How to do the head drop dance move
The Dance Move Glossary – 50+ Popular Moves To Know
Welcome to STEEZY's dance move glossary!
Think of it as a wiki-page that covers the most popular dance moves from viral videos, club dance floors, and Hip Hop history – basically, all the moves you might wanna learn as a beginner dancer.
Each move in the glossary comes with a little background info, a demo video, and a link to a FREE tutorial so you can learn it step-by-step on STEEZY Studio.
Use this post to look up that one move you’ve always always wanted to learn, or brush up on all the most popular moves at once.
Got a move that you wanna learn that's not listed here? Comment below!
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This dance popped AWF on TikTok in 2021.
It’s normally done facing away from your camera, as if you’re walking away with a fun little bounce in your step (and booty 😜).
Watch the move demonstrated here:
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A Body Roll is one of those undeniably sexy dance moves that everyone should learn, and this arched back version really turns up the heat!
It’s popular on TikTok because it allows you to highlight your booty despite the fact that it’s not too difficult to learn.
Watch the move demonstrated here:
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This move has been a favorite of trending music artists like Megan Thee Stallion and TikTokers worldwide, but it’s actually been around for the majority of the 2000s!
Even though the move mimics a baby throwing a tantrum on the floor, the booty popping motion makes it suggestive enough for any baddie routine. ;)
Watch the move demonstrated here:
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The “Bang Bang Bang” dance move, choreographed by Parris Goebel, is legendary for how it blends sharpness and fluidity with total ease.
Even years after the song release, this move is still gaining new fans!
Watch the move demonstrated here:
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The Bankhead Bounce comes from west Atlanta, which is known as “Bankhead.”
It was popularized by an Atlanta rapper named Diamond Atkins who also made a song to go with the dance.
Watch the move demonstrated here:
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No surprise, the 90s TV show The Simpsons was the inspiration for this move!
The arm position and gliding motion is meant to mimic the stance Bart Simpson would use when riding his skateboard on the show.
Watch the move demonstrated here:
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This dance was created as part of YouTube comedy skit by @youfunnyb.
He used the dance as a goofy moment in his video, so approach this move with a sense of fun and playfulness!
Watch the move demonstrated here:
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The dance move Biz Markie, named after the late rapper Biz Markie, is an energizing move that you can use in social settings while hanging out on the dance floor.
With that swaggy arm swing and hip movement, you’ll be well on your way to looking groovy and cool.
Watch the move demonstrated here:
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This move is super popular on TikTok and it pops~ up in a lot of dance routines, so if you love a sexy little moment, the Side to Side Booty Pop is for you.
It allows you to make eye contact with your audience in the front while you lift and pop your booty on both the left and right side.
Watch the move demonstrated here:
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This move was popularized by the rapper Blueface and his song “Thotiana.”
Throughout the music video, Blueface and his friends hit the Bust Down as they groove to the song.
Watch the move demonstrated here:
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This move comes from a Miami rap group called Gucci Crew II, who had a song of the same name and would do this dance along with the song.
The name of the move and song references the line of Cabbage Patch Dolls that got popular in the 80s.
Watch the move demonstrated here:
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The “CitiRokk” was popularized by dancer and TikToker Cityboyrio in 2018.
He started doing this specific set of grooves on TikTok and it took over the entire app within months!
He was inspired by Chris Tucker’s character in the popular movie Rush Hour, who dances in his car with Jackie Chan.
Watch the move demonstrated here:
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The original Dougie dance was inspired by Dougie Fresh and his smooth dance style.
Eventually, the move made it to California where it took on elements of the Jerkin’ movement.
Watch the move demonstrated here:
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The “DDU-DU DDU-DU'' dance move, choreographed by Kyle Hanagami and Kiel Tutin, is one of those moves that will have you feeling like a real boss.
It serves some seriously quick arm movement sprinkled with a bit of sass.
Combined with the incredible visual and the BOP of a song itself, the “DDU-DU DDU-DU'' dance shook the K-Pop industry and all of its fans.
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The “Fancy” dance move, choreographed by Kiel Tutin and Lee Jung lee for TWICE, has a fun, bubblegum bounce to it that's unforgettable!
If you're a Once, or even just a general K-Pop fan, this move is a must-learn.
Watch the move demonstrated here:
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The Floss first started taking off when a young dancer known as The Backpack Kid posted videos of himself doing the dance on social media.
It took over every social platform and news show, and every celebrity wanted to prove whether they could do the deceptively tricky-looking move.
Watch the move demonstrated here:
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Long before groups like BTS and BLACKPINK became household names in the US, Psy was making history with his smash hit and music video for "Gangnam Style"!
The signature "Gangnam Style" dance move, choreographed by Lee Ju-sun, has a super cheerful element to it with its bouncy steps.
If you want to have fun while working on your stamina, this is the move to do.
Watch the move demonstrated here:
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Back in the 2000s, "Gee" by Girls Generation held the title for one of the most viewed K-Pop music videos on record!
And just like the song itself, the main “Gee” dance move, choreographed by the SM Choreography Team, has a cute but sassy vibe to it.
