How to do the fusion dance in real life
Fusion Dance | Dragon Ball Wiki
Directory: Techniques → Supportive Techniques
Metamorese Art of Fusion
Manga: "A Slim Hope"
Goten & Trunks
Goku & Vegeta
Future Gohan & Future Trunks
Goten: Xeno & Trunks: Xeno
Future Goku & Future Vegeta
Tien Shinhan & Yamcha
Piccolo & Dr. Mashirito
Piccolo & Krillin
The Fusion Dance (フュージョン, Fyūjon), is a technique that is introduced by Goku after learning it from Metamorans in the Other World. His son, Goten, fuses with Trunks in order to create Gotenks. The purpose of the Fusion is to temporarily merge two or more bodies into a single, superior entity.
- 1 Overview
- 1.1 Usage and Power
- 1.2 Technique
- 1.3 Weaknesses
- 2 Variations
- 2.1 God Fusion
- 2.2 EX-Fusion
- 2.3 Ultra Fusion
- 3 List of Fusion Dance Entities
- 4 Video Game Appearances
- 5 Trivia
- 6 Gallery
- 7 See also
- 8 References
Usage and Power
Goku and Piccolo demonstrating the Fusion.
The Fusion Dance is a short series of poses that are performed by two individuals of equal power levels. To correctly perform the Fusion, the fusees must strike the poses in a perfectly symmetrical image of one another. The result of a correctly performed Fusion Dance is a superior being whose power is multiplied several-fold over that of the individual fusees. If the dance is performed incorrectly, it will result in an obese or skinny character who is much weaker than the fusee's, though in Dragon Ball GT this is changed so that instead of becoming a failed fusion, the fusion process from an incorrectly performed dance will cancel before fusion can be achieved. Fusing through this technique uses up a lot of ki. While the technique works best with fusees who have roughly equal sizes, Akira Toriyama has stated that it is possible to merge no matter the conditions so long as the technique is followed properly.
The fused character possesses mixed physical traits of their original counterparts. All characters fused through the Fusion seem to acquire the same attire: white pants, a sash, and a vest with yellow or orange padding around the shoulders and neck. In addition to this regular Metamoran attire, the adult version of Gotenks has Trunks' brown boots and brown gloves, and a gray shirt. If the fusees are not wearing clothes while performing the dance, the fused character will not wear clothes either. 
Goten and Trunks perform the Fusion in Yo! Son Goku and His Friends Return!!
The first Metamoran fusion to debut in the manga was Gotenks, a fusion of Goten and Trunks. The second is Gogeta, born from Goku and Vegeta, though he had made several prior non-canon appearances, including his debut in Dragon Ball Z: Fusion Reborn, his Super Saiyan 4 self in Dragon Ball GT, and a what-if saga in Dragon Ball Z: Budokai 2. In both Fusion Reborn and Dragon Ball Super: Broly, Gogeta also has a failed variant named Veku. In Budokai 2, Tiencha is born from Tien Shinhan and Yamcha.
The total fusion time lasts about 30 minutes, depending on the amount of ki that is used. After a successful fusion splits apart, it takes the character's bodies another hour before they are able to fuse again - however, if the fusion was unsuccessful, the two characters can immediately attempt fusion again after splitting.  The fusion can also end if the two fusees' power levels fall out of sync after the fusion is completed. In Dragon Ball Z: Wrath of the Dragon, it is revealed that if the fused characters sustain enough damage while under fusion, the fusion will end prematurely. Additionally, the more powerful the fused entity is, the shorter the fusion will last; for example, Super Saiyan 4 Gogeta only lasted 10 minutes. It is possible that this only applies to means of power beyond the fused entity's natural power such as unnatural transformations beyond the natural state of Super Saiyan as the aforementioned form has never been shown to affect the Fusion's time limit while extensions of the form, such as Super Saiyan 3, are the only ones in the original manga to shorten a fused entity's time limit with Super Saiyan 4 doing the same in Dragon Ball GT. In Dragon Ball Xenoverse, it is revealed that the time limit this fusion has does not exist in Toki Toki City, as Gotenks is able to exist indefinitely. On a similar note, Goku implies it is possible to defuse at will, when he jokingly suggests to Gotenks after the hot tub was destroyed during a fight with him that they remain fused so that Chi-Chi will only spank the pair exactly once rather than endure one each.
Fusion Dance's potency in comparison to Potara varies depending on the source. According to Weekly Shonen Jump, the Fusion Dance is stated to allow the resulting warrior to draw out their power to the greatest extent due to being more balanced, while according to Daizenshuu 7 the Potara produces a stronger warrior. However, it was most currently stated that Gogeta and Vegito are equally-matched trump cards, so the Fusion Dance and Potara Fusion techniques must be extremely similar, if not the same, in terms of resulting power augmentation, meaning the Potara Fusion only appears to edge out in terms of having twice the dance's base time limit.
Goku and Vegeta after a failed attempt at fusion
The dance itself is explained by Goku in Dragon Ball Z: Fusion Reborn as combining elements of both traditional fighting poses and water ballet. The performers must visualize two rivers flowing towards each other that get closer as they approach each other, then converge at two single points; the points collapse under the pressure and the two rivers flow into each other, becoming one. The movements, right down to the fusees' breathing, must be perfectly synchronized and symmetrical or the fusion will fail. The fusees must also equalize their power levels. More than two people can perform the dance.
Upon utilization of powerful transformations like Super Saiyan 4, there becomes a massive strain imposed on fused beings which results in a decreasing of the standard fusion time of 30 minutes to 10 minutes or even lower, as evident in the battle of Gogeta and Omega Shenron.
A user of the Forced Spirit Fission technique can defuse a Metamoran-fused being by splitting and tearing apart its fusees' individual spirits into their separate original selves.
Main articles: God Fusion and God Fusion Goku A fusion technique created by Goku as a result of his wish to Shenron. Similar to the Fusion Dance, it is created through a series of poses, albeit the main user has to gather enough energy to do so. It also creates a similar being that wears Metamoran attire like the Fusion Dance. Unlike the Fusion Dance, this fusion can be performed with various participants as long as they wish to do so to Shenron as shown in Goku's case when he fused with the Super World Martial Arts Tournament audience. It is unknown how much stronger it is compared to the other fusion techniques but it was enough to turn the tides around for Goku to overwhelm and destroy Broly in his Broly God form with a God Kamehameha.
Main articles: EX-Fusion and Metamo-Ring
Bulpan the EX-Fusion of Bulla and Pan
As a result of research into Fusion by Bulma, the Capsule Corporation develops a device called the Metamo-Ring, an armband-like device that allows two people wearing them to perform the Fusion Dance in order to perform EX-Fusion. Unlike Metamoran Fusion, EX-Fusion only requires the two fusees to wear Metamo-Rings and perform the fusion dance to fuse, effectively allowing people of different sizes and power levels to fuse (for example Legendary Super Saiyan Broly with Goku or Kid Trunks with Future Trunks). Additionally, unlike Metamoran Fusion, EX-Fusion clothes fuse like with Potara Fusion instead of wearing Metamoran clothing and will wear a Metamo-Ring on their arm (unlike Potara Fusion, the two Metamo-Rings fuse together into a single ring).
