How to do the cross leg 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 [email protected]$$.
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!
Atlanta Ballet | Ballet Terms, Positions, and Poses
Gain a deeper appreciation for this art form by learning more about ballet moves, positions, poses, and more with this helpful glossary of dance terminology from Atlanta Ballet. This is not an exhaustive list, but a starting point to help you familiarize yourself with the language used to describe ballet.
Assemblé (assam blay) - Lifting off the floor on one leg, and landing on two. Legs assemble at the same time and return to fifth position.
Grande Jeté (grand jeh tay) - a big jump from one foot to the other in which the working leg is brushed into the air and appears to have been thrown.
Plié (plee ay) - means bent, bending - of the knee or knees.
Pirouette (peer o wet) - a rotation or spin - a complete turn of the body on one foot, on point or demi-pointe (half- pointe).
Tour en l'air (tour on lair) - a turn in the air - usually a male dancer's step, although ballerinas may do them to depending on the choreography.
Ballet Position Terms
Arabesque (Ah rah besk) - a position on one leg with the other leg raised behind the body and extended in a straight line.
Attitude (ah tea tude) - A variation on the arabesque. The extended leg is raised behind the body but bent at the knee at an angle of 90 degrees.
Croisé (quo say) - A dancer stands with legs crossed at an angle to the audience. The disengaged leg may be crossed in the front or in the back.
Turn-out - The dancer turns his or her feet and legs out from the hip joints to a 90-degree position.
Types of Ballet
Classical Ballet - a traditional style of ballet which stresses the academic technique developed through the centuries of the existence of ballet.
Modern Ballet - a type of ballet from the twentieth century. To this day, modern ballet looks to re-invent itself and reach out in an ever-increasing facet of creation and movement.
People of the Ballet
Ballerina - a female dancer in a ballet company.
Danseur - a male dancer in a ballet company.
Choreographer - a person who composes or invents ballets or dances.
Ballet Master or Ballet Mistress - a person in a ballet company whose job is to give the daily company class and to rehearse the ballets in the company repertoire.
Balletomane (bal lay toe mane) - A ballet fan or enthusiast.
Additional Ballet Terms
Choreography - describes the steps, combinations, and patterns of a ballet or dance.
Pointe Shoes - The satin ballet shoes used by dancers when dancing on their pointes (toes). Pointe shoes are reinforced with a box constructed of numerous layers of strong glue in between layers of material. Pointe shoes are not made of cement or wood.
Tutu - the short classical ballet skirt made of many layers of net. A romantic tutu is a long net skirt reaching below the calf.
Barre - a horizontal bar (usually made of wood) along a studio wall for class exercises. Every ballet class begins with barre exercises.
Centre Practice - a group of exercises similar to those at the barre but performed in the center of the room. These exercises are done without the support of the barre and are normally performed with alternate feet.
Pas de Deux - a dance for two.
Adagio (u da zhe-o) - is a succession of slow, soft, lyrical, and continuous movements. Adagio creates the illusion that the positions flow from one into another.
Allegro (a leg grow) - allegro in ballet involves fast and dynamic movements, usually jumping steps and sequences.
Classical dance, ballet
Exercise at the support or in the middle is a set of training exercises in ballet that contribute to the development of muscles, ligaments, and the development of dancer's coordination of movements. Exercises are performed at the “machine” (attached to the wall with brackets) and in the middle of the training hall daily. The exercise consists of the same elements.
Adagio A part of the dance performed slowly to calm music. The concept is used not only in the sense of music, but also:
An individual dance or part of a musical-choreographic performance performed by one, two or more soloists. The most common adagio is performed by a duet;
For exercise - exercises at the choreographic barre or in the center of the hall, which consist of a set of poses and exercises, turning elements, tilts in a calm rhythm. The task of the adagio is to develop stability, expressiveness, musicality, harmony and smooth transitions from one movement to another.
Includes grand plie, develope, revelant, all kinds of balances, pirouettes, turns. A fused bundle for 32, 64 accounts.
Allegro (allegro in Italian means soon, deftly, quickly) is a set of exercises in the center of the gym, which consists of jumps of different heights and speeds.
