How to do the death drop dance move

How to Do the Death Drop Dance

How to Do the Death Drop Dance

Laquifa is the one who invented the death drop dance. She was a drag queen who knew a whole lot of attention-grabbing moves. She could move in such a way that most of the audience was amazed and had to stick their eyes at her. It is a very difficult Dance move and Laquifa is the one who started it at the first place on Dance Moms. She went on to teach the ladies about Abby Lee Miller’s dance company in which she used to teach this amazing move. It can be a risky move to learn it by just reading it. You should watch some videos to have a better idea about the move but the initial information provided here will guide you through to a stage where you understand the essence of the move.


  • 1

    You need to make your body flexible and for that reason, you need to stretch regularly, perform some yoga moves and try to keep your body in motion throughout the day which was work your muscles and stretch them to a state where you can actually loosen up and perform different skilful moves. However, beware of the stretching process because you don’t want to hurt yourself and that can only happen when you take proper lessons of stretching either from a live instructor or an online manual. Don’t start abruptly and without a plan. Take everything step by step and relax after your have stretched your body for a small period of time.

  • 2

    You need to buy a soft mat which will not hurt your feet when you move swiftly on it. You will need to change the positioning of your head in quick succession when you will be doing the death drop. You can hit your head and injure it badly. You will not require the mat when you have perfected the move but at the start you will need it to make your life easy.

  • 3

    Buy a pair of dance shoes and wear them whenever you practice dancing. Stand upright on the ball of the right-foot. Balance yourself and then bend your right-leg in a manner that you feel pressure on your thigh muscle. Don’t move the left-leg at all. It should be straight upright and flat on the foot.

  • 4

    Glide the left-foot forward while bending the right foot a bit and moving it backwards.

  • 5

    Keep your hands at the back of your head.

    Posted by agger in Dance

From Pulled Hamstrings To Broken High Heels, Drag Can Be A Dangerous Sport.

Here’s How To Strut Safely.

Drag shows are more than entertainment; they're an extreme sport.


Imagine an occupation where injuries are an all-too-frequent reality: pulled hamstrings, bruised muscles, and aching joints. You may think of football players or other athletes who play contact sports. But drag performers often suffer in silence with similar injuries.

Fortunately, LGBTQ+ doctors and drag queens are working together to make the sport as safe as it is entertaining.

Balancing The Health Benefits And The Potential Risks Of Drag

While drag shows can be extreme, they need not be dangerous. In fact, many LGBTQ+ people experience positive mental health benefits from drag.

Drag provides a welcoming platform to celebrate queerness, explore new forms of gender performance, and socialize in a community of other LGBTQ+ people and allies. Charles Purdy performs as Elsa Touche, and he says, “Queer bars and drag shows have always been a place of safety for queer people. And a lot of drag performers find it so vital. Being on stage is so thrilling and brings me so much happiness.” Some people may feel unsafe when wearing makeup, a dress, or a wig in public — especially if that clothing may not seem to match their assigned-at-birth sex. Drag shows encourage participants to push the boundaries of gender without the fear of transphobic discrimination.

Drag has provided a vital sense of belonging in the LGBTQ+ community, but some beginner drag performers may underestimate the physical toll of the sport. Dr. Justin Young explains, “The physicality of drag, I think you can take it for granted. It's a cross between football, gymnastics, with a little bit of soccer thrown in there.” Unlike these other sports, though, drag performers rarely have the protective gear to help them avoid injuries. And when a drag performer falls, they likely won’t have AstroTurf or foam mats to catch them.


The video below depicts that intense physicality. In the clip, drag queens compete in RuPaul’s Drag Race. To be the best queens in the game, these competitors must master dancing and singing routines that dazzle an audience. Common drag dance moves include splits, cartwheels, jumps, high kicks, and pirouettes. These routines demand strength, flexibility, and stamina, especially when the dancer is wearing stilettos instead of ballet shoes.

Young and Purdy both work with Carbon Health, an LGBT-friendly national healthcare corporation with 75 clinics in 11 states (and growing). They use their roles to advocate for better health resources for drag performers. Young is a practicing doctor while Purdy is the managing editor at the health company. The doctor explains, “we provide care in our clinics for the sprains that might come from doing a split and wearing heels, but LGBT wellness is about helping the entire person.”

