case management. Interaction at a distance, without physical contact. nine0251
The dribble must always be up to the step (to the count).
Trust of partners. No need to take too much initiative.
- Body weight always with a feeling of pressure on the floor.
- When moving backward - first the legs, weight and position of the body are slightly ahead, then we bring the body.
Exemplary team dancesport club ajax
Exercises and training methods in the Latin American Dancesport program
Warm-up, warm-up, training exercises for parts of the body in Latin
The main task is to consistently warm up: feet and Achilles tendon, knee joint, hip joint, spine.
Warm up should consist of 3-6 exercises for different muscle groups.
Work exercises upper body center:
shoulders, neck, head, chest, back, posture. Body Setting Methods
Shoulders up and in a stretched free position. Slowly, we increase the action down, even position in the back. Hold down 8 counts, relax 8 counts
- Exercise a shoulder blades: move the shoulders forward, the shoulder blades are apart, then vice versa, the shoulders back, bring the shoulder blades together, then neutral tension - the shoulder blades are apart, the back is even, there is no additional tension in the body. For 4 counts forward-neutral-back. The opposite method.
- Head and neck. With expander or rubber band behind the neck and try to move it back for several counts with tension, alternating with relaxation. Same with the back of the head. It is recommended to do 4 eights.
- Chin rest , put your hand under your neck and place your chin.
- Competition for who has the longest neck , with the condition that the distance between the earlobes and shoulders is the same, without inclination. We stretch 4 eights and rest.
- Pull down exercise of the band down through the neck for control of the top and downward pressure. nine0251
- Chicken. The lower part of the shell body, hands on the belt, raise the upper part of the shell with the crown of the head, stretch shaking the head and body, 8 counts.
- Champion point. Put your hand on the upper part of the sternum and raise your palm up, while your shoulders tend to go down, lower your hands. For 8 accounts.
- We move the walls and ceiling. We spread our arms, shoulders in a flat position, legs shoulder-width apart, arms spread to the sides or up until straightened, fixation in a flat position. We move apart for 8 accounts and stand for 8 accounts. nine0251
- Move the floor by force. Press down with your hands, pull the top of the head up, press for 8 counts, hold the position for 8 counts
- Place the object on the center of the head and move with the object.
- Chest movement isolated to the sides
- Chest rotation isolated. 1-2 melodies, with alternation.
- Side dribble - combination of rotation and offset.
- Position and body work, can be done against a wall . We raise and lower our hands up, the shoulders are open shoulder-width apart, we retract the center, we remove the deflection in the lower back, it is possible to the wall, on the same line of the heel, hamstrings, buttocks, lower back, shoulder blades, back of the head.
- Exercise for the correct feeling of the upper and lower center - samba move at the barre. Shoulders and upper center remain strictly parallel to the machine.
- Bounce with the leg out and fixing the position of the central balance for 3 counts (in the center position). We hold ourselves on the joint of the thumb, big toe, foot pad. nine0251
- Exercises with a stick or a light object in front of you in front of you in your arms and on your elbows we hold on straight arms with lowered shoulders: shifts, latin square, rond, bounce step.
- Presentation Exercise - Crossing the arms behind the head and doing the action in this position
- Shoulder Exercises
- Shoulders up and in a taut loose position. Slowly, we increase the action down, even position in the back. Hold down 8 counts, relax 8 counts
- Rotational movement (rotation) of the shoulders (head and bottom straight). 3-4 beats.
- Turning the shoulders, then the head, return to the neutral position and then to the other side. 3-4 reps per side. Next, add a turn with the head.
- Neck and head exercises
- Hands behind the neck and head and impact, pressure back for 8 counts and rest 8 counts.
- Chin, put the palm of your hand and put the chin on the shelf. The chin line is parallel to the floor line. nine0007 - The neck should be stretched first of all in the back of the head. Competition who has a longer neck, with the condition that the distance between the earlobes and shoulders is the same, without tilt.
- Turning the head to the sides for 8 counts. Stretched, but not tense neck, head level. 3-4 repetitions. Beware of individual mistakes! Double sharp turn of the head on 1 and 2. It is necessary to adjust the focus when turning the head.
- Chest (Main Torso)
- Work forward backwards with the chest (upper center of "gravity"). Hands "take a point", the shoulders are motionless.
- Work with the upper center to the sides. We use the shoulder blades to push the opposite side.
- Work with the upper center at 8 points of the hall (forward, to the sides, diagonally).
- arms to the side and make shifts of the upper part of the body, then we try to make translation only with the chest.
- Chest rotation. More expressive with partners.
- a combination of shifts of 8 accounts - to the sides, back and forth, circle, figure eight. nine0003
- Natural figure eight in the thighs without and with body weight transfer. Figure eight on two legs with transfer to the supporting leg, figure eight on toes, figure eight with a change in height. Figure eight in samba with bounce and transfer of body weight from foot to foot to the sides and back and forth. Reversible figure eights at the hips.