ARABESQUE [arabesque] - a classical dance pose in which the leg is retracted "toe to the floor" at 45 °, 60 ° or 90 °, the position of the torso, arms and head depends on the shape of the arabesque. one of the basic movements in classical choreography. The position of the allongee hands, the gaze rushes into the distance, which gives the pose grace and expressiveness. The arabesque symbolizes an elusive dream; it is the leitmotif of Giselle or the Sylph, popular romantic heroines. During the exercise, the supporting leg can fully stand on the foot, half-toes / fingers, be extended or bent at the knee. Sometimes it is performed with an emphasis on the knee and the removal of the second leg. If the pose is performed in a jump, then the position of the leg may be different (strictly perpendicular to the floor, throwing forward, etc.). The Russian ballet school divides the arabesque into four types. The first two are open (arabesque effacee), the third and fourth are closed (arabesque croisee). The old ballet school singled out another fifth type of arabesque, in which the body leaned over and the arms were raised forward allongee. Arabesque penchee - a pose in which the body leans forward so that the working leg can rise as high as possible. I,II,III,IV Arabesques.
ASSEMBLE [aseamble] - a jump from one leg to two is performed with the legs moving in a given direction and collecting the legs during the jump together. When performing this movement, the working leg can open in any direction with the toe on the floor or in the air, while the dancer simultaneously squats on the supporting leg. Then the working leg is placed in the 5th position on the fingers or half-toes. The movement ends in a demi-plie. If the figure is performed in a jump, then the legs are collected at the time of flight. The execution of the jump can be varied: on the spot (leg throw to a small height, small jump petit pas assemble), or with advancement (strong leg throw at 70-90 degrees, extremely high takeoff grand pas assemble). In the first case, the movement begins with a jump and a throw of the leg from the 5th position. A grand pas assemble always requires an approach to achieve maximum jump height. To maintain balance, the arms are caught up in position and help the jump. Additional complications in the form of skids or double turns can give the movement spectacle and virtuosity. The main difference between pas double assemble (performed on fingers or half-toes on a small jump) is that the figure is performed twice from the same foot. If the position is executed to the side, the change of legs to the 5th position is performed at the moment of the second movement.
ATTITUDE [attitude] - the position of the leg off the floor and slightly bent at the knee. It is one of the main positions in classical choreography. During execution, the working leg bends at the knee and rises back to a height. The supporting leg can stand on the foot, fingers or half-toes, hands in the allondie position. The figure is the basis for a big jump. To perform it, like an arabesque, you need a strong and flexible back. If the attitude is performed forward, the bent leg is lifted forward, and the heel should be above the level of the knee. This is the leitmotif of proud heroines, such as Aurora (ballet "Sleeping Beauty"). In a broad sense, attitude is any posture that a dancer or dancer assumes.
A LA SECONDE [a la segond] - a position in which the performer is located en face, and the "working" leg is open to the side by 90 °.
ALLONGE, ARRONDIE [alonge, arondi] - the position of a rounded or elongated arm. "Reaching", the final movement of the arm, leg, torso.
Aplomb [aplomb] - (balance) - the dancer's ability to stand in one position or another on one leg for a long time.
Balance [balance] - Swing, sway. Swinging motion.
Pas ballonne [pa ballonne] - Inflate, inflate. The dance is characterized by advancement at the moment of jumping in various directions and poses, as well as legs strongly extended in the air until the moment of landing and bending one leg on sur le coude pied.
Pas ballotte [pa ballotte] - To hesitate. A movement in which the legs at the moment of the jump are extended forward and backward, passing through the central point. The body leans back and forth, as if hesitating.
balance - (balance) - “swaying”, pendulum movement of the legs forward up - back down, forward - back, forward - back up
Balancoire [balancer] - Swing. Used in grand battement jete.
Batterie [batry] - Drumming. The leg in the position sur le coude pied makes a series of small shock movements.
Pas de bourree [pas de bourree] - Chased dance step, stepping over with little advancement.
Brise [breeze] - Break, crush. Movement from the section of jumps with skids.
Pas de basque [pas de basque] - Basque step. This movement is characterized by a score of ¾ or 6/8, i.e. triplex. Runs forward and backward.
Battement [batman] - Span, beat.
Battement tendu [batman tandyu] - Abduction and adduction of the outstretched leg, extension of the leg. "Elongated" sliding movement of the foot in the position of the foot on the toe forward, to the side, back with the return of the sliding movement to the IP.
