How to do the best friend dance
7 TikTok Dance Moves You Can Learn At Home
TikTok is filled with short, fun dance routines that you can watch for endless hours (trust me, I've done it), share with friends, and learn at home with STEEZY.
But, let's face it.
If you don't have a dance background, the short, hard to follow tutorials on TikTok can be a frustrating roadblock to joining in on the fun.
Here are simple, easy ways you can learn the 7 most popular moves on TikTok.
1. The CitiRokk
The CitiRokk is that one SUPER POPULAR TikTok dance move where you rock your body from side to side and cross your arms in front of your chest.
Watch this video with the move’s creator, CitiBoyRio, to see how the move took over TikTok!
While the CitiRokk was popularized on TikTok by the Renegade dance routine, CitiBoyRio just dropped a new routine of his own!
Learn the CitiRokk Shuffle routine just in time before it goes viral. 😎
Hit this link to learn both the CitiRokk and the CitiRokk shuffle step-by-step on STEEZY Studio.
2. The Woah
Just WATCHING people hit the Woah gets me excited.
It's simple, hype, and easy to apply to any song with a dope bass beat.
If you've been lurking on TikTok for any time at all, you've probably already seen it yourself and understand how it's supposed to look.
How you create the reverb motion, where to position your arms, and when to move your body to hit the beat on time is all you need to learn. 👇
3. The Swagg Bouncee
Do your hips naturally sway from side to side when a good song comes on?
Think of the Swagg Bouncee as your natural hip-sway's cooler, trendier sibling.
Lil Rich Swagg, who created the Swagg Bouncee, says to “Stay on your tippy toes to get a full range of motion,” in his STEEZY Studio class.
By committing to the move and making it bigger, you'll look more confident!
4. The Kangsta Wok
In the video below, this TikTok dance move's creator, Zaya Sosho, explains how he based the Kangsta Wok on a "dip" move he saw during a cypher.
When you do the Kangsta Wok, make sure not to over- or under-exert your energy.
Attack each level drop with a little intensity to make the move look extra hype, but don't go so hard that your body tenses up!
You want to make it look effortlessly cool. 😎
Still not totally sure how to make that happen?
Don't worry... Zaya Sosho will teach you in the tutorial below!
Use this guide to help to you practice too!
5. The Smeeze
This move first entered the dance scene in 2009, but at the time, it was mainly used during battles and parties.
When TikTok arrived in 2018, the move's creator, Chonkie, knew this was the perfect platform to bring the Smeeze to the next level.
With hashtags like #SMEEZEEVERYWHERE, and dance crews like the Jabbawockeez picking it up, the Smeeze quickly became a TikTok favorite.
You can learn more about it from Chonkie himself in this video!
While millions of people are, in fact, Smeezin' everywhere, the move can be a little tricky due to the alternating movements of the arms and legs.
Use this step-by-step tutorial to get the timing jussssst right!
6. The Bust Down
As far as TikTok dance moves go, the Bust Down is definitely on the sexier end of the spectrum.
Characterized by a scoop/thrust motion of the hips, the move is great for raunchy club jams like "Thotiana" by Blueface – the song that popularized the move!
If adding a lil sexy swagger to your movement feels like climbing Mt. Everest, know that practice and repetition will be your best friend!
STEEZY's tutorial breaks the move down simply and efficiently, so you can learn it in just 9 minutes and repeat sections LITERALLY AS MANY TIMES AS YOU WANT.
Trust us, you'll have swag down to a science.👨🔬
7. The Cosby Walk
Yes, when executed the right way, the simple act of marching can become a dope dance move!
Watch our video with Rated R, creator of the Cosby Walk, to see exactly what we mean:
As you're learning this move, make sure you're placing your feet firmly on the floor and evenly distributing your weight!
If your bottom half is weak and wobbly, you'll look more bambi than bad@$$.
Related article: Why Staying Light On Your Feet Is Actually Bad Advice
As much as we love watching the mesmerizing 15-second dance tutorials that already live on TikTok. ..
It's LIFE-CHANGING to have legit dancers break moves down and make them easy to learn.
Now, you have everything you need to master the hottest dance moves and join fun challenges on TikTok.
Start learning now for free!
Dance Friends - Etsy.de
Etsy is no longer supporting older versions of your web browser in order to ensure that user data remains secure. Please update to the latest version.
Find something memorable, join a community doing good.
