How to do the dinosaur dance

Stomp & Move Like A Dinosaur Dance Activity for Kids – Move Dance Learn

Written by Samantha Bellerose in Animal Dance Tutorials,Uncategorized

Hunt like a velociraptor, stomp like a diplodocus, and fly like a pteranodon in this 15-minute dance lesson and creative movement activity themed around prehistoric dinosaurs – A class kids, preschoolers, and toddlers will love to do over and over again!

This free online creative dance and movement activity explores moving our bodies in fun and creative ways to carefully selected music specially chosen to help ignite the imagination and provide a beat and rhythm to move to.

This dinosaur dance class is great as an extended brain break in the classroom or even as a springboard to ignite learning about these prehistoric beasts both at school and for home learning. But it is also just a lot of fun to do for any reason – especially if you are after some interactive, fun, and fitness-focused screen time for your kids or toddler.

Click here to go straight to a playlist on Youtube of dance classes by Move Dance Learn. Don’t forget to subscribe to get notifications as the library is growing and should have twenty videos up soon!

LINKS TO THE CURRICULUM

Having majored in Education at university and teaching for several years, I am always looking at ways to creatively teach children and regularly used dance and movement in my classroom to enforce learning of concepts and material we were learning about in different areas of the school curriculum.

The following are some links and connections that can be made from this movement lesson to various other areas of learning!

Mathematics and Arithmetic

English and Literacy

Create a spelling list of dinosaur-related words.
Create a list of adjectives and verbs that describe dinosaurs.
Write a narrative that is based on a dinosaur.
Research and write a report about dinosaurs.
Write an argumentative or persuasive essay expressing your position on how the dinosaurs became extinct.

Social Studies, Science & Technology

Learn about what a paleontologist is and does.
Become a paleontologist for a day – go on a dig for fossils, create a dinosaur display for a class or home museum, create a presentation to teach others about dinosaurs.
Explore how dinosaurs evolved over time.
Explore where we find living dinosaurs on Earth today and learn about how they survived.
Investigate how the dinosaurs became extinct.

Geography

Study and create maps to show where dinosaurs fossils have been found.
Investigate the types of habitats and terrain that the dinosaurs thrived in.

Art

Pretend you have never seen an image of a dinosaur before!
Draw, paint or sculpt dinosaurs using descriptions or from just looking at their bones rather than what you have seen a dinosaur looks like.

Sculpt and make dinosaur bones like in the photo example from Simple Everyday Mom.

About Us

Using movement and dance to make learning fun for kids!

Hi I'm Coach Samantha - mum to four kids, ex-professional dancer, dance teacher and school teacher. Let's move, dance and learn together!

Walk The Dinosaur - Houston, TX - 2022

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Walk The DinosaurDance Central - Houston, TX - 2022 Mini • Small Group • Off-Broadway • Jazz Dancers (8): Taylor Brinkmeyer, Andrew Kahle, Casyn Moreham, Keira Nicholson, Agnes Shoaf, Sydnie Stout, Charly White, Reese Wurdeman

Diamond

2nd Place - High score Off-Broadway Small Group Mini

1st Place - Dance division Off-Broadway Small Group Mini Jazz

Dance Division

PHOTOS

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Compliments#edit" data-id="130530" data-option-id="1" > 💬 Custom Compliment Compliments#add" data-id="130530" data-option-id="2" > ✨ Stunning Performance Compliments#add" data-id="130530" data-option-id="3" > 🎀 Fantastic Costume Compliments#add" data-id="130530" data-option-id="4" > 🙌 Brilliant Choreography Compliments#add" data-id="130530" data-option-id="5" > 💫 Beautiful Technique Compliments#add" data-id="130530" data-option-id="6" > 🎭 Outstanding Entertainment Compliments#add" data-id="130530" data-option-id="7" > 💓 Emotionally Moving Compliments#add" data-id="130530" data-option-id="8" > 😍 Loved It Compliments#add" data-id="130530" data-option-id="9" > 👊 Great Job Compliments#add" data-id="130530" data-option-id="10" > 💥 Wow Factor Compliments#add" data-id="130530" data-option-id="11" > 🌟 Fan Favorite Compliments#add" data-id="130530" data-option-id="12" > 💐 Congratulations Compliments#add" data-id="130530" data-option-id="13" > 💖 So Proud Compliments#add" data-id="130530" data-option-id="14" > 🤘 Rocked the VIP Stage Compliments#add" data-id="130530" data-option-id="15" > 👏 Roaring Applause Compliments#add" data-id="130530" data-option-id="16" > ✌️ Legit Compliments#add" data-id="130530" data-option-id="17" > ‼️ On Fleek Compliments#add" data-id="130530" data-option-id="18" > 👑 Totally Slayed Compliments#add" data-id="130530" data-option-id="19" > 🐐 GOAT Compliments#add" data-id="130530" data-option-id="20" > 🔥 So Fire Compliments#add" data-id="130530" data-option-id="21" > 😎 Savage Compliments#add" data-id="130530" data-option-id="23" > 💯 Just Fabulous Compliments#add" data-id="130530" data-option-id="24" > 😼 Purr

COMPLIMENTS 3

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Stunning Performance

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Thank You, Dancers!