B attement tendu jeté - (batman tandyu zhete) - “throw”, swing to the downward position (25 °, 45 °) with a cross
Battement fondu [batman fondue] - Soft, smooth, “melting” movement. A movement consisting of simultaneous bending of the knees, at the end of which the "working" leg comes to the position sur le cou-de-pied in front of or behind the skating leg, and then follows the simultaneous extension of the knees and the "working" leg opens forward, sideways or back. In modern jazz dance, the fondu form from the folk stage dance lesson is also used.
battement fondu - (batman fondue) - “soft”, “melting”, simultaneous flexion and extension of the legs in the hip and knee joints.
battement frappe - (batman frappe) - Striking movement, or striking movement. A movement consisting of rapid, vigorous flexion and extension of the leg, the foot being brought into sur le cou-de-pied position at the moment of flexion and opening toe to the floor or 45° high at the moment of extension forward, sideways or backward. Frappe [frappe] - Beat.
Battement double frappe
Battement developpe [batman devloppe] - Swing, open, take out the leg 90 degrees in the desired direction, pose. Taking out the leg forward, backward or to the side by sliding the "working" leg along the supporting one.
BATTEMENT AVELOPPE [batman avloppe] - the opposite battement developpe movement, the "working" leg from the open position through the passe is lowered to the specified position.
Battement soutenu [batman soutenu] - Sustain, maintain, pull up the legs in the fifth position, continuous movement.
BATTEMENT RELEVELENT - smooth lifting of the leg through sliding along the floor 90 ° forward, sideways or backwards.
1 When learning the vocabulary, it is necessary to remember that the movements of classical dance, borrowed by modern jazz dance, are very often modified. This is especially true of the eversion and parallel position. In this regard, the terminology of classical ballet is given in the dictionary without changes (see All about ballet//S left by E.Ya. Surits. M., 1966, Encyclopedia "Ballet". M., 1981, etc.), and the change in the provisions depends on the context of the lesson. There is often terminological overlap between English and French terminology, for example, temps leve is the same as hop, battement tendu is like brack, kick is like grand battement developpe, etc. In this case, it is necessary to use the movement depending on the specific exercise.
BATTEMENTRETIRE [batman retreat] - transfer through the sliding of the "working" leg, through the passe from the V position in front to the V position behind.
petit battement - (petit battman) - “little blow” - alternately small, short foot strikes in the cou de pied position in front and behind the supporting leg.
grand battement - (grand battman) - “big throw, swing” 90 ° and above through the position of the foot on the toe.
battu- (botyu) - “beat” continuously, small, short blows to the ankle joint only in front or behind the supporting leg.
Cabriole [cabriole] - Jump with knocking one leg over the other.
Chain [shen] - Chain.
Changement de pieds
Changement [shazhman] - Change.
Pas chasse [pa chasse] - Drive, adjust. Ground jump with advance, during which one leg knocks out the other.
Pas de chat [pas de sha] - Cat's step. This jump is similar in character to the gentle movement of a cat's jump, which is emphasized by the curve of the body and the gentle movement of the arms.
Le chat [le sha] - Cat.
Pas ciseaux [pas ciseaux] - Scissors. The name of this jump comes from the nature of the movement of the legs, thrown forward in turn and extended in the air.
Coupe [coupe] — Jerky. Knocking out. Jerky movement, short push.
Pas couru [to smoke] - Running through the sixth position.
Croisee [krause] - Crossing. A pose in which the legs are crossed, one leg covers the other.
Degagee [degagee] - Release, take away. “Transition” from the stance to the left right forward to the toe, step forward through the semi-squat in IV position, straightening up, stance to the right, left back, to the toe. From the stand on the left, right to the side on the toe, step to the side through the semi-squat in II position, stand on the right, left to the side on the toe.
Developpee [devloppe] - Taking out. “Opening”, “deployed”, from the stoic to the left, right with a sliding movement to a bent position (toe at the knee) and its extension in any direction (forward, side, back) or higher.
Dessus-dessous [desu-desu] - Top and bottom, above and below. Pas de bourre view.
double - (double) - “double”, • battement tendu - double heel pressure • battement fondu - double half-squat • battement frapper - double blow.
Ecartee [ekarte] - Take away, push apart. A pose in which the entire figure is turned diagonally.