- - Bent knee leg raise, out to the side, back, return.
It is important to control and remove blockage in the hips (sacrum forward). We remove the arch in the back (excessive lardos), there should be a long back. The center must be removed and drawn into the lower back
- Swallow center exercise. We move the hips a little forward, with the palm (stick) we press on the waist line in the center of the body. The center should "eat" the palm. 8 accounts.
- Exercise with band . We place the elastic band under the booty and press the stretched elastic band up, you can do it with a stretched elastic band in your hands under the booty.
Exercises for the work of arms, hands
- Circular movements of the hand with control of the shoulder (like scooping movements). nine0005 Eights in hands on outstretched arms. Circular movements with a brush at the bottom.
- Turning the shoulders and bringing the arm back (then forward). The right hand is brought out from the left shoulder and is in line with the left shoulder.
- Hands in turn to the sides, back, forward, up. At least 2 melodies.
- Progressive method of moving the arm to the side elbow - arm, hand and back.
- The movement of the arm is a continuation of the movement of the shoulder. nine0005 working out the lines of continuation of the body forward and backward. Rotation of the shoulder - elbow - wrist hand - turned the hand and arm - bent and returned. The arm cannot be brought back without turning the shoulders. When bringing the arm up, a screw movement of the arm is used.
- Exercise mill. Rotation of the arms in a circle with a turn of the body and shoulders.
- The arm movement method is a continuation of the shoulder movement. Articulation of the arms to the sides, forward and backward with the rotation of the shoulder, upward with the screw with the rotation of the shoulders. nine0006
Exercises for the work of the legs, feet
- Change of foot and legs - pull the knees and feet forward, gently lower into the supporting leg, be sure to pass through 2 gathered legs (near the knee and ankle). You can train at the machine.
- Leg forward and backward when collected, the knee is pulled forward and up. Necessarily without clearance through the gathered legs in the brush position, turn the foot at the free leg, pull back - straighten the knee, strong stretched inverted foot, raise the hip, the free leg clearly controls the floor and presses on it, then swing back, knee through the knee and forward nine0251
- Exercise with a yoga block in the center of the crown , on the centers and feet, raise the foot one by one, make a change, bring the leg out, rond with the foot forward to the side back.
- Pelvis rotations on the ball of the foot , shoulders parallel to the barre, knee straight.
- External and internal twists of the machine - leg extension, knee extension, body weight transfer, knee collection and further, light heel of the skating leg during rotation, concentration on the twist part. nine0251
- Hip Twist at the barre - the leg is behind, it is displayed in a diagonal with a bent knee and back. You can work with an object on the toe of the free leg (a sheet of paper, a disc, etc.)
- Exercise Latin Square - pulled in the stomach, lowered the shoulders, pull the ribs up, light heels, open the hands keeping the volume forward and in front of you, moved weight on skating leg, leg forward (knee out, leg straight out, push, weight transfer, leg collection, lowered into line press, leg out to the side, weight transfer, pushing action, leg collection, soft change through the balls of the foot and strong legs , moving the leg back ... Clearly determine the weight and from which leg to which we are moving, transferring the weight of the body from the supporting leg, The upper body should not be ahead of step
- Floor pressure exercise . Go through a routine or circuit with relaxation and a sense of pressure and lowering the weight into the foot.
Exemplary team dance and sports club ajax
Rules for constructing choreography and dance variations
It is necessary to create a rhythmic pattern in the dance (playing with counting and rhythm and accents)
It is necessary to change rhythmic patterns during the performance of the composition
use shifting emphasis on accounts. nine0007 There must be pauses with lines (poses). No need to just run on the floor.
Change of emphasis - a change of emphasis from one part of the body to another is required using insulation.
Movement geometry needs to be changed during song execution.
Geometry of movement along the parquet
Samba and paso doble in a circle - for example, starting from the long side - the center of the hall, then diagonally again to another corner
Geometry inside the pair
Linear. Together and in parallel. When dancing in parallel, it is necessary only in perfect synchronization and no more than 1-3 measures.
With rotation of one of the partners.
Dancing outside of a pair, no more than 6 measures.
3 types of guiding - coming and going freehand, framed, shoulder or body.
To be used to memorize the pair by judges and spectators. But only one in variation.
It is recommended to use the change of pitch (levels) in the dance. nine0003
The procedure for working out dance routines and patterns:
- determining the direction of each element and movement in general
- analysis of elements and patterns by counting
- analysis of technique, slowly by counting by 8, half tempo, tempo.
It is not necessary to completely copy the coach or the dance you are learning, it is important to practice effectively, following the basic rules.
BASIC is a template and basis from which we build and use in interpretations.