Though created partially by Fusion Dance, the fusion produced by EX-Fusion usually differ slightly from the Metamoran Fusion counterparts (if one exists at all) in appearance, though usually retain the Metamoran fusion counterpart's name which features the pre-fix EX in front of their name (EX Gotenks, EX Gogeta, EX Prilin, EX Tiencha, etc.). However, there are exceptions such as Rappa, the EX-Fusion counterpart to Natz (the Metamoran fusion of Nappa and Raditz).
EX-Fusion also allows two people of different genders to fuse as shown by the EX-Fusion of Great Saiyaman and Great Saiyawoman to create Great Saiyaman 12 or Android 17 and Android 18 to create Android 1718.
As a result, EX-Fusion resembles a mixture between the Fusion Dance and Potara Fusion as it is the result of Fusion Dance, but allows people to fuse regardless of size and is produced with the aid of an object worn by both fusees which the resulting Fusion wears.
While EX-Fusions are not as powerful as fusions created by Metamoran Fusion, they have the advantage of having no time limit (Metamoran Fusion's main weakness) and can defuse at will by simply removing the single Metamo-Ring created by the Fusion which apparently holds the EX-Fusion together. As a result, it is in some ways superior to Metamoran Fusion and Non-Shinjin Potara Fusions (like Vegito), as the fusion can be maintained indefinitely as long as the EX-Fusion continues to wear the Metamo-Ring. However, it is currently unknown if an EX-Fusion would defuse if the Metamo-Ring that holds them together where to be damaged or broken. It is also unclear if the EX-Fusion will defuse if their Metamo-Ring is forcibly removed by someone other than the EX-Fusion. If one or both of these are true, then the Metamo-Ring itself would be an EX-Fusions main weakness as it could be effectively targeted by an enemy to undo the Fusion (either by forcibly removing, damaging, or outright destroying it).
Main articles: Five-Way Fusion and Ultra Fusion The maximum amount of people that can fuse together via fusion dance is five, and in order to achieve this the users must perform the Five-Way Fusion dance in order for all five users to merge. Five-Way Fusion was apparently developed by the Ginyu Force while they were in the Timespace Rift and would later be taught to Tekka, Pan, Goten, Kid Trunks, and Kid Goku who would use it during the Timespace Tournament. Additionally, the Ginyu Force would teach the technique to their master Frieza, who along with Cell would teach it to Pinich, Wanta, and Piprika in order to manipulate Pinich and his team into performing Five-Way Fusion with Frieza and Cell to create the Ultimate Ultra Fusion.
The results are different, as the resulting fusion is overwhelmingly more powerful than a normal Fusion created through the dance, even achieving new hybrid forms even if the users of the dance were incapable of using the powerful forms that make up these hybrid transformations (or were incapable of those forms at the point they performed the fusion, like in the case with Kid Goku who while possessing the potential to do so was unable to at that point as he had yet to reach the power level and conditions to access those Super Saiyan forms). Additionally, instead of shared control over the Fusion Warrior, the one who instigates fusion is the one who controls the resulting fusion, with their traits also becoming dominant such as race, gender (this does not apply to Namekians), and voice. An Ultra Fusion warrior will only last for a few seconds before they defuse. Interestingly, the Ultimate Ultra Fusion is capable of further transformation into his Golden Great Ape form due to Pinich possessing the ability to transform into a Golden Great Ape (as he possesses both a tail and the ability to go Super Saiyan).
List of Fusion Dance Entities
- Gotenks (Trunks + Goten)
- Xeno Gotenks (Xeno Trunks + Xeno Goten)
- Gogeta (Goku + Vegeta)
- Future Gogeta (Future Goku + Future Vegeta)
- Xeno Gogeta (Xeno Goku + Xeno Vegeta)
- Xeno Gohanks (Xeno Trunks + Xeno Gohan)
- Future Gohanks (Future Trunks + Future Gohan)
- Prillin (Piccolo + Krillin)
- Tiencha (Tien Shinhan + Yamcha)
- Natz (Nappa + Raditz)
- Recooter (Recoome + Burter)
- Gulce (Guldo + Jeice)
- Piccolo and Mashirito fusion
Video Game Appearances
Goten and Trunks performing the Fusion Dance
Goten and Trunks, as well as Goku and Vegeta, can use the technique in Dragon Ball Z: Buu's Fury, the Budokai series, and Budokai Tenkaichi series. In Buu's Fury, the Fusion Dance lasts for 5 minutes rather than 30, but the timer will not go down on the overview map.
In Broly's arcade mode in Dragon Ball Z: Shin Budokai - Another Road, Gotenks calls himself the God of Death after completing the fusion, causing Broly to think that the Fusion Dance turns someone into a God of Death, leading him to ask Gogeta if he is also a God of Death.
In Dragon Ball: Raging Blast, due to a glitch in the programming, if a player engages the Fusion Dance in the game, occasionally, the NPC fusee will stand still with their arms outstretched in a cross fashion (known by gaming and 3D modeler veterans as the T-Stance or Blind stance). This does not affect the fusion.
Jump Super Stars features an exclusive fusion between Piccolo and Dr. Mashirito.
In Dragon Ball Xenoverse, during the fight with Super Buu, Goten and Trunks perform the fusion dance and fuse to become Gotenks. In the GT Saga (Part 2), Super Saiyan 4 Goku and Vegeta fuse into Super Saiyan 4 Gogeta during the fight with Omega Shenron. The Fusion Dance also appears as two of the Future Warrior's Emote Options (both representing the right and left portions of the dance), Emotes 13: Fusion (right), and Emotes 14: Fusion (left).
In Jump Force, the dance also appears as two Emotion animations (representing the left and right portions like in the Xenoverse series) though no actual Metamoran fusions appear in-game.
Legendary Super Saiyan Broly & Super Saiyan Goku performing EX-Fusion in Dragon Ball Fusions
In Dragon Ball Fusions, in addition to the Metamoran Fusion Dance, two variations are introduced. The first is Five-Way Fusion that was developed by the Ginyu Force which allows five fighters to fuse into an extremely powerful fusion known as an Ultra Fusion for a limited time. The second is EX-Fusion which incorporates the Fusion Dance while adding the additional requirement of a Metamo-Ring worn by both fusees while they perform the Fusion Dance. While EX-Fusion resembles Metamoran Fusion, the fusion produced is weaker than those produced by Metamoran Fusion, though can be retained for an unlimited amount of time and defuse at any time by removing the single Metamo-Ring created as a result of the Fusion. Also, like Potara Fusion, an EX-Fusion clothing fuse and lacks Metamoran clothing.