(1,000+ relevant results)
How to learn to dance twerk - Lifehacker
November 21, 2020LikbezSports and fitness
The size of the priests does not matter!
Author of Lifehacker, athlete, Candidate Master of Sports
Twerk is just a super sexy dance that will pump your plasticity, and at the same time load your abs and back muscles well. To begin with, we will learn a few basic movements, and then we will diversify the dance vocabulary and analyze the main mistakes. And at the end you will find a bonus in the form of a playlist with suitable music.
If you have problems with your lumbar spine, exercise with caution, or better yet, consult your doctor.
Learn how to do basic elements
Booty pop back
Stand with your feet wider than shoulder width, toes slightly apart. Bend your knees and place your hands on your hips, turning them inward with your fingers, bend your lower back.
From this position, twist the pelvis down, and then, due to the deflection in the lower back, return it to its original position. Imagine that you are trying to reach the top of your head with your pelvis.
It is important to fix the upper back and work only on the lower back. You can not strain the gluteal muscles, otherwise the movement will turn out to be clamped.
If difficulties arise, try the lead-in exercise first. Place your hands on your hips so that your middle fingers rest on the protruding bones of the pelvis in front, and your thumbs - behind, closer to the sacrum. Bend your knees, move your pelvis down and then up, controlling the movement with your hands.
When you feel more confident, remove your hands and connect the movement with your knees. When the pelvis goes down, the knees bend, when it rises, they unbend. No need to lock the knees at the extreme point, they should remain slightly bent.
The pelvis moves back not only due to the straightening of the knees. The lower back must work.
Front booty pop
This movement is very similar to the previous one, only the emphasis is on pushing the pelvis forward rather than backward.
Stand with your feet wide and point your toes slightly out. You can put your hands on your hips to better feel the tilt. At the same time, bend your knees and sharply move your pelvis forward so that your butt goes down, and then bend your lower back and bring your pelvis back.
The emphasis is on the first phase of the movement, when the butt goes down. It is important at this moment not to pinch the buttocks, but to change the position of the pelvis due to the tension of the abdominal muscles.
Try other twerk moves
This element repeats the usual booty pop, only the movement of the pelvis in it is double: down-down, up-up.
Stand with your feet wider than shoulder width. At the same time, turn one leg with your toe and knee out and transfer your weight to the opposite thigh. Then, with a small jump, switch sides.
First try to move slowly to get the point, then speed up. Jump relaxed.
Up down twerk
Arch your lower back and push your pelvis back. On the count of “one”, simultaneously round the lower back, bringing the pelvis forward, bend the knees and bring the shoulders forward. On the count of "two", bend your lower back and take your ass back in a semi-squat.
On the count of three, straighten your knees, round your lower back, and roll your shoulders forward. On the count of four, arch your back in the thoracic region, straightening your shoulders.
It turns out that at the lower point you bend in the lower back, and at the top - in the chest.
To feel the movement, start slowly. Place your feet shoulder-width apart, place your palms opposite the pelvis. In turn, touch the palms with one or the other bone of the pelvis. Accelerate gradually.
You can wobble while standing upright or bent over. Practice slowly bending over and back up as you move. Important: you should not pinch, otherwise stiffness will occur and no shaking will work.
Get into a twerk stance, lower your right thigh first, then your left thigh. Then, one by one, lift them up to their original position. At first, perform the elements slowly, with fixation at each point, and then gradually accelerate.
You can do this movement a little higher. In this case, start with a stance on straight legs in an incline. In the same way, lower the right and left hips in turn, bending the knees, and then raise the hips, straightening the legs.
Rise up on your toes and turn your heels in and out a little. Arch your lower back, try to relax your hips as much as possible.
This element can be performed in a straight position or bent over, moving both legs at once, or one at a time.
Stand with your feet slightly wider than shoulder width, point your toes forward, tilt your body and rest your hands on your hips. Rotate your pelvis, lowering and raising it as you go.
You can do this either in a bent over position on your hips or standing up.
Start in a twerk position with your toes pointing forward. Do one regular booty pop in place, then another with the toes and knees turned out to the sides, and then the next one with them returning to a straight position.
Continue turning your toes and knees out and back, tilting your pelvis as you move.
Place your feet shoulder-width apart, rise on your toes. Pull your pelvis back a little. Move quickly from foot to foot, trying to relax your buttocks.
Raise your right leg to the side, turn it with your toe and knee inward. From this position, simultaneously transfer the weight to the left thigh and turn the raised leg with the toe outward. Return your foot to the floor and repeat on the other side.