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Questions to the choreographers of the Context festival - Poster Daily

The tenth season of the Context contemporary dance festival has started. We have already talked about the most interesting events of his program. And now, at the request of Afisha Daily, the dancers of the festival's dance troupe asked the directors of this year's performances and performances their concerns.

Damir Smailov: What is your most vivid childhood memory associated with a piece of music?

Konstantin Semenov: I grew up in an era when reel-to-reel tape recorders and record players were still in use. My father adored Vysotsky, about whom I said "turn on the tall uncle." Also, I was not deprived of records with children's repertoire - many of them were audio fairy tales or, as they used to say, radio plays. I remember the wonderful musical performances of "Ali Baba and the 40 Thieves" with the voices of Dzhigarkhanyan, Yursky, Tabakov; the theme of the robbers there was a cover version of the famous "Saber Dance" by Aram Khachaturian. Under her incendiary sounds, even such a child as restrained in expressing emotions as I was, started dancing.

Alena Chudakova: Where do you get ideas and inspiration for creating the lighting score for the play "The Singularity"?

Kirill Radev: Light is one of the most important parts of the entire staging process. But when I studied at the Faculty of "The Art of the Choreographer" at the Moscow State Academy of Choreography, we did not even discuss this topic. Question from the artistic and production part "What about the light score?" they put them in a stupor even after: choreographers set very simple tasks for artists and lighting operators. They say: “Well, make me some beautiful light ...” It seems to me that the choreographer should come with a clear idea, with an understanding of the picture that he wants to see on the stage, the effect that he wants to achieve at the moment from the scene or movement.

Where do I get inspiration from? I trained as a photographer, worked for an agency for a while, and did studio photography. Then I additionally studied as a lighting artist, because I realized that light is 50% of the success of the final product.

Before starting work, I always try to imagine the final result: what do I want to see on stage as a result? What should be the light? What should be the mood? In what state would I like to immerse the viewer? And what artistic tools do I have to achieve this effect?

Choreography should be looked at from the point of view of not so much movement as picture.

A scene is like a 3D painting, in motion. You have to paint history like an artist.

Added to this is the scenography and spaces on the stage that you work with, cutting off things that the viewer should not see with light, and highlighting others. This is a big task.

As for The Singularity, for me it is a technogenic story. This is work with laser and light. We have two lighting designers: one who deals directly with theatrical lighting fixtures, and one who deals with laser content. We are trying to organize all this and bring it to one task.

There is an opinion that a choreographer should not get his hands dirty, leave the technical part to the technicians. And I wonder, I'm ready to be inside. I understand how it works. When they say to me “We don’t have enough height” or “Pull three meters down”, or “We have a fugue of light there”, I understand what they are talking about. With technicians, I speak technical vocabulary. In the profession of a choreographer, communication with artists, musicians, technical department and services is very important. When you know how the theater works, how it breathes, what its peculiarity is, then you understand this better, and this makes you a more professional choreographer.

Rinat Khanjyan: What is the strength of your movements, choreography?

Olga Vasilyeva: When I was little, I danced because it was joyful, fun for me to spin and fool around to the music. Then I repeated the dances on video cassettes. At six, I was kicked out of the [dance] class to learn the polka step.

There are always joys and difficulties in life. In movement and choreography, I feel my strength and weakness, power and trepidation. I feel the power of life, my wonderful life.

Damir Bulatov: Dance is part of the culture of any nation or society. Now it is actively transforming from all sides. Where can this transformation take us? Don't you think that the identity of one direction or another can be erased and forgotten in favor of constant new trends?

Vladimir Varnava: Yes, this transformation is present. It seems completely natural and inevitable. In this case, you just need to decide what exactly you are doing. You are either trying to preserve the tradition as an anthropologist, or you are experimenting and looking for something new. It seems to me that both those and other people have always lived, and it is absolutely wonderful that they exist.

Where this transformation will lead us in the end - there are no forecasts. One person or one direction can have a powerful impact on the entire environment, or it can change it regionally.

We must not forget that what we take to be true or authentic may in fact have arisen not so long ago. And what we call a cultural phenomenon, a folk tradition, can be the invention of a single person. So you always need to carefully study the subject.

Marina Herolyants: I have two questions. Rock or rap? And what is your favorite dinosaur?