"I wanted to try out that really cool pose just once..."
In Dragon Ball FighterZ, Goten and Trunks perform the fusion dance in Gotenks intro. Additionally, if Goku, Adult Gohan, and Piccolo are on a team in story mode, a conversation is triggered where Gohan is worried about being a burden, so Goku suggests they perform the fusion dance if things get tough, but Piccolo tells them to nix the idea as if they mess up, they would be a burden as they would need time to practice posing correctly. Humorously Gohan is disappointed, as he wanted to try the pose which he reveals he thinks is really cool, a fact which shocks Piccolo. Goku tells Gohan he will show him the pose after the fight while Piccolo notes that if Gohan thinks the fusion pose is cool then he is definitely Goku's son. Goku, however, does wonder what the name of their Metamoran fusion would be and suggests several names such as Gokun, Gohau, before accidentally suggesting Gohan's name. Gogeta (in his SSGSS form) was later added to the game as DLC, with Goku and Vegeta performing the dance in said character's intro (with Vegeta noticably blushing). Gogeta's Super Saiyan 4 form will later be added as DLC as well, with his intro once again have Goku and Vegeta performing the dance, albeit this time in their Super Saiyan 4 forms.
- In Fusion Reborn, Trunks and Goten did not do the three steps while saying "fuuuuuuuu..." but still became Gotenks.
- In Dragon Ball Z, Goku refers to the fusion dance when telling Vegeta as a suggestion in order to beat Super Buu while they were in it. However, Vegeta refuses but 6 years later they do the fusion in order to beat Broly.
- In Dragon Ball Z: Budokai Tenkaichi 3, when Jeice performs his Purple Comet Attack, he and Burter do a series of poses to attack the opponent. The last one resembles the Fusion Dance's final pose.
- The 10th and final move in the Dragon Dance from Avatar: The Last Airbender is very similar to the final move of the Fusion Dance. The differences are that their hands are in fists and their hands don't touch.
- In the 5th episode of the anime BAKUMAN, the two main characters, Moritaka Mashiro and Akito Takagi, perform the Fusion Dance after Akito asks Moritaka if he has ever imitated a Dragon Ball character in his childhood.
- In the Pokémon anime, a fusion is shown with Blastoise and Venusaur becoming Venustoise and scaring Ash's Bulbasaur and Squirtle. When Venusaur and Blastoise fuse, they perform a Fusion Dance, in a similar fashion to the Metamoran fusion.
- In Transformers Energon episode 43, two Decepticons, Snow Cat and Demolisher attempt to Powerlinx. They fail as they have no Combination Spark. After their failed attempt, they are seen in a pose quite similar to the final pose of the Fusion Dance.
- In the manga, Toriko, a certain choreography called the 'Monkey Dance' is a martial art/dance to be performed alongside the Monkey King. It consists of one thousand forms, or moves, two of which are poses heavily similar to the Fusion Dance.
- In real life, synchronized swimmers would perform this fusion at an incredible accuracy according to Akira Toriyama.
- In Xenoverse, if the Future Warrior talks to Old Kai (while he is their current Master) wearing Gogeta's Clothes, Elder Kai will wonder why the Metamorans use such a silly pose in order to fuse, before stating his opinion that if one is going to pose to fuse they should pose in style.
- It was previously thought that the users were required to be of similar height, biology, and power level when performing Fusion. Toriyama has since stated that it is still possible though if this is not the case, it will simply be that much more difficult.
- This indicates hypothetical Metamoran fusions such as Prillin are indeed possible just more difficult to achieve then Metamoran fusions such as Tiencha, Gogeta, Gotenks, and Future Gohanks which may explain why Prillin is not hypothetical in Dragon Ball Fusion.
- In the Dragon Ball Super anime, Frieza is shown to be aware of Fusion as he mentions it after Gotenks defuses in front of him after the fusion had knocked down Tagoma with a headbutt.
- However, in Dragon Ball Super: Broly, Frieza seems to be unsure of what Metamoran Fusion is following the introduction of Gogeta in the fight against Broly. Gogeta explains the mechanics of Fusion to Frieza, and implies that Frieza was unaware as he "had been dead for a long time". However, this plot hole only applies to the anime as Gotenks does not confront Tagoma in Dragon Ball Z: Resurrection ‘F’ or its manga adaption by Toyotarō. However, Frieza did learn of the existence of Potara fusion from Kefla appearance during the Tournament of Power thus was simply unaware other forms of fusion besides Metamoran fusion existed in Broly.
Goku and Piccolo demonstrating the Fusion Dance
Piccolo and Krillin demonstrating the dance
Goten and Trunks ready to fuse
Goten and Trunks perform the Fusion Dance
Goten and Trunks performing the dance
The final movement in the Fusion Dance
Goten and Trunks fusing up
Fat Gotenks defuses
Goten and Trunks defuse
Goten and Trunks defuse
Goten and Trunks perform the Fusion Dance as Super Saiyans
Super Saiyans Goten and Trunks use the Fusion Dance
Goten and Trunks fuse
Goten and Trunks fuse in Hyperbolic Time Chamber
Goten and Trunks fusing in the Time Chamber
Goten and Trunks attempt to fuse while Gohan confronts Buu
Goten and Trunks stop the dance
Goten and Trunks fusing in front of Goku
Goten and Trunks fuse in Battle of Gods
Goten and Trunks fuse ("Kuu-Zen-Zetsu-Go")
The fusion dance in Dragon Ball Heroes Jaaku Mission 5
Goku and Vegeta fuse to form Veku
Goku performs the Fusion Dance
Goku performs the Fusion Dance
Goku and Vegeta fuse to form Gogeta
Super Saiyan 4 Goku and Vegeta perform the Fusion Dance
Super Saiyan 4 Goku and Vegeta perform the Fusion Dance
Goku and Vegeta fuse
Super Saiyan 4 Gogeta is born
Fusion Dance poster
Goku and Vegeta's Fusion Dance in Ultimate Battle 22
The Fusion Dance in Budokai 2
The Fusion Dance performed incorrectly
Dr. Mashirito and Piccolo fusing in Jump Super Stars
Vegeta and Goku performing the Fusion Dance in Budokai Tenkaichi 2
Vegeta and Goku fuse in the Budokai Tenkaichi 3 opening
Super Saiyan 4 Goku and Vegeta perform the Fusion Dance in Infinite World
Goku and Vegeta fuse in Raging Blast 2
Goku and Vegeta fuse in Ultimate Tenkaichi
Goku and Vegeta fuse in Heroes
Xeno Goten and Xeno Trunks performing Fusion in Heroes
Future Gohan and Future Trunks performing Fusion in Heroes
SSJ4 Goku and SSJ4 Vegeta doing the Fusion Dance in Heroes
SSJ4 Goku & SSJ4 Vegeta doing the Fusion Dance in Xenoverse
SSJ4 Goku & SSJ4 Vegeta doing the Fusion Dance in Xenoverse
SSJ4 Goku & SSJ4 Vegeta finishing the Fusion Dance in Xenoverse
LSSJ Broly & SSJ Goku performing EX-Fusion in Dragon Ball Fusions
LSSJ Broly & SSJ Goku performing EX-Fusion in Dragon Ball Fusions
Goku and Vegeta doing the fusion dance in the GDM1 special trailer
- Failed Fusions
- ↑ Base Gotenks' profile in Dragon Ball Z: Buu's Fury, 2004
- ↑ Dragon Ball Z: Shin Budokai - Another Road, 2007
- ↑ Dragon Ball Z: Budokai Tenkaichi, 2005
- ↑ Dragon Ball Z: Budokai 2, 2003
- ↑ Jump Super Stars, 2005
- ↑ Daizenshuu 7, 1996
- ↑ 7. 07.1Dragon Ball Heroes, 2010
- ↑ "The Limits of Power" original Japanese version
- ↑ Dragon Ball Full Color: Majin Boo Arc Volume #04 (04 July 2014). kanzenshuu. Retrieved on July 4, 2014.