Try moving in other positions
Twerk can be danced not only while standing, but also while squatting, on all fours and even upside down on your hands, with your feet supported against the wall. Try different positions - this will help diversify your dance.
This is the same booty pop, only squatting. If you don't have enough stretch to move freely in a deep squat, work on your hip mobility first.
Offset to one side
Good stretch is also required for this option. Otherwise, you will not be able to relax and move freely.
On all fours
First practice the standing element to get used to it. Raise one leg on the toe, turning it with the knee outward and at the same time leaning on the opposite thigh. Then smoothly switch sides.
Now place your palms on the floor, arch your lower back, bend your knees and lift your heels off the floor. Perform a familiar movement in a new position.
This is enough to get you started. Try, combine the movements with each other and, if something fails, correct the mistakes.
Understand why you don't succeed
There are three main reasons why instead of twerking you get some bullshit. And the size of the priests has nothing to do with it.
1. You lack flexibility
To twerk well, you must have good mobility in the lumbar spine and hips. If flexibility is lacking, you can improve it by doing stretching exercises.
Choose stretching exercises 🤸🏻♀️
- 50 exercises to stretch the muscles of the whole body
2.You work your upper back and shoulders
All basic movements require arching in the lower back. It is due to the lower spine that you feed the pelvis back and forth. But if during booty pop you bend in the thoracic spine and connect your shoulders, the movement will not look like a twerk.
3. You're too tight
This is probably the biggest beginner's mistake, which results in a tight, wooden pelvic movement instead of sexual shaking.
Don't push yourself too hard, relax your buttocks and thighs, shake off tension from your arms and shoulders. All elements should be carried out easily and without clamps. The best way to relax and feel the movement is to turn on the music.
Pick up the music
We found a cool audio compilation that makes you want to dance to and not stop. The description on YouTube has the names of all the tracks.
And another big selection, this time from Yandex. Music. There are some great tracks too, and some of them are pretty slow paced so you can learn the moves in a relaxed and casual way.
Write in the comments how your twerking is going. It turns out?
Read also 💃👍🤸♀️
- Dancing as a sport: choosing the right direction
- How to learn to dance: video lessons for those who are not afraid to try
- How to learn how to dance the shuffle
- How to learn street dancing without leaving home
- Dancing on a treadmill
*Activities of Meta Platforms Inc. and its social networks Facebook and Instagram are prohibited in the territory of the Russian Federation.
Anton Vdovichenko. How to dance (think) in the language of dance
This text is an introductory article to a manual with exercises developed by participants in the Irrational Body performance laboratory. The purpose of the laboratory was to create a dance work and its regular shows. But how else - except at shows - to open such a dance practice to people who do not dance themselves? Is it even possible?
In the introductory text, I will not give the exercises themselves - it is understood that they will be located further in the manual, but I will analyze their common features. Our exercises are needed in order to suspend mental and emotional reactions to each other and to this space, being in the same physical and kinesthetic space. They offer a way to spend time together and experience the co-presence of bodies without relying on the conclusions and assumptions that follow from the accumulated experience of the participants.
What techniques help you avoid falling into the state of "I already know this person and their ways of communicating"? How do we get to the pre-linguistic mode of interaction that actually happens all the time, but so quickly that we don't notice it? How to show and maintain the ability to pre-linguistic interaction?↓
Photo: Kristina Rozhkova
One of the main exercises at our rehearsals was standing. Standing is a neutral position, immobility, from which any possible dance and movement scenario can potentially unfold.
The practice of standing has long been with me as a teacher. I can't remember who I got it from, but I don't want to deny the story, and I realize that the most famous development of standing is Steve Paxton's Little Dance. And although I never practiced the "Little Dance" in its purest form, I believe that it penetrated me through the air and through the words of the teachers with whom I studied.
While standing, it becomes clear how rich our "inner life" is. We are not made for simple actions like standing. The question immediately arises: why stand? Immediately there are reasons not to continue. But one must continue, maintaining the center of neutrality, from which all thoughts or experiences in the body “float like clouds across the sky” (as thoughts are often said during meditations).
Neutrality shows another problem. How not to become too immobile? How not to lose the ability, or desire, to dance? Unlike habitual meditation, standing is communication. Or rather, the kinesthetic experience of space.