This holistic healthcare is vital to helping drag performers feel their best. Purdy has spent years in the drag scene, so he knows from personal experience that “taking care of your physical body makes you a better performer. It helps you keep going even longer. I want to keep doing drag forever. And I realized it's so important to take care of my body so I can keep finding that joy onstage.”

The Drag Sport Dangers Hiding In Plain Sight

Like any other athlete, a drag performer can minimize their chance of injury when they know about the risks of their sport. If you attend a drag show, you may see a common pose: the “death drop.” This iconic dance move requires a performer to fall supine on the ground with one leg extended straight and the other bent at the knee. When a drag performer executes this move correctly, the audience is shocked by the illusion that the performer has suddenly dropped dead on the ground.

The video below demonstrates the death drop in action.

But for queens like Shangela Laquifa Wadley, the death drop’s name may ring a little too literally.

Shangela competed on RuPaul’s Drag Race and has taught dance classes about how to safely do the death drop pose, but even experienced drag performers can have accidents. One night, she broke her leg when attempting the signature move. In an interview with the show Hey Qween, Shangela recounts what went wrong: “I hit a prop on the way down ... I ended up breaking my right leg. Both the tibia and fibula bones snapped.”

Like in other sports, drag injuries can span from a broken leg to the more everyday joint pain, shin splints, and aching feet — and while these health complications are common in the drag industry, pain is never fabulous.

Why do these sports injuries, large and small, so often go unaddressed in drag? While other athletes have shin pads and shoes with traction, drag queens use very different supplies. Unsupportive footware, heavy wigs, and corsets make moving onstage even more difficult. Purdy explains how this gear can put drag performers at risk: “Drag requires you to be larger than life. And that means higher heels, bigger movements, and more shocking stunts. When you pair this outrageous choreography with constricting clothing, high heels, and slippery bar floors, you have a stage that’s ripe for accidents.

When a drag performer knows about these potential dangers, they can take precautions to keep their routine and their wellness pitch-perfect.

The Health Advice A Drag Queen Thinks All Performers Should Know

Purdy reflects on his own career and provides some health advice that he wishes he’d known when he first began performing: “Not all drag performers are dancers. Some of them are comics. You can still participate in drag without feeling pressured to try the extreme moves. If I were to give advice, it’s to know your limits, understand your body, and also take care of your physical health.”

For dancing drag performers, following this advice may be easier said than done. Many performers work during business hours. These entertainers may show up to their venue exhausted from their day job. Since bars are the most popular venue for drag shows, drag kings and queens may feel pressured to drink alcohol to calm their nerves or fit in. Being tired or inebriated can knock a drag performer off their game and even off the stage if they trip or fall.

Another obstacle to a safe drag performance is a common mantra in the entertainment industry: “the show must go on.” Purdy says, “There is a tendency for people to hurt themselves and then keep pushing. Imagine that you strained your IT band, and it hurts when you do drop splits. But then you keep doing drop splits because the show must go on. And that overuse just makes your injury worse.” Shangela describes trying to carry on with her performance even with a broken leg: “I didn’t even know it was broken until I couldn’t reach the dollar from the man tipping me in the front. I was trying to get back up.”

While Shangela’s accident may serve as a warning sign, drag performers can take steps to prevent injuries and keep on dancing.

How To Promote A Drag Scene That’s As Healthy As It Is Entertaining

Chunkier heels can provide a more stable base than dagger pumps.


Drag performers can protect their health and wellness with the following steps:

  • Invest in stable and well-fitting shoes
  • Always practice the routine in the wig, clothing, and shoes that correspond to that routine
  • Know how much your gear weighs and how it feels on your body before you wear that outfit onstage
  • Avoid wearing a corset or chest binder too tight or for too long, especially in hot and crowded environments
  • Perform sober
  • Do not spontaneously try new dance moves during a routine
  • Keep the stage clear of props or trailing clothing when dancing to prevent stumbles or other accidents
  • Stretch before performances

Drag may help LGBTQ+ people feel confident in their own skin. And with some basic wellness strategies, these performers can also feel confident about strutting safely.

Danse Macabre. How the crazy dances of the plague-stricken became a triumph of nihilistically understood freedom - Knife

Les charmes de l'horreur n'enivrent que les forts!
And Darkness and Decay and the Red Death held illimitable dominion over all.