Olga Timoshenko: Rock, because that's how my darling lies. Dreadnought It is believed that this dinosaur had the largest mass among all land animals. Its name translates as "fearless" because it is large, herbivorous and fearless.

Elizaveta Mazurkevich: Do you need talent or experience and age to be a good director?

Andrey Merkuriev: Probably, this is both talent and experience, and where experience is, there is age. We are learning, gaining experience and skills.

I dreamed of being a choreographer since childhood. I heard music and saw images, but I remember that, being a student of a choreographic school, I did not understand how to realize my ideas. And only with age, having declared myself as a choreographer, I understood why I didn’t succeed: I didn’t have enough experience, skill. Today, when I hear some music, I don't get lost, I immediately start to see images, a plot appears, I don't have to poke around for a long time. To call this ability a talent, a gift, is probably very loud. But I keep saying: “Lord, just don’t take is ." This, of course, is my creative experience, the experience of working with great choreographers, with young ones who were just starting out, how they experimented on me. And then I already felt that I would like to do the same.

Some choreographers start by copying. And I confess that when I stage something, I tell the artists: “This is in the style of Kilian, and this is in the style of Ratmansky, and this is in the style of Neumeier. ” I know the handwriting of these people, these geniuses who create brilliant performances and have declared themselves all over the world. And when I am present at some productions, performances, I think: “But here I would do this, but this support is like this, and here I would complicate it, turn it in the other direction and add something else.”

I wish the choreographers victories and aspirations, because this path is very difficult: it is difficult to express yourself and find your own style, to get away from copying and beautiful theft.

Lidiya Krivosheeva: Would you like to change your current profession, and if so, to which one?

Olga Labovkina: If I wanted to change my profession, I would change it, and nothing would stop me from doing it. Now I am talking rather not about change, but about expanding knowledge in related areas. Especially when you are a choreographer, director, director, you have to understand a lot of areas. It seems to me necessary to understand psychology, to be able to work with actors, to be well-read, familiar with different acting systems. You also need to understand visual art, composition, and music. It would be nice to know music theory. Even the technical aspects need to be understood. And in the cinema too. Because if we are filming a performance, then we must certainly encounter the "cinematic" language. Learning any new field can enrich me as a professional in my field, which I am currently engaged in, so there is no need to change professions - you can develop simultaneously in several at once if you want to do this.

Anna Saushkina: How do you feel about dancing yourself in your works?

Andrey Korolenko: I do this extremely rarely, because most often in my work [as a choreographer] I rely on my ability to observe, see and notice. Being inside the work, paying attention to the team, while maintaining an outside view is not an easy task, and almost always it is a big challenge to yourself. But sometimes the work turns out so high that in the process there is a desire to be inside and be in space with everyone. In recent works, I try to combine this - to keep an outside view, to work with the dancers to the fullest, but at the same time to do everything exclusively for pleasure.

Timur Zagidullin: There is Israeli modern dance, there is Japanese butto, there is American contemporary. What and what will be the modern dance of Russia and the post-Soviet space?

Konstantin Keikhel: I would address this question to dance theorists or contemporary art in general. We, choreographers, are searching, while experts and scientists analyze and draw parallels. The tenth season of the Context festival brought together choreographers from different years, but it is not up to me to decide whether this is a slice of the state of modern dance. Let the viewer decide.

The only thing I know about the future is that the dance is changing, and for this a lot of effort, hands, feet and heads are applied.

Ildar Sokolov: What should a choreographer do when he sees that a dancer is not up to the task in a performance?

Lilia Burdinskaya: Flogged.

Daniil Kirilko: In what cases is it possible for you, as an artist, to create a work not in collaboration with dancers, but in the classical scheme: the choreographer generates an idea, the dancer performs what is required, and nothing more?

Anna Shchekleina: This format is possible only for classical dancers, where there is a strict tradition: the choreographer suggests movements, and they learn them. But even ballet dancers I try to involve in co-creation. I still ask you to improvise, transfer states, even compose something. Because usually when I give movements, it's a longer process of mastering my technique. There is usually no such time, so I suggest working together so that the movements look organic on the bodies. And if they are not my dancers, then we mix my style with their organicity.

Timur Zagiddulin: If you put on a performance for children, what would it be like?

Alexander Frolov: I always analyze the circumstances, the context in which the performance will exist, specify the request of the customer or represent the interests of the audience focus group, and in connection with this, ideas and inspiration come. For example, I am already planning to put on a performance based on the film "The Adventures of Electronics" in one of the theaters. And last year he did the New Year's play "The Adventures of Christmas Tree Toys", where an independent, fantasy and at the same time very realistic story of a happy family, dad, mom and daughter in a warm homely atmosphere around the moment when you can already decorate the Christmas tree before the New Year. I really liked staging New Year's performances with a warm and magical winter mood and without the traditional heroes of Santa Claus and the Snow Maiden: without them, the atmosphere remains just as fabulous.