- a pose that builds from the epaulement in 5th position with one of the legs abducted to the side. At this time, the body deviates from the waist to the supporting leg. Small ecartee poses are performed with the toe extended to the floor, medium poses with 45 degrees of leg elevation, and large 90o and above. The supporting leg is on a full foot, toes / half toes, the knee is fully stretched, or in a demi-plie position. The working leg is extended at the knee, the foot is stretched. The movement can be performed in a jump, the position of the hands is any. The ecartee pose has two types:
- Ecartee forward. The working leg is open diagonally forward in 2 positions, that is, towards the viewer. At this time, the head is turned in the same direction, raised, the gaze rushes upward;
- Ecartee back. The working leg is open back diagonally in 2 positions, away from the viewer. The head turns to the supporting leg, and the gaze rushes down.
Effacee [eface] - Expanded position of the body and legs. A pose that builds from the epaulement efface in 5th position with the legs moving forward or backward. Small effacee poses are performed with the toe extended to the floor, medium poses at a height of 45 degrees, large poses 90 degrees and above. The position of the supporting leg on the full foot, toes / semi-toes, stretched at the knee, or in demi-plie. The working leg can be straight or bent at the knee. It is performed in the air, or on a jump. The position of the hands and head can change endlessly, varying the changes in posture.
Epaulement (from epaule - shoulder) - a position during which the dancer becomes half-turned to the mirror, or to the viewer. Feet, hips and thighs are turned to the right or to the left side of the viewer by 45o or 135o. The head turns to the shoulder, which is directed forward. This position gives the dance three-dimensionality, makes it more expressive and artistic. When performing, the dancer must control the angle of the head, the position of the shoulders and the direction of the gaze.
- Epaulement croise (verb croiser - to cross) - a pose during which the legs are in any crossed position (3,4,5). The shoulder and leg of the same name are turned towards the viewer. The head turns towards the turned shoulder. This position allows you to take any posture through the open leg;
- Epaulement efface (the verb effacer - to remove, hide) - a pose during which the legs are in any crossed position (3,4,5), but the leg opposite to the shoulder turned towards the viewer is in front. This position allows you to take any position effacee through the opening of the leg forward or backward.
Echappe [echappe] - Break out. Jump with legs opening to the second position and collecting from the second to the fifth.
Pas emboite [pa ambuate] - Insert, insert, stack. A jump during which there is a change of half-bent legs in the air.
Entrechat [entrechat] - Jump with a skid.
En dehors [an deor] - Out, from the circle. Circular movement away from you, circular movement outward at the hip or knee joint, as well as turns.
En dedans [an dedan] - Inside, in a circle. Circular motion towards yourself, circular motion inward.
En face [en face] - Straight, straight position of the body, head and legs.
En tournant [an turnan] - Rotate, turn the body while moving.
Fouette [fuete] - Whip, flog. A kind of dance turn, fast, sharp. The open leg bends towards the supporting leg during the turn and opens again with a sharp movement.
This movement has several variations:
- Fouette en tournant at 45° En dehors. At the moment when the left leg is in demi-plie, the right leg is opened in 2 positions by 45 degrees, tout en dehors on the left leg. At the moment of execution, the working leg touches the supporting leg on the calf. The hands at this time are in the preparatory, or first position. The stop is performed on a demi-plie, arms and legs open in 2 positions. The movement begins with the right foot, while the supporting one does not collapse. If Fouette is performed several times in a row, it begins with preparation in 4 positions, rising to pointe shoes, performing tour en dehors;
- Fouette en tournant at 45° En dedans is performed in the same way, but the working leg first goes in front of the calf and then back. The exercise is mandatory in the tutorial, but rarely seen on stage;
The French ballet school is similar to the Russian one. Movements: les fouettesen dedans et endehors, les fouettes sautes, les fouettes sur pointes ou demi-pointes. The dancer performs a pique on the right leg. At this time, the left one rises forward, the dancer performs a tour on her finger (surlapointe) or half-finger (demi-pointe), and the left one remains extended in the air. The movement ends at en arabesque sur pointe (oudemi-pointe).
American Ballet School Fouette en tournant at 45° En dehors. In contrast to the Russian school, where the working leg during the tour touches the middle of the calf from behind, and then goes to the front of the calf of the left leg (petit Battement), in the American school the working leg performs a demi rond at 45 °. This gives the figure an additional force, but at the same time it can threaten to “release the hip” and the ballerina to leave the axis. Due to this execution, Fouette is performed with advancement to the side or forward.