- ↑ Dragon Ball Z episode 287, "Celebrations with Majin Buu"
- ↑ Dragon Ball chapter 472, "The Zeta Sword"
- ↑ Dragon Ball chapter 495, "Super Fusion Unleashed!!"
- ↑ Dragon Ball chapter 480, "The Fusion Succeeds...?!"
- ↑ Weekly Shonen Jump, 1995 #28. kanzenshuu.
- ↑ Herms' tweet on Weekly Jump. twitter (December 6, 2018).
Fusion Dance: Technique, Music, Companies, Competitions, Festivals
Fusion Dance takes the same kind of serious turn away from the classic style of ballroom dance by allowing dance partners freedom of movement and improvisational style that comes from deep within the creative layers of dancers' souls.
Fusion Dance appeals to college students, dance instructors, dance companies and professional ballroom dancers mainly due to the freedom performers have to create a signature style that helps achieve higher ranking in the dance world. The accent in Fusion Dance is on the word fusion. It is human instinctive for those with a musical ear to move to music in an improvisational way. Young children learn to do this as soon as they can walk. Fusion Dance is a freestyle dance movement that encourages individuals to listen to a piece of music and fit dance motion to it.
The History of Fusion Dance
Ruth St. Denis and Ted Shawn made a erious turn away from classical ballet to create modern dance. Although it was based on ballet syllabus, there was an element of free style that is similar to Fusion Dance today. The beauty of the art form of Fusion Dance is found in its history. As more freedom of movement and improvisation evolved in classic dance, Fusion Dance combined various ethnic dance forms of India, modern dance and western style dance choreography.
Due to the fact that much of the syllabus in Fusion Dance is a blend of ethnic and classical dance genres, it creates one of the most popular and interesting dance forms today. If you have a keen eye for spotting the blend of Latin ballroom styles like tango and salsa, you cannot fail to notice the origins of native Latin dance movement in Fusion Dance. This is also true of fusing Middle Eastern body movements with jazz and blues technique. Blues technique originates from the Deep South in the U.S. Middle Eastern dance is one of history's oldest forms of dance movement that was part of religious rituals.
In terms of Fusion Dance history, it should also be noted that Dragon Ball is credited with introducing today's Fusion Dance. Dragon Ball, for the uninitiated, is an illustrated Japanese serial created by Akira Toriyama in 1984 who wrote, illustrated and serialized the story lines, characters and plots.
Fusion Dance Technique and Steps
It is important to understand the cohesion of Fusion Dance with other factors including:
- Correlation of dance movement with a theme or story line
Improvisation in dance is the ability to hear and sense from within how the body adapts to musical rhythm and tempo. For example, if the musical rhythm and tempo inspire dance partners to sway slowly as they perform Fusion Dance steps, they are free to improvise as their senses motivate them.
Fusion Dance technique is borne of a desire to move in an instinctive way to music. So it may incorporate sets of dance techniques that overlap either with a partner or in a choreographed dance routine for a group of dancers. Fusion dancers are referred to as Gems, presumably named for gemstones.
In terms of actual Fusion Dance technique, it depends on the psychological reaction of performers as they react to music they hear. Actual steps in Fusion Dance may be an adaptation of that seen in Dragon Ball such as lifting the knees in the air, using arms in opposition to a partner's as you simultaneously take three steps toward your partner. However, because Fusion Dance is stylized by each performer, these steps may be embellished as part of personal technique.
Music of Fusion Dance
Fusion Dances is today's modernistic blend of dance movement to several types of music. For example, if a Fusion Dance choreographer wishes to created a dance routine with the theme or story line such as Calypso Ritual, the music would have a West Indian or Caribbean sound.
Fusion dancers improvise their movements with hip and full body rolls with partners or in a dance group as they raise and lower their arms opposite each other. Hands for this dance routine would be held flat with fingers locked. This routine might also include hip level knee lifts in swift motion in the opposite direction of their partner. Knees lifts in a group line could be done in a syncopated rhythm so each lift is done in contre temp movement to simulate a Native West Indian ritual dance.
Famous Fusion Dance Companies
Alissa Deutsche is the founder and director of the Fusion Dance Company. The Fusion Dance Company is located in Illinois, USA and has a full staff of diverse Fusion Dance Instructors who have presented performances at sports arenas and theaters statewide and nationally.
In the Netherlands one dance choreographer of modern dance incorporates Fusion Dance improvisation into diverse choreographed dance routines.
Most modern dance companies are venturing into Fusion Dance as a result of its rise in popularity among audiences and avid dancers.
Fusion Dance Competitions
Fusion Dance Competitions are held regularly across the U.S. These include:
- Midwest Urban Dance Competition
- Fusion National Dance Competition held in GA, FL, MI, AL and NC
Popular Fusion Dance Festivals
Fusion Dance festivals include:
- Fusion Dance Fest by Fusion Fighters
- Los Angeles Dance Fusion Fest
- Tribal Fusion Festival
- Fusion Dance NYC
- Australian Dance Festival 2010 Dance Fusion
Among Fusion Dance Festivals held in Europe, Sarah Lopez and Reda held a Masterclass performance at the Kizomba Fusion at the Valentines Dance Festival in 2017. Their performance is an example of how Fusion Dance is performed by partners.
In addition, the Gypsy Fusion Festival of Europe was held in 2016. Fusion Dance is adaptable to numerous traditional ethnic dance music of Ireland, India, Thailand, China and Japan. This clearly indicates the inherent creativity of this style of dance for choreographers and dancers.
Perhaps, the most interesting part of Fusion Dance is that it allows each dancer with or without a partner to innovate dance movement.
Billboard Magazine, widely recognized as a music industry giant, includes Fusion Dance artist Kayzo whose Fusion technique is based on hardstyle and trap. As noted by Billboard his "high-octane performances, have created a cult following that now packs rooms by the thousands."