During the coronavirus epidemic, which is sovereignly and ironically changing the outlines of the world order, shattering the illusions of an "open society", abolished before our eyes in favor of quarantine and a state of emergency, it's time to remember of the philosophy of plague and the plots, themes, images, figures and characteristic landmarks of thought closely associated with it, as well as about recursive psychosomatic syndromes that accompany the convulsions of civilization - disappearing or recovering, who knows, or simply looking for new paradigms in order to continue to avoid encounters with truly important metaphysical meanings. This is how the idea of ​​a series of articles devoted to this issue, the metaphysics of the pandemic, was born. Here is the first sketch.

Dance in the name of Vit

During pandemics (primarily plague) in Europe, cases of an unusual disease were noted: people affected by it began to dance and could not stop for days and even weeks, until they finally fell dead from a broken heart. The most striking phenomenon was the dance of death, which became widespread in Strasbourg (Alsace) in 1518, about which the great Swiss physician and alchemist Paracelsus wrote in detail. Earlier, something similar was recorded in Erfurt (1237) and Aachen (1417).

This mental illness recurred from time to time until the 18th century and was called choremania, dance obsession or chorea. Another name, "St. Vitus dance" (French - Saint Guy), this disorder received in honor of the early Christian saint, who was martyred at an early age (seven or twelve years old). In Germany, a ritual has developed on the day of the memory of this saint: to dance in front of his icons and images. A disease similar to "chorea" was discovered in adolescents (whence, probably, the connection with the image of St. Vitus), who had dissociative disorders and mental abnormalities, leading to involuntary convulsive movements, reminiscent of dance figures. This childhood disease (the medical name is "Sydenham's chorea" or "rheumatic chorea") was later distinguished from attacks of plague dancing ("dance plague"), which was called "great chorea" or "German chorea".

Both women and men and children took part in the plague dances, and all of them became completely insane and did not succumb to any persuasion to stop.
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Sometimes they tried to heal the dancers, but they broke free and started dancing again. In some cases, special platforms were erected for them and musicians were invited to accompany them - in the hope that the dancers would get tired so quickly and collapse to the ground (but remain alive), although, perhaps, such encouragement had other motives - to look at something outlandish in order to brighten up the terrifying everyday life of the plague.

Spasms Nothing

These strange incidents inspired the extremely popular Baroque and later Romantic scenes associated with the Danse Macabre (German: Totentanz, Spanish: Danza de la Muerte, etc.), the "dance of death", where Death herself acted as a dancer, hidden under the image of a beautiful woman who draws the hero into the deadly maelstrom of fate. We meet these themes in Edgar Poe in The Mask of the Red Death, in Baudelaire in the Dance of Death, etc. In both Poe and Baudelaire, the “dancing Death” embodies Nothing. Poe's hero, Prospero, who decided to take refuge in his castle during a plague epidemic ("self-isolation"), started a luxurious holiday that lasted until an uninvited guest appeared from nowhere, dressed in a dead man's costume - dressed in a shroud and depicting a victim of the epidemic .

The owner chased the guest, but after catching up with him in the last black room with red windows, where an ominous clock stood, he collapsed dead. The guests who came running attacked the stranger, but there was no one under his mask and robes.

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Similarly, in Baudelaire's famous poem, the "dancing Death" embodies a barely veiled Nothing, poignantly emerging from under a carelessly thrown attire and unconvincing make-up.

Ses yeux profonds sont faits de vide et de ténèbres,
Et son crâne, de fleurs artistement coiffé,
Oscille mollement sur ses frêles vertèbres.
Ô charme d'un néant follement attifé.

Her deep eyes, made of emptiness and darkness,
And her skull, delicately decorated with flowers,
Swaying listlessly on the fragile articulations of the spine,
Oh, the charm of tasteless veiled nothingness! (Translated by author)

The image of dancing death, inspired by the "plague dances", we meet already from the late Middle Ages in illustrations for sermons.

Collections of special poems on the theme of Danse Macabre, dedicated to admonitions and calls to remember death and the equality of all estates before it, have been preserved. The brightest examples of this storyline are a series of drawings by Hans Holbein the Younger.