- Grand Fouette. He absorbed the teachings of the French and Italian schools;
- Les fouette sendehors. The croisee pose marks the back of the left leg. Coupe on the half-toes of the left leg, hands go to the second position, the left leg goes down to the demi-plie, and the left hand to the 1st position. At the moment when the dancer moves her half-bent right leg forward 90 degrees, she rises to the half-toes of her left, quickly circles the Grand rond de jambe with her right leg back and finishes on her left leg in demi-plie in III arabesque (in the en face position - facing the viewer ). Hands perform Port de bras: the left is raised to position 3 and passes to 2, while the right is transferred to 3 and passes through the right to III arabesque when lowering the left leg into a plie;
- Les fouette sendedanse tendedans - identical execution principle;
- Grand Fouette en tournanten dedans. The dancer stands in a croisee position forward with her left foot, descends into a demi-plie on her left foot, jumps on half-toes and throws her right foot into position 2 (alaseconde) at 90 ° (120 °) - Grand battement jete. During the turn, he swings his right leg through the passe parterre (passing position). At this moment, the supporting leg rotates on half-toes, and the right leg remains at the same height.
- Grand Fouette entournanten dedans. Or Italian fuete. It is performed on the fingers in the same way. The only difference is that the movement does not begin with plie, but with surlecou depied. Ends in attitude on pointe shoes. 3 position for the right hand and the first for the left.
- Grand Fouette en tournant saute execution is the same as Grand Fouette en tournan tendedans, only the left leg leaves the floor in a jump, the turn is performed in the air on a jump of the left leg.
Pas failli [pa fayi] - Hook, stop. Weakening movement. This movement is fleeting and often serves to prepare the springboard for the next jump. One leg seems to undercut the other. "Flying", IP - 5th position right in front. Push 2 jump up, dropping into a cross lunge left to the side, left hand up, right back - push left and swing right back down jump up 2 hands down.
Galloper [gallop] - Chase, chase, jump, race.
Glissade [glissade] - Slide, slide. A jump performed without lifting the toes off the floor.
Grand [large] - Large.
Jete entrelacee [jete entrelacee] - Flip jump.
Entrelacee [entrelace] - Bind.
Jete [jete] - Throw. Throw a leg in place or in a jump.
Jete ferme [jete ferme] - Closed jump.
Jete passé [jete passe] - Passing jump.
Lever - Raise.
Pas [pa] — Pitch. Movement or combination of movements. It is used as equivalent to the concept of "dance".
pounte - (pointe) - “on the toe”, “touching the toe” from the stoic on the left, right forward, to the side or back on the toe swing in any direction with a return to the IP.
por de bras - (porter de bras) - (Porter - wear, Bras - hand) - the correct transfer of hands to the main positions (1,2,3), rounded (Arrondi), elongated (Allonge) with a turn or tilt of the head, body. There are port de bras the first, second and third.
Pas d'achions [pas d'axion] - Effective dance. Pas de deux [pa de deux] - Dance of two performers, a classical duet, usually a dancer and a dancer. Pas de trois [pas de trois] - Dance of three performers, classical trio, usually two dancers and one dancer. Pas de quatre [pas de quatre] - Dance of four performers, classical quartet.
Passe [passe] - Conduct, pass. Connecting movement, holding or moving the leg, “pass”, “pass”, the position of the bent leg, the toe at the knee: in front, to the side, behind.
Petit [pet] - Small.
Petit battement [petit batman] - A small battement, on the ankle of the supporting leg.
Pirouette [pirouette] - Yule, turntable. Fast rotation on the floor.
Plie [plie] - Squat. Demi-plie [demi plie] - Half squat. Grand plie - (grand plie) - deep, big "squat".
Pointe [pointe] - Sock, fingers.
Preparation [preparation] - Preparation, preparation.
Releve [releve] - Raise, elevate. Rise on fingers or on half-fingers. "Lifting", lifting to a rack on toes with lowering to the IP in any position of the legs. Releve, temps is a preparatory movement for performing tours and pirouettes. In its purest form, it is a preparation for rotations. Petit temps releve a la 2nd: working leg in surlecou-de-pied position, supporting leg in squat, hands in first position. The semi-bent working leg is brought to the side at a height of 45-60 degrees, while the supporting leg is leveled or stands on the toes/half toes. Hands open in 2 position. Temps releve endehors is performed from the surlecou-de-pied position in front, endans from the surlecou-de-pied position at the back. Grand temps releve a la 2nd - the same exercise, but the working leg is displayed for more than 90 degrees.
Relevelent Slow leg lift 90 degrees. “Raise” slowly, smoothly slowly at the expense of 1-4 1-8 raising the legs forward, sideways or back and higher.