Dancing thinking and its development: ailev — LiveJournalImmediately summary of this post:
-- we dance not with the body, but with the brain. The body is just a tool, but the brain works.
- the complexity of dance thinking is that one cannot do without a body at all, and other thinking (with reservations about embodied intelligence) can live purely in the brain. Well, the dancer is both the stakeholder and the material.
- dance thinking is a specialization of systems thinking, it is engineering in nature, its goal is to create a successful dance (cf. successful system). This move has the traditional benefit of fighting complexity. But here you need to take into account: in dance thinking, work with many different viewpoints can be found! There may be many different "subjections" that serve different concerns.
- before considering dance thinking (patterns of movements to music), you need to deal with bodily psychopractices (which do not pull on thinking, but without which you will dance badly).
- dance thinking is interesting only in terms of its development.
-- the results of modeling and development of dance thinking should be formalized either as some kind of activity standards (body of knowledge), or immediately in the form of some kind of training course. The easiest way to look for such modeling results today is in the curricula of the best dance schools as "the content of education" (and should not be confused with teaching methods, "how to teach". No, for now we are discussing only "what to teach" in curricula).
Dance is usually associated with the body, but if you talk to dancers (especially dance teachers who need to quickly teach someone to dance - and preferably to the level of "champions"), it turns out that the brain dances and trains, and the body gradually obeys. Specific thinking takes place in the brain: dance thoughts, like the thoughts of systems thinking, mathematics and everything else, can be conscious or not conscious, this thinking does not live in every individual dancer, but in culture (“between people”, thinking cannot be discussed in Ptolemaic model of man - even if we are talking about a solo dancer).
To talk about dance thinking, you need to highlight it somehow. And then it turns out that there are many different ways of thinking about dance, it is multi-level and multi-disciplinary. And since thinking is closely connected with communication (including dance communication, for example, paired social dances), talking about dance thinking becomes no less difficult than talking about any other thinking. Even more complex: in systems thinking, of course, you can add a body (embodied intelligence), but in dance thinking you can’t do without a body, or even several bodies.
Moreover, dance thinking is hardly distinguishable from non-thinking practices-experiences in which there is no rationality, which "just are", which are simply patterned gestalts of states-positions of the mind and states-positions of the body. See, for example, the texts "my three months of kizomba" http://ailev.livejournal.com/1312598.html and "kizomba, exotelo and basic for dancing intelligence" http://ailev.livejournal.com/1315064.html
If, when discussing systemic thinking, engineering thinking, one can somehow abstract from the "bearer of thinking" and discuss the ideal flow of thought and the content of this thought, then in dance thinking it is impossible to abstract from the carrier of thinking by principle. As Anton Klimat (this is his pseudonym, he is actually Anton Klimov, the head of the Breakwater studio, which prepares hip-hop champions - https://vk.com/klimat) said a few days ago at a training session, "the dancer needs to be especially honest [reflexive] - because if the artist immediately sees with his eye that he smeared in the wrong place, the musician immediately hears with his ear that he played something wrong, then the dancer is deprived of such an opportunity if he is in the course of the dance does not look in the mirror. At any moment, the dancer must understand what is happening with his body, be honest and truthful in his feelings - this dance is different from other arts. " The focus of dance thinking is the dancer himself and what is happening to him, the dance is inalienable from the dancer. As I already wrote about the dance - here the dancer is both the material of the target system, and the stakeholder, who has his own interests. And so it is necessary to discuss separately "thinking of the material" (psychopractices) and "thinking of the stakeholder" (mental patterns taken from culture).
"Thinking of the material", low-level perceptions and patterns of movement are connected with the body, they make it possible to realize the dancing idea of the dancer-stakeholder - this is "thinking about movements", not even "thinking about dance". This is motor thinking, "about the body and its movements."
The difference between this motor/body and dance thinking is about the same as between rational thinking and its logical foundations (see, for example, http://ailev.livejournal.com/1311261.html) and systems thinking -- the second is not happens without the first, builds on it. An illogical thinker cannot be a systems thinker. Similarly, a poorly moving (or poorly imagining movement) person cannot be a dancer. But rational thinking together with logical thinking is incorporeal in this regard (although there are nuances about embodied intelligence), but voluntary motor thinking (and not already patterned by dance!) thinking is bodily. Well, it should also be noted that along the line of development of rational thinking, you can get a Nobel Prize, and along the line of development of motor thinking, you can only set a Guinness record (becoming a world champion in some kind of dance or martial arts is also about performing in the arena, see below). "psycho-practices of the animal nature", http://openmeta.livejournal.com/236318.html).
The problem is that a good dancer doesn't think about movement in an arbitrary way, but in a very specific way. And this thinking can also be taught, and taught explicitly. The difference in explicit (through intelligible explanations of the principles and then through specially selected exercises) and implicit ("on the best samples", according to the principle "do as I do", i.e. purely on mirror neurons, "like monkeys") learning is usually five once in time. If you don’t want to learn five times faster, then you don’t need to “learn through awareness”, and then you could not talk about this “thinking of the material”. From motor practices, I mentioned such a transition to intelligible learning, I know in taijiquan (section " learning taijiquan" at http://ailev.livejournal.com/1013825.html), piano (http://ailev.livejournal.com/944960.html), and from the ones I recently met - just Anton Klimat's movement training school.
Boris Mayer just told me that he discovered a "general motor processor" in a person, which is suitable for superimposing any movement patterns on him - even ballroom dancing, even any other dances, even taijiquan, even any other martial arts. But he is personally interested in taijiquan, and therefore he is not particularly involved in explicitly describing and highlighting the practices of teaching motor skills as such, the practices of thinking about your body as a moving body, the psychopractices of bodily movement as such, not yet patterned by kizomba, taijiquan or a waltz from sports dances . Anton Klimat is about the same about this level of motor skills, only in relation to hip-hop in general and wavering in particular: he clearly does not distinguish it, but understands its existence well. This gives both the acceleration of learning for their students five times compared to learning the movements immediately patterned by their movement styles - that is, the gain in speed is obtained by dividing the actual dance (taijiquan is exactly the same dance as any other in my imagination), those. culturally patterned movement and movement as such, not yet affected by patterning, but conscious and developed for the perception of this patterning - prepared for the rapid development of the actual dance (in a specific dance or sports style) movement.
The leading scheme for me in thinking about this bodily level, the boundary between thinking and just psychopractices, is the scheme of the (cyber)psyche (see the report "psyche engineering" http://openmeta.livejournal.com/238030.html, scheme in slide 13 https://www.slideshare.net/ailev/ss-58654585), and taking into account the possibility of the emergence of cyber components, http://openmeta.livejournal.com/237056.html (I myself tried to understand how I move smoothly using the graph from the accelerometer in the phone.There are gadgets for athletes like "smart racket", there will certainly be gadgets for dancers).