Definitely a K-Pop move you don’t want to miss out on!
Watch the move demonstrated here:
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The Grapevine is one of the oldest moves that people still do today, dating back to early 1900s Ballroom dancing.
But in Hip Hop and street dance, it’s less about gliding across the floor and more about bouncing and grooving to fun music.
It’s THE perfect footwork pattern for line dances or any move that travels across the floor.
Watch the move demonstrated here:
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A hair whip adds an extra flirty touch to any sexy choreography and it translates easily to casual dance settings like the club!
If you really wanna slay the dance floor, this move is a must-learn.
P.S. Keep in mind, you don’t need to have a bunch of hair to do the flip motion.
It’s really more about the attitude. ;)
Watch the move demonstrated here:
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This move first emerged in the Jazz dance era as a side to side move that could be paired with the Charleston.
Eventually, the Happy Feet was re-adapted by House and Hip Hop dancers to involve a jumping motion that could work with fast-paced club music.
Watch the move demonstrated here:
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The move “Hit Dem Folks” was coined and popularized by Georgia rapper Bankroll Fresh in 2015.
It was originally considered the dance move for non-dancers - you know, the people who would be out and about at clubs or parties, but didn’t do a lot of dancing... unless something with a fire bass beat came on.
Watch the move demonstrated here:
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Ever see the “Flex” music video by Rich Homie Quan where he’s hitting a little groove?
Well that little groove inspired a huge viral dance!
Rapper iHeartMemphis loved the groove so much that he created a short dance based entirely around it, along with a song and music video called “Hit the Quan” as a tribute.
Watch the move demonstrated here:
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In the 90’s, a Hip Hop group called Digital Underground came out with a song called "The Humpty Dance."
The dance they did in the music video got so popular, that it became party staple.
The Humpty Dance can feel like a full-body workout but it's super fun to do!
Watch the move demonstrated here:
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Remember the show Soul Train from back in the 60’s and 70’s?
The original “Jerk” dance move comes from that era, but since then, it’s been modified and revamped for the 2010s.
It was created for freestyling and dance battling, but now, it’s a popular social dance too.
Watch the move demonstrated here:
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This viral social dance comes from Zay Hilfigerrr and his song “Juju on that Beat.”
It’s meant to be done at parties when you just wanna swag out with friends.
Watch the move demonstrated here:
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Knee spins can be executed with a feminine or masculine energy, making them a universally loved move.
And while they may look tricky to execute, they’re surprisingly simple!
Watch the move demonstrated here:
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The “Love Shot” dance move, choreographed by Mihawk Back, is all about starting off sharp and ending with a wavy body motion.
It's a move that's universally loved by K-Pop fans since it has such a powerful vibe!
Watch the move demonstrated here:
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The “Mic Drop” dance move, choreographed by Lyle Beniga, has a swaggy vibe that'll have you feeling yourself!
Plus, it's the perfect move to break out when you wanna imagine you're putting some haters in their place. ;)
Watch the move demonstrated here:
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This move was popularized by rapper 2 Milly’s song and music video, “Milly Rock.”
It’s full-body, swaggy dance that’s perfect for social settings.
Watch the move demonstrated here:
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The Monestary dance move was named after a popular dance club in St. Louis, called club Monestary.
Some call this move the Chicken Head, while others say it’s similar to the Chicken Head.
Bottom line is, when it comes to social dancing and party scenes, the Monestary is a fun groove that'll work with a lot of songs.
Watch the move demonstrated here:
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The Moonwalk is one of the most popular dance moves of all time.
It was popularized by Michael Jackson, however, the dance existed long before MJ took the stage!
It was first called the Backslide, and you could see it being executed by dancers as early as the 1930s, especially in Jazz performances. It later became a staple in the Popping community.
Watch the move demonstrated here:
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This dance was created by the rap group We Are Toonz who had a song called “Drop That #NaeNae.”
It’s frequently paired up with the Whip dance move, and it’s all about wilding out and having fun on the dance floor.
Watch the move demonstrated here:
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This version of the Smurf blew up in the 90s at clubs and parties.
It’s a great Hip Hop move that you can add your own swag to since it allows you to both bounce and rock to the beat!
Watch the move demonstrated here:
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This move is a hot girl staple that you’ve probably seen in tons of TikTok routines and dance videos!
It’s simple, sexy, and easy to apply to any vibey song.
Watch the move demonstrated here:
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This move was named after the preppy college kids who were starting to go to clubs in the 80s.
The kids would do this easygoing rock move in order to keep themselves from sweating in their nice clothes!
Watch the move demonstrated here:
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The Reebok was named after the Reebok shoe brand just as it was taking over the shelves during the 1980s.
The move is often paired up with the Cabbage Patch since both moves became crazes around the same time.
Watch the move demonstrated here:
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The Reject is a foundational movement of Jerkin' – a Hip Hop style that comes from California.
It's meant to look like you're skipping backward as if you're rejecting something in front of you.
Watch the move demonstrated here:
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This dance is named after the 90s movie Who Framed Roger Rabbit.