Renverse [ranverse] - Overturn, turn over. Overturn the body in a strong bend and in a turn.
rond dejamb parterre - (rond de jamb par ter) - toe circle on the floor circular movement of the toe on the floor.
Rond [rond] - Circle. demi rond - (demi rond) - incomplete circle, semicircle (toe on the floor, on 45ana 90° and above).
Rond de jambe en l'air [ron de jambe en l'air] - circle with the foot in the air, stand on the left right to the side, circular movement of the lower leg out or in.
Soute [sote] - Jump in place in positions.
Simple [sample] - Simple, simple movement.
Sissonne [sison] - Does not have a direct translation. It means a type of jump, varied in form and often used.
Sissonne fermee [sison farm] - Closed jump.
Sissonne ouverte [sison overt] - Jump with leg opening.
Sissonne simple [sison sample] - A simple jump from two legs to one.
Sissonne tombee [sison tombee] - Jump with a fall.
Saut de basque [so de basque] - Basque jump. Jump from one foot to another with a turn of the body in the air.
Soutenu [sutenu] - Withstand, support, retract.
Sur le cou de pied [sur le cou de pied] - position of the leg on the ankle (at the narrowest point of the leg), the position of the bent leg on the ankle joint in front or behind.
Temps lie [tan lie] - Bound in time. Connecting, smooth, continuous movement. Small adagio, 1-half squat on the left, 2 - right forward on the toe, 3 - shift the center of gravity to the right, left back on the toe, 4-IP 5. the same to the side and back.
Temps leve soutee [tang leve soutee] - Jumping in first, second or fifth position on the same foot.
tombée-(tombé) - “fall” from a toe stand in the fifth position lunge forward (to the side, back) with a sliding motion to return to the PI.
Tire-bouchon [tire bouchon] - Twist, curl. In this movement, the raised leg is in a half-bent position forward. Pose with the position of the bent leg in front (attetyud in front) stoic on the left, right forward, shin down to the left.
Tour chainee Fast turns following one after another.
Tour en l'air [tour en leir] - Air turn, tour in the air.
Tour [tour] - Turn.
Turnout — Opening of the legs in the hip and ankle joints.
Coordination - Full body conformity and coordination.
School of Irish Dancing Celteria (CELTERIA) in Moscow
Sunday - 15:00 (2h)
Wednesday 17: Wednesday 17: Wednesday 17 00 – 18:00 1(h)
Saturday 17:00 – 18:00 (1h)
Offers to plunge into the atmosphere of Irish dance, under the guidance of experienced choreographers, and discover new talents. A distinctive feature of our school is the high professional level of teachers, a flexible and open system of classes, which means that you can start studying at any time convenient for you.
Irish dancing is an ancient and fairly popular form of traditional dance. Their distinguishing feature from other areas is the rhythmic, shock work of the legs and the performance of various jumps, pirouettes and other movements with crossed legs, with an elongated posture like a string. Also, Irish dance is known worldwide for its incendiary Celtic rhythms and entertainment shows (Riverdance, Lord of the Dance)
Nowadays, Irish dances have become not just a part of the ancient culture, they have been transformed into a sporting direction. Competitions (fesh) are held all over the world, where dancers and dancers compete for the title of "Winner" or "Champion" of the competition. Our school is a member of the worldwide Irish dance association WIDA.
|LESSONS IN THE HALL ON THE 3rd KHOROSHEVSKY PASS, D.5 K.6|
|Tuesday||20:00 - 22:00||Adult Continuing||Elizabeth (Mary)|
|Wednesday||17:00 - 18:00 (1/2)|| Junior beginner 2022 |
(Start from September 7)
|18:00 - 20:00||Children's advanced||Irina|
|20:00 - 22:00||Advanced||Sergey|
|Friday||20:00 - 22:00||Adult Continuing (2021)||Maria|
|Saturday||17:00 - 18:00 (2/2)|| Junior beginner 2022 |
(Start from September 7)
|18:00 - 19:30||Kaylee dances||Sergey / Irina|
|19:30 - 21:00||General Group||Sergey / Irina|
|Sunday||11:00 - 13:00||Mixed continuation||Elizaveta (Sergey)|
|13:00 - 15:00|| Adult beginner 2022 |
(Start from September 4)
Dance for kids
Fashionable and effective replacement for classic sections.