A good dancer thus has different points of attention on the body and other ways of controlling the body, other possibilities -- and these possibilities come to the body "through the brain", there are no other ways! Say, where does the beauty of hand movements come from?
1. Some muscles stop interfering with other muscles (isolation as the ability to contract one muscle, not large groups of muscles, which immediately gives you completely different possible trajectories of movement, as well as plasticity - the ability of a muscle not only to contract, but also to stretch, which adds significantly to the range of possible trajectories). Anton Klimat offers here some special training based on three modes of muscle work: tension (pressure sensation), stretching (burning sensation), relaxation (limp sensation). And you need to train conscious control of all three states, and in times less than a second (dancing is fast! And if under tension this “less than a second” looks like a ridiculous requirement, then try to relax some tricky muscles that control the position of the pelvis in less than a second! relax any flexor, the extensor will not be able to fully work, and vice versa). Brain training here is simple, but it takes a significant amount of time: a) to “catch” the right muscle with its “clamp” with attention, and b) learn how to relax and strain it (and other muscles will stretch it, but only when it can be relaxed).
2. Control points are tied to bones and joints, and not to the usual ordinary coordinates. For example, you can lift and rotate the shoulder, or you can lift and rotate the scapula - of course, the movement of the scapula (i.e., the movement that is perceived in the mind as controlling the scapula, not the shoulder) leads to a rise and torsion of the shoulder. But the style will be significantly different: the movements of the scapula (well, or "from the scapula", as the dancers say) will be softer, smoother, and more varied. The problem here is that it is difficult to even imagine the movement of the scapula, it is difficult to control the different muscles that pull it up. But it is very easy to imagine and control the muscles when it comes to shoulder movement. This is the first task: to retrain the brain. Another example is the movements of the pelvis (try to twist it in different planes, this is a rude "plate" - and you need to be able to somehow turn it, quickly and accurately), movements of the spine in the region of the upper ribs (usually there is nothing at all moves unless you specifically design this place - but if you want to send a wave through the body, you will need this movement).
The passage "through awareness" in this training of "bodily thinking", thinking of the "dancer as material", this education of self-perception and self-control through an explicit connection "brain-body" takes about five times less time than through unconscious repetitions of some movements. And the practices of this "bodily awareness" are approximately the same in all schools. So, “dance meditation”, work with the brain-without-the-body works well (well, or on micro-movements, when the muscles do not work at full strength, but only twitch a little, imperceptibly to the eye). The climate calls it break meditation, but it is also described for practicing piano playing, and it was also used by Mahmud Esenbaev for his training, and Cameron-Bostick likes to talk about it, who “does ballet” in the hospital. “Dancing inside the head” (or playing a musical instrument “inside the head”) and micromovements is already a common place, but this is a move towards awareness, towards psychopractice, although not yet towards some kind of civilized thinking. But when you "inside your head" pull not with your shoulder, but with a shoulder blade - at this moment culture works, the bodily thinking transferred to you works.
There are many ways to define/describe dance that are important for conscious thinking about dance. For example, all systems of external recording of movements will not be adequate as "notes" for a dancer - for a dancer moving "inside the head" with a spatula will have to somehow translate a description into another system of motor thinking, in which the movement of the shoulder, which is clearly visible from the outside, will most likely be recorded. ! Here's about these dance notations: http://ailev.livejournal.com/76767.html - there is an emphasis on performance, meaning "outside view". This is a notation for thinking about the dancer, not the movement thinking of the dancer himself. Although both can formally be attributed to dance thinking, but these are completely different manifestations of it! Moreover, this is a recording of "just movements", while the actual dance thinking works in a patterned way. In the same kizomba, all thinking revolves around exits to various sayids, and not around individual movements of the legs. Thus, you need to record patterns, not individual movements!
Here is another example of this "external", visual thinking about dance -- Optimal asymmetry and other motion parameters that characterize high-quality female dance, http://www.nature.com/articles/srep42435. The article draws a connection between the ability of women to make asymmetrical movements (which shows a high degree of development of the body and brain) and her "femininity", the perception of male as a potential partner and female as a potential competitor. Further, these results can be translated into an engineering plane: to teach dancing in such a way as to "make the right impression" (well, and generally discuss the requirements for dancing). Well, or declare the entire article nonsense: perception in dances depends more on culture, it is artificial, comes from thinking, and not from "instincts" - and if the study carried out in the article is repeated on people from the hinterland of Africa, in the US ballet school and the village urban type in the Far North of Russia, the results will be quite different.
In any case, from the level of the motor base, the "movement processor", the sensation of the body from the inside and the pattern of body movement from the outside (as well as the relationship between dance and music - working with rhythm at least, phrasing in music, weaving rhythm and form of dance movements into rhythm and form of parts of musical instruments in music - see the initial list of skills in "the most important skills of a dancer" http://ailev.livejournal.com/1324775.html) we can go to the next level of dance thinking - where there are no longer separate movements, and their pattern, i.e. dance. By and large, dance thinking will work with dance, while the body and its control will be considered developed.
There are also several different levels here, since different people are concerned about different things, everyone has their own concerns (concerns):
-- within the given dance language (patterns of movements of some kind of dance). Thinking is dogma, the canon of some kind of dance or dance family. Here, too, you can set different perspectives, build different methods of description, build a canon in different ways. For example, postulating a dance as inseparable from its music, or deriving a canon from the performance of some particular dance school (and albeit a large one - say, city parties somewhere in Luanda) at some period of time (say, in 80- years of the last century), or deriving the canon from some historical considerations, or simply referring to authorities with their "sense of correctness", or making attempts to formalize some ideas and mercilessly cutting off everything that does not fit under it. For example, discussions of "true kizomba" from this series. But further within the framework of the canon, this thinking also exists, we can talk about the degree of its development, wealth or limitation, productivity or secondary.
- outside the given dance language, in other words - the development of dance, going beyond some canon.
-- beyond the boundaries of dance as such, access to broader cultural patterns (for example, along the line of hip-hop culture, where breakdancing is only one of the components of a wider culture, and the canon is wider, as well as development is not only breakdance).
-- beyond these broader patterns, out into patterned thinking as such.
And at each of these levels, one can talk about "perception from within by a dancer", "perception by a dance partner", "perception by observers/spectators/judges/friends" -- and further attempts to satisfy the most diverse interests/concerns of all the most diverse interests , realizing that dance as a "successful system" is very difficult to make.
Here it should be noted separately that dances obviously do not belong to science, but to engineering - therefore, systems thinking is quite applicable to dances. In this regard, in dancing, the task is to create (realization, "bringing into reality") a successful dance (successful dance), which satisfies, if possible, all stakeholders - both the dancer himself from the inside, and his partner / partner (also from the inside, remember about the connection! ), and viewers, and parents, and many, many others. Remember that a successful system is included in the very first phrase of the systems engineering definition - it is a system that satisfies the expectations of the project stakeholders (see the very first phrase in the systems engineering definition: http://www. incose.org/AboutSE/WhatIsSE). Well, those familiar with systems engineering do not need to be told that the dance "here and now" is just a 4D individual (a kind of "worm in space-time"), we even especially analyze this example in the classes of systems thinking.