Origins of Theatre: Grave Dances

Danse Macabre was often presented as a dance on or around the grave, with participation from all classes, including popes, kings, nobles and commoners, beggars, peasants, children. If we look even deeper, then we come to ancient pre-Christian funeral rites (including Slavic feasts), in which the participants, who gathered on certain days at the grave of a hero or the founder of a city, performed special dance figures and sang tragic songs. Antiquity researcher William Ridgway, a prominent representative of Cambridge ritualism, derived Greek theater and, above all, the genre of tragedy from such funeral rites. In this case, Danse Macabre in its origins goes back to the essence of the theater. This was very subtly captured by Antonin Artaud, who in his famous essay "The Theater and the Plague" connected these two concepts. The connection of the tragedy and its actors with the world of the dead was also expressed in a special attitude towards the acting class, whose representatives - as potential "mortgaged dead" - in some communities were not buried in a Christian cemetery, throwing them into God-houses.

In a sense, the actors embodied the "dead who came out of the grave", temporarily revived (therefore, they were considered potential and dangerous ghouls).

Eschatological countdown

Closely associated with this theme is the persistent plot of the “feast during the plague”, which formed the basis of Wilson’s play, and was later turned by Pushkin into an elegant play with a similar title. The ominous “feast during the plague” is consonant in its eschatological connotations with the Belshazzar feast, which is mentioned in the Bible and during which the mysterious words “Mene, tekel, uparsin” appear on the palace wall, deciphered by the prophet Daniel as an indication of the imminent fall of the Babylonian empire from the hands of the Persians. We are talking about Aramaic measures of weight, which in their structure are connected with the constantly repeating formulas of apocalyptic literature, describing the short period during which the Antichrist is destined to rule (“time, times and half a time”: “mene” means “mina”, and “uparsin "-" half a mine").

Dances of the Maccabees

In the Latin tradition Danse Macabre was associated with the tragic death of the seven Maccabee brothers and their mother and was called Chorea Machabæorum. The "Dance of the Maccabees" was performed by both clerics and secular persons, and during it, each of the participants, representing the seven brothers of Maccabees, stepped out of the circle in turn, which symbolized his death.

One of the popular medieval legends tells how three young men went hunting and met three dead men (their ancestors) who gave them a warning: Quod fuimus, estis; quod sumus, vos eritis; "we were like you, you will be like us." This formula, up to our time, is found in Athos monasteries, where the corresponding inscription is repeated in numerous ossuaries, with the skulls of deceased monks stored there.

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According to another legend, the tradition of Totentanz (Danse Macabre) originates from an episode that took place in Darmstadt. On Pascha, when the priesthood was leading a festive divine service, a group of wicked people gathered at the temple and started an unbridled dance. God cursed the dancers and doomed them to non-stop circling around the church in his obscene gallop.

The priest who came out of the church identified one of the dancing girls as his daughter and tried, grabbing her by the hand, to pull her out of the infernal circle, but the hand came off, and the mad girl continued to spin.

The participants in this accursed spinning, which lasted a whole year, dug a ditch with their feet, where exactly a year later at the same hour when they began their blasphemous act, and collapsed dead.

Involuntary reaction of the body to death

Dancing death in its complex symbolism and rich associative series can be interpreted in different ways. But in the era of the epidemic, the image of the dancing dead, the crumbling flesh of the world and the rays of Nothing clearly breaking through from under its collapsed plaster acquires a new meaning and special clarity, going far beyond the boundaries of scientific hypotheses.

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The encounter with imminent and sometimes inevitable death in some cases becomes an irresistible psycho-physiological reaction: it resembles a somatic disorder perseveration , in which a person, unable to stop, convulsively repeats the same action, which has completely lost its meaning. So, in spite of his body, mind and psychological attitude, a person reproduces a series of gestures again and again - and he does not even repeat them himself, but his limbs, muscles, nerves, muscles move involuntarily and dissociatively in a fatal "chorea", in a meaningless fatal dance. Hence the torn off hand of a girl in one of the legends about the “dance of the Maccabees”. Organs become independent. It is they - arms, legs, thighs, joints, tendons - that start dancing, not paying any attention to the one who arrogantly considered them his obedient tools, subordinate slaves.

Hello, I am your Death

But what is a dance during a pandemic, what is a feast during a plague? This is nothing but ignoring the challenge of the epidemic, refusing to face approaching death .