In general, I have a lot of childish energy, emotions, irony and naive joy inside me - I like to indulge, and I like to put all this into work on children's performances.

Children as spectators are charming, their openness to a simple miracle makes it possible to create simple magic in performances literally from nothing. And all the more cool in a playful form of interactive communication with them to inspire them to something or even teach something new.

Anastasia Radkova: If you didn't become a choreographer, who would you be?

Pavel Glukhov: I think if fate hadn't brought me to a dance hall at the age of nine and I hadn't become a choreographer, I would still connect my life with art. I love putting things in order, structuring the world. Apparently I'm a perfectionist (laughs) . I am close to the theme of design in its various manifestations. I am interested in creating spaces, be it the space of my home or the theater space. Perhaps the profession of a stage designer would be organic for me.

Diana Kupreishvili: Where should a dancer go for a deep understanding of contemporary dance?

Maria and Elizaveta Zhukov: Modern dance is a broad concept. We can advise you to learn different aspects of modern dance and understand what is close to you, and then decide where to go for knowledge. You can study both in studios, schools, colleges, and with individual masters. You can study at the Context studio in St. Petersburg, you can go to classes at the TSEKH in Moscow, you can get to the Station residence in Kostroma. Learn there and from those who are close to you in spirit.

Ildar Sokolov: Do you think it is necessary to develop in all dance styles or is it enough to master one technique?

Ernest Nurgali: It seems to me that this primarily depends on the desires of the dancer or the dancer. There are excellent dancers and female dancers who are good at one style - for example, only classical or street dance. Few expect the ballerina to dance break dance, and the breaker to dance Solor's variation from the ballet La Bayadère. However, the opportunity to at least touch this or that material may be at least interesting for a person who loves the movement as such.

As a choreographer, I find it more comfortable to work with people who are free, including from possible expectations and attitudes about how a dance can or even should be.

Modernity requires us to be universal, multifunctional people - and dance is no exception. Perhaps it is not easy to feel as free as possible in different styles, but the more we know how, the more we can, and the more interesting it will be to create something beautiful with us.

David Duchovny kills dinosaurs, Pedro Pascal dances - what was the comedy "Bubble" by Judd Apatow - Vadim Elistratov at DTF

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So bad it's good. But not always. Sometimes just bad.

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On April 1, Netflix released a new film by comedian Judd Apatow, whose career peaked in the 2000s. Then he filmed "The Forty-Year-Old Virgin" and "Knocked Up", and at the same time produced the cult "Super Peppers" and "Pineapple Express".

Apatow's humor, let's say, is characteristic and not everyone likes it , but in his golden years, he managed to prove that he is smarter than he seems on the surface. His works like “Knocked Up” were always sold to the general public in the most vulgar way (“Smart girl flew from an idiot and decided to leave a child!”), But in reality they turned out to be far from stupid movies about friendship and love.

So when Netflix announced The Bubble, I put the film on my must-see list, no matter what the reviews were. I hoped that Apatow, like Adam Sandler, would be reborn in a career in streaming, where he would again be given decent budgets.

Did he succeed? Not really.

The Bubble is set in a British film studio where a new director is desperately trying to film the seventh installment of the blockbuster Cliff Beasts during the pandemic. The viewer is brought up to date with the help of the heroine Karen Gillan. She skipped filming for the sixth film after chasing a failed solo project where she played a half-Arab and half-Israeli girl during the Arab-Israeli conflict. Yes, there is such a high level of absurdity.

And now Gillan returns to his old team, where everyone looks askance at her after the "betrayal". And now a young and fit TikTok star is breathing down her neck, who is given the main lines and scenes. The latter was played by Judd Apatow's daughter, Iris. Meanwhile, the shooting itself, under the direction of the new director, is gradually turning into a disaster - including a humanitarian one.

The main source of the film's jokes is, of course, the "bubble" itself. This is the name of the format of the work of the film crew after the start of the pandemic. Actors, the director and all assistants are housed together for several months and are not allowed to go outside so that no one gets infected with the “corona”. The stars in the process go crazy, take hard drugs and find out the whole truth about each other and about their loved ones left at home.

And I would like to say that something worthwhile came out of the "Bubble", but no. The film opens with a series of beautiful sketches about the coronavirus, and some of its scenes really stick in the memory. For example, an episode where the faces of the characters are changed using neural networks: David Duchovny suddenly becomes younger under drugs, and the medical security specialist turns into Benedict Cumberbatch.

However, after viewing it seems that Apatow simply did not have enough for two hours. He came up with several sketches that are now circulating on social networks and, perhaps, for someone to justify the existence of the film, but the second hour of the Bubble is almost unbearable to watch.