So I personally would finally become non-pop, non-humanitarian and non-poetic, and build further reasoning about dance thinking as about engineering thinking, and to the extent that dance implies collective forms of its existence, I would also include managerial thinking. Thus, I would talk about dance thinking and dance practices in much the same way as about the thinking and practices of programmers, or the thinking of machine learning system engineers - what is there with the requirements for the dance, what is there with the architecture, what are the modules in the dance and what components , and even what kind of placements there are in the dance. Everything is not so original, but such an approach certainly allows you to somehow take into account the plurality of stakeholders in the dance and the plurality of their interests. Including interests in poetry, pop, ease of perception, compliance with some cultural canons, etc. material", and as "stakeholders", so that the methods of traditional "iron" and software engineering are unsuitable for creating dances. However, these engineering methods are many and they work. They reduce complexity in dealing with different situations, they provide reproducible results, they enable teamwork. And they leave a huge scope for creativity, no one has yet canceled the work of the head for that same engineering thinking - it does not cancel the engineering approach to dance and the work of the head for the manifestation of creativity in dance thinking.
Thus, above "body thinking", "motor thinking" there appears a level of patterned dance thinking within the framework of some kind of dance tradition.
In a good way, I would need to develop this idea further and tell what are the dance modules, what are the interfaces, which concerns of which stakeholders are made out by which viewpoints - with examples, without "bird language", understandable to dancers and the general public . But I won't do it.
Instead, I will note that there are recognized pioneers in engineering - they propose new architectures that respond to new architectural requirements. What was previously considered impossible by a variety of stakeholders is becoming possible with these pioneers. They push the boundaries of the possible, they create the new. The rest are second-moverers, third-moverers and other rearguards and gray masses. This argument about engineering fully applies to dancing.
The main innovation of this post is a suggestion to take from engineering the methods of dealing with complexity that allow you to create successful engineering systems and apply them to dance. This will allow mass and conscious creation of successful dances. Moreover, it will allow the development of dances, making them more complex and sophisticated, but without going beyond the limits of ordinary human capabilities.
You can get great pleasure by dancing the same waltz in its dogmatic version from youth to old age. There are stakeholders who need exactly this, this is an ideal. All their thinking is slowly moving into the unconscious, leaving a pure and uncomplicated trance - either a change of partner or a change of music can bring variety. But I'm not one of those conservatives. Art, including in its social, rather than professional and performative forms, develops and grows with new languages, new styles, new thoughts, and not by carefully preserving and polishing the classics. This discussion about art fully applies to dances, exactly the same as about engineering, which is also valuable for the by no means careful preservation of some kind of bridge building as of the middle of the last century.
When it comes to dance thinking, development is important to me - creating new dances that will be successful for more and more dancers, spectators, judges, art historians, DJs, friends, families and other people affected by dance.
To do this, dancers must have their own R&D, engineering (and sometimes just scientific) research and development. There should be experiments that go beyond what is already known and tested. There must be passages into new dances, there must be finds of rich and expressive dance languages.
Half a year ago I found the social dance "kizomba" and found that it is largely inexhaustible -- research and development, formulating new requirements and building new kizomba architectures. Or no longer kizomba? It does not matter what words to call and what classification will then be built post factum. But it is important where and how the dance is developing, how the "dance engineers" communicate, how the research is organized.
The dance industry is like the mass production of dance -- it happens at parties. Thousands and thousands of dances are produced there. Yes, sometimes something new is also produced there, a party at the same time and an "exhibition of the achievements of the dance economy." But more often than not, new things are produced purposefully in the course of research and development, and this happens mainly in dance schools. Of course, schools are different. Most dance schools are just educational institutions: their teachers take master classes in various other schools and then pass on knowledge to students, preserving the canon. But there are dance schools focused on research. An example of such a dance school in Moscow is AfroFusion (http://afrofusion.ru/). For example, here is one of their research products: Kizomba Fusion -- https://youtu.be/whNe6zgPrV0. This is not the only result of the research. AfroFusion teachers lead a community https://vk.com/kizombamoscow, where a lot of materials on Fusion Kizomba have been published over the past few months - and most often today this is the junction of kizomba and dubstep (I myself, by the way, noticed that the frontier of kizomba is creeping towards dubstep back in November -- http://ailev.livejournal.com/1310496.html, http://ailev.livejournal.com/1311543.html. But AfroFusion noticed this earlier - in addition to several kizomba programs (very different: traditional, classical, fusion, urban kiz, tarraxa and even tarrax'osteo) there is also a dubstep group led by the same Anton Klimat. And this group is attended not only by ordinary students like me, but also by teachers. Well, the dubstep itself in this group is tailored to the interests of kizomba, this is also part of the research - but Anton's research in terms of the development of hip-hop in its fusion with other dances, the development of dance thinking of illusory styles.
AfroFusion teachers also lead the Yu community, where they publish their "projects" on the study of dance novelties (for example, there was a series of publications on urban tarraxa), biographies of figures in the kizomba world and other things that cannot be called "research and development", but what demonstrates some level of reflexivity in work. The same can be said about Thierry Déa's studio in St. Petersburg, they put on a rebit there: https://vk.com/video175030_456239031 - although I wouldn't say that we are talking about some kind of "creating a new one", but it's a disaster Start. Experiments go with movements, with music, the results are laid out on video (here is Dnepropetrovsk - https://youtu. be/lpNcbuIZQ3g, here is Krasnodar - https://youtu.be/fcb0TXThmMU, here is Kaliningrad - https://www .youtube.com/channel/UCCP-WhRAISTmE6ZSsgmkFgw, and this is not the whole list). I would draw attention to the fact that this is not so much about "advertising videos" and demonstrations of various "shows" (which can be extremely negatively perceived by fans of social dances, there is an opinion that "teaching kizomba" and "shows" incompatible with kizomba itself!). I would pay attention to the fact that there is some kind of research activity, some kind of development, some kind of advancement of the boundaries of dance, attempts to take some step in the development of dance thinking.
GP Shchedrovitsky wrote a book "Pedagogy and Logic", where he clearly showed that if there is no combined research and educational activities, then education cannot be of high quality. This I mean that if we are talking about "research schools", then the education in them will be of high quality, there is a chance to teach dance thinking, to make this thinking conscious. And if it's "just a school" that takes dance thinking in its unreflected form and tries to transfer it unconsciously to its students - I'm sorry, but such a school will only release good dancers into life by chance.