We need something more authentic for dance than psychological life. What can we constantly refer to and keep specific in dance? These are balance, tone, attention, physiological processes, the body's memory of the movement patterns of all creatures that make up our evolutionary chain (as Neil Shubin writes in The Inner Fish).
The exercises do not suggest turning off, but rather reformatting all the senses for spatial perception. That is, to suspend emotional and mental reactions, but at the same time move - or sculpt - in response to the information received, remaining in the dance. Look at any conversation or relationship through the prism of dance. Consciously increase the intensity of attention - but not deeper, but rather, expanding the coverage area, stretching a uniform network of attention to the maximum number of available objects. This stretching temporarily forms the body, and
the change of bodily forms, which is due to the appearance, movement and disappearance of other objects, and is a dance.
In other words, to dance, you need to place and keep your attention between your own physicality, your own location and all partners who are also moving. Holding here is not fixation, but hypersensitivity to time and space: where and for how long do I need to be?
At the beginning of this way of practicing dance, you will find a loss of ability to act. Everything will be more like listening. In the future, the space will begin to dance with all those present and choose for itself for whom it will now manifest itself more intensely, and for whom it will remain a landscape. But both the intensity and the state of the landscape are always suspended as a question, not asserted.
Dance makes it possible to be in the world and communicate without habitual psychological reactions, if we do not pull everyday ways of interaction into it. If we believe that dance originated as a way to take a break from work, then it is anti-pragmatic. You can’t rest using the same connections and parts of the brain as during work. "A change of activity is the best rest." The question is how drastic this change is.
The dance is also associated with the sacred, with the ritual. That is, again, with the body - or even with the whole human essence as a whole - in a non-everyday situation.
In other words, since ancient times there has been a need to do something with the body that has no practical significance. I associate this with the need for the fullness of life and with the need for something in life to be complete. Dance, as an art, provides an opportunity to take your life into your own hands - during its performance.↓
Photo: Alena Vnutskikh
If we nevertheless analyze mental or emotional reactions, we will notice that often the body turns out to be a dark (invisible) part of the human essence that influences decisions. As Merab Mamardashvili says, there is no need to look for a global tragedy in everything - a bad mood can be due to the fact that your stomach hurts.↓
Photo: Kristina Rozhkova
But what if we show physicality and look at emotion as movement? Consider the example of touch while working in pairs. When people touch each other, both parties receive so much information that if they mix their emotional relationship with the partner with the touch, they cannot hold their attention.
At the lesson, emotions seem to be neutralized by "disposition towards all those present." But we know how immediately it becomes noticeable if there are emotional relationships between people (and not only if they are bad).
Anything that is not neutral when working with touch is bad. It breaks the connection with what is really happening. But you need such a neutral that allows any bright, expressive to appear. The neutral, which does not fetter or average, but shines through, grows from all bright manifestations and allows everything to develop precisely as a dance - as a spatial experience.
Man is a divided being. Thought and body unstick. We are able to convey information with words and sounds, but
how to make a thought physically lived — without interpretations, evaluations, cultural frameworks? Is it possible?
For example, in a song, unlike everyday speaking, there is no separation of thought and body. But thought is language, and dance is something, in my opinion, eluding naming and context.
In moments of danger, the physical living of thought works naturally. And if it doesn't work, then you die. But when there is danger, a pragmatically justified thought arises, and it is obvious.
How can the dance be as concrete as at the moment of death, when the whole human essence becomes one, undivided, mental-physical?
Little dance - an opportunity to notice that any thought while standing is connected with balance. Standing is the background - an ideal that can never be reached. For the appearance and continuation of the dance, a background is needed, and against the background it becomes clear that any thought unfolds as a movement in the body-space.
While standing, thought develops according to those laws or through those images that I recognize as possible. This is a vicious circle between reflex and acquired. We need ways of thinking, backgrounds, coordinate systems that are suitable for dance. Standing is one of such backgrounds.
Sometimes it happens that there are no questions “how to dance?” and “why dance at all?”. Then joy arises, because there is no universal permanent answer to these questions.↓
Photo: Kristina Rozhkova
Life has a place for dance. There are institutions associated with dance. But often, when I start dancing and if the dance eventually happens, I find that it belongs either to my teachers and people dancing next to me, or to my previous experience in which the understanding of the need to dance was revealed to me.
It seems to me that when creating dance works, artists often do not work directly with the dance. This allows them to distract themselves from the annoying "how to dance?" and “why dance at all?”.