The grotesque acquires not the dance itself, but its fatal unstoppability. When a person, brought to the brink of death - and plague or coronavirus are ideal conditions for this brink - continues to do the same thing that he always did when "there was no death", this gives rise to a feeling of dissociative chorea, involuntary and uncontrolled muscle contraction.

At the moment of the plague, a person must face the fact of his limit, his limit. He must begin to do only what is comparable to death, which must either enter into a struggle with it, or contribute to the existence of the soul on the other side of life. In other words, in a plague situation, a person must either fight for life - his own and someone else's, or turn to God. The only thing he definitely shouldn’t do is “dance”, “feast”, that is, do the same thing that he did before and outside the plague. And when, in spite of the harsh reminder of his mortality (it is no coincidence that the Greeks called people by the stable epithet "mortals", βροτοί), he continues to live as always, all the vanity, alienation, mechanicalness of his existence, of himself becomes clear. Not Lady Death, but the man himself turns out to be Nothing, hastily wrapped in a perishable shell.

When the plague comes, a person faces himself.

And his dance, and his dinner, and his pastime turn into Danse Macabre.

The triumph of the liberals: everyone is free

The extravagant French writer Grasse d'Orsay in his essay "Danse Macabre" recalls that in medieval European culture the concept of libre, "free", was sometimes interpreted as "liberating from life. " Therefore, Death was considered the most liberal element. Turning a person into nothing, she freed him from all the shackling networks of collective identity. It is no coincidence that representatives of all classes took part in the dance of Death: at last they were all free. Such nihilism, which is clearly manifested during the pandemic, is deeply related to liberalism in its foundations: freeing itself from social ties, isolating itself in its individuality, a person is drawn into the dance of Death and it becomes more and more clear that he is only a “parliament of organs” dependent on the medical apparatus. or vaccines, from a protective mask or an engineer in a white coat, who gain absolute power over the disparate fragments of "naked life".

The epidemic is Danse Macabre.

It is easy to see how modern (modernist) and even postmodernist is the classic plague doctor mask, anticipating the medical gas mask.

Image 7. Dance of death. Carlos Castaneda.

Shattered Knowledge [litres] Image 7. Dance of Death. Carlos Castaneda. Shattered Knowledge [liters]


Carlos Castaneda. Shattered Knowledge [litres]
Dzheldashov Vasily


Look 7. Dance of Death

“- Every warrior has a place of death. A chosen place, soaked through with unforgettable, powerful events, each of which left an indelible mark; a place where a warrior witnessed great miracles, where secrets were told to him; a place where a warrior stores his personal power.

He either just comes there or gets into dreams. And in the end, when the time allotted to him here on this Earth ends, and he feels the touch of death on his left shoulder, his spirit, which is always ready, flies to the chosen place, and there the warrior performs his last dance. He dances and the only spectator is death. Each warrior has his own special sequence of movements and postures. They carry power. A warrior learns this peculiar dance throughout his life. A dance performed by a warrior under the influence of his personal death. If the strength of a dying warrior is limited, his dance is short. But if the strength of a warrior is grandiose, then his dance is full of fantastic splendor. However, whether his power is small or immeasurable, death must stop. Death cannot but witness the last dance of a warrior on this Earth. This dance is the warrior's story of the hard work his life has been, and death must wait, for it cannot overcome the warrior until his dance is completed. And when your dance comes to an end, you will look at the sun, look for the last time, because you will never see it again - neither in reality nor in a dream. And then - then death will call you ...

- And does death really stop to watch the warrior dance?

- A warrior is only a man. Ordinary person. And he cannot interfere with the plans of death. But his impeccable spirit, which gained strength by going through unimaginable difficulties, is undoubtedly capable of stopping death for a while. And this time is enough for the warrior to enjoy the memory of his strength for the last time. It can be said that this is a collusion that death enters into with one whose spirit is impeccable” (K-3).

“Don Juan said that the nagual Elias assured him that the spirit listens only when the one speaking to it uses gestures. These gestures do not mean signs or body movements - they are actions of true ease, actions of majesty, humor. As gestures of the spirit, sorcerers bring out the best in themselves and silently offer it to the abstract” (K-8).

This text is an introductory fragment.

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