There is also a real university science of dance, and there is a lot of it on the Internet in a variety of languages. There, higher dance education is close, and even academic degrees in dance and their study. But usually this is far from life, it is a "theory", not life. For life, some Portuguese professor (not a university professor, but just a "teacher"! This is not English, everyone confuses the translation here!) Like mestre Petchu (http://www.mestrepetchukilandu.com/biografia.html, here is an example of him work -- he explains the basic movements of tarraxinha -- https://youtu.be/aHbjn_JQLa0) is often more influential than a major university graduating dancers with a real high school diploma.
Well, you can’t say in a nutshell about dance thinking itself, volumes have already been written about it (as well as about systems thinking, computational thinking and any other thinking, as well as “just thinking”). But I will repeat the main idea of this post: it is worthless to try to describe it, to develop it, if we are not talking about education. For I adhere to a constructivist interpretation: if you understand what the essence of dance thinking is, then be ready to demonstrate it in the educational process, i.e. take a student (and even yourself) and show how your version gives a successful dance with less effort, in less time than other methods. Well, or with a comparable time, it gives a more successful dance than the dances obtained by other variants of dance thinking, or even "beyond thinking". This applies to all thinking. If you figured out how to think well, then write a textbook and do exercises for it - create a training course for good thinking. Without this, any talk about thinking is meaningless.
This means that dance thinking can be found in the curricula of the best dance schools. And then you can try to overcome the complexity, relying on systemic and engineering thinking about dance.
UPDATE: Facebook discussion -- https://www.facebook.com/ailevenchuk/posts/10209485959599942
Track concern (wow!) with the text of the first few lines of the post from Valery Veryaskin (https://www.facebook.com /valery.veryaskin) -- https://www.dropbox.com/s/t3av2yybeezx3rj/concerns.mp3?dl=0
Anton Klimat's review -- https://vk.com/wall7236650_5234
Huge discussion of various dancers -- https://www.facebook.com/alexandra.vilvovskaya/posts/10154668226083705 (and a lot of my clarifying comments)
Discussion with emphasis on the "interpretation" of both dances and neural networks and a systematic approach: https://www.facebook.com/alexander.girshon/posts/1640359375980662
Discussion, including about "alchemy and chemistry" in dance, as well as the possibility of an engineering approach https://www.facebook.com/groups/fulldayideokinesis/permalink/1838725396157102/
Discussion in the KIZOMBA community (alas, only a small part of the post was published there - but the discussion about "muscle memory" and dancing did take place): https://vk. com/wall-24773547_9174
Review in the VK community "Live dancing ": https://vk.com/wall-17215818_2180
Viewpoints performance (based on this text and Valery Veryaskin's phonogram) -- work of the 5th year student of the Department of Modern Choreography of KhSAC, class of teacher Falkov I.N. (this is Kharkov) -- https://www.facebook.com/events/375517116176741/?active_tab=discussion&__xt__=33.%7B%22logging_data%22%3A%7B%22profile_id%22%3A375517116176741%2C%22event_type%22% 3A%22clicked_view_event_posts%22%2C%22impression_info%22%3A%22eyJmIjp7Iml0ZW1fY2
08/19/2021 2774 0 5 min.
Fusion dance is a workout that gives you the opportunity to learn the basic elements of dance, at the same time to tighten and strengthen the whole body. They include many dance styles that combine with each other according to the principle of contrast. The lessons are based on improvisation, the creation of a new dance, the combination of styles.
During the dance, you can use any combination of partner techniques: frame, connection, as well as stretching-compression. In some places, ballet technique, popping is used.
See also: Body Ballet dance training
Fusion dance workouts teach you to move freely, stylishly to the music, give a lot of pleasure, cheer you up, give a powerful physical load on the whole body. This is a harmonious combination of dance elements with fitness - pleasant with useful.
Why Fusion Dance training is needed
If you have long dreamed of mastering modern dance styles, then Fusion dance is for you. This direction makes it possible to "kill all birds with one stone" at once - to learn dance elements, tighten and strengthen muscles.
Training will also help:
- form a beautiful, flexible body with even posture, grace;
- strengthen all muscles and tone them;
- burn excess fat and lose weight;
- give yourself confidence and courage;
- create a graceful relief of muscles without pumping;
- relieve stress after a working day, get rid of depression.
Getting Started with Fusion Dance
Training should begin with a warm-up. If the muscles are not warmed up, with sudden movements, they can be severely injured, incapacitated for several months. The warm-up contains simple warm-up and stretching exercises. If you are new to sports, you should immediately decide on the loads so that they are moderate. This will be taken care of by a professional trainer who chooses an individual approach to each participant, taking into account the possibilities of physiology, the level of training.
You will need sportswear that is comfortable for you to practice. You can perform modern dances, at the same time do fitness in smart clothes, but its main feature should be elasticity.
See also: Dance workouts Dance Mix
Top Reasons to Start Fusion Dance
Fusion dance workouts are ideal for youngsters who love anything that is fun, fast, exciting and fun. There are five reasons to start doing this direction of fitness:
- Powerful body pumping
- Exercises will help tighten all the muscles, pump them, pay special attention to problem areas. Buttocks and legs will become strong, strong, elastic. You will forget about cellulite and sagging body parts.
- Creating the perfect figure
- With the help of regular exercise, you will lose weight and get the figure you have always dreamed of. Moreover, the process of body formation will be pleasant, without routine and overwork.
- Opportunity to improvise
- Through dance you will be able to express your emotions and get a double boost of energy. Training will teach you to be free, liberate you, which will be useful not only for sports, but also for life.
- Health benefits
- Classes will help strengthen the heart, tone blood vessels, correct posture, remove stoop. You will start to feel much better after a month of training.
- Development of plasticity
- It is very pleasant to feel every centimeter of your body and be able to master it perfectly. Dance movements put the muscles in order, give them elasticity, develop coordination.
Basic exercises of the Fusion Dance program
The basic exercises of Fusion dance include:
- Rocking chair exercise
- You need to rise on your toes, bend your knees a little, and then start rotating your hips in a straight line. Such swings are performed both to the sides and up and down.
- Figure Eight
- Performed using the hips. The body should be in a straight position, shoulders straightened. This is a universal movement that is used in many Latin American and Oriental dances.
- Exercise "Pendulum"
- Raise the right leg, move the thigh to the side. Lower, repeat the same with the left leg.
- Exercise "Wave"
- Get up on your toes, work only with reeds. We make sure that the body remains static.
Fusion Dance Training Guide
Fusion dance training is for those who want to learn several modern dance styles at once, improvise to music and at the same time make their body beautiful. Classes allow you to gain self-confidence, improve health, make muscles plastic, flexible. In training, you will develop not only physical abilities, but also musicality, the ability to express your inner self through movements. If you feel inner stiffness, stiffness, then such classes are definitely for you.
Dancing has almost no contraindications - people with minor illnesses, problems with bones and joints can do it. Still, you need to be careful if you have varicose veins of the extremities or if you have recently undergone a complex operation on the spine.
With high blood pressure and various heart diseases, you need to reduce the load and give them to yourself to a minimum.