Your arms and legs are meant to look floppy and silly like an animated cartoon character!
It’s the perfect move to use with a fun 80s or 90s Hip Hop track.
Watch the move demonstrated here:
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The Running Man was arguably one of the most popular social dances throughout the 80s and 90s.
It was featured on TV shows like The Fresh Prince of Bel Air, and tons of celebrities would use the move in music videos and stage performances.
It’s all about pumping your arms and going full out to match the energy of the song you’re getting down to!
Watch the move demonstrated here:
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Ah, yes! That one TikTok move that’s popped up in every other dance challenge!
I mean, who doesn’t want to try this smooth combo move with hip action, right?
The Scoop Arm Into Hip combo allows you to look both sassy and powerful at the same time, so be sure to make eye contact with your audience (or camera lens) and exude some confident energy as you hit it.
Watch the move demonstrated here:
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You may have seen it on Fortnite, but the Shoot was originally popularized by the rapper BlocBoy JB and his song “Shoot.”
Then, it became even more popular when BlocBoy JB brought the dance to his music video collab with Drake for “Look Alive.”
Watch the move demonstrated here:
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The “Sorry, Sorry” dance move, choreographed by Nick Bass and Trent Dickens, is basically a bounce with a cool hand gesture.
Since Super Junior was one of the first K-Pop bands to become a mainstream, global success, this move is still considered a favorite over a decade after it came out!
Watch the move demonstrated here:
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The Spongebob was originally created in the 90’s as a Baltimore club dance. Baltimore club music was known for it’s fast-paced music so that’s why the dance is so bouncy and quick.
The Spongebob became even more popular amongst dancers in 2010 during the Jerking era.
What’s funny is that the name has nothing to do with the cartoon SpongeBob! The final name for the move emerged on the streets of Baltimore, but the cartoon wasn't a cited inspiration for the move when it first appeared in clubs.
Watch the move demonstrated here:
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The Steve Martin is one of those dance moves that can't help but smile while doing – it’s linked to the famous actor and comedian Steve Martin!
Some of the crazy moves he used to hit in 70’s movies became the inspiration for this dance, which went on to become even more popular in the 80's.
Watch the move demonstrated here:
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The Swagg Bouncee was popularized by choreographer Lil Rich Swagg who would use the groove throughout his choreography and social posts.
You wanna stay steezy throughout the move by keeping a laidback, confident energy as you rock from side to side.
Watch the move demonstrated here:
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Taemin's “MOVE” dance routine, choreographed by Koharu Sugawara, is known for being a tricky piece to master.
But the most popular move from the choreography is all about the theme, “less is more."
A life lesson intertwined in a dance lesson?! We are here for it!
Watch the move demonstrated here:
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The Carlton dance move was popularized by the show The Fresh Prince of Bel Air.
The actor Alfonso Ribeiro, who played the character Carlton and created the dance, has said he was inspired by the movements Bruce Springsteen makes in his video, “Dancing In The Dark.”
It’s meant to be a little silly and comedic, so have fun widdit!
Watch the move demonstrated here:
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Similarly to the Reebok, this move is named after a well-known shoe brand – Fila!
There are two versions of this move that are based on slightly different grooves, but the moves are similar enough that you can learn ‘em both and use them to the same song.
Watch the move demonstrated here:
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This move was popularized through a TikTok challenge where groups of friends would walk in front of the camera one at a time and Throw it Back right on the bass beat of the viral “Throw it Back” sound from TikToker Tay.
Due to the body rolling and booty movements, the dance is considered pretty feminine, but if you’re a guy, fear not – it looks good on everybody.
Watch the move demonstrated here:
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Though it’s nothing new, Twerking has become one of the most popular dance moves in current culture.
So if you’re ready to hop on the Twerk train, this basic version is the best place to start!
Watch the move demonstrated here:
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Twerking in a squat position is another classic baddie move, but this version allows you to play with your levels a little more!
And ever since Megan Thee Stallion released “Hot Girl Summer,” dropping into a squat position for a ground-shaking Twerk has been the go-to move for femmes everywhere.
Watch the move demonstrated here:
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Learning how to shake your booty is surprisingly easy – you just have to go into the process with a relaxed attitude (and relaxed muscles ;))
Contrary to popular belief, you don't need a ton of junk in your trunk in order to make it shake.
It's all about rocking your hips from side to side and allowing your booty to jiggle by releasing the tension in your back muscles.
Watch the move demonstrated here:
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Twerking on the floor is one of those sexy dance moves that seems to be part of every other routine, workout, and dance challenge!
Learn this move so you can slay on TikTok, in dance class, or in the bedroom.
Watch the move demonstrated here:
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Remember that song by rapper DJ Unk from the early 2000’s, called "Walk It Out"?
That move they did in the video became a fun party dance, that's still used to this day!
Watch the move demonstrated here:
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ITZY's “Wannabe” dance move, choreographed by Lee Jung lee, is a fancy shoulder shimmy that just screams confidence.
As a group, ITZY is all about self-acceptance and self-love, so you can totally bring your personal swag to this one.
Watch the move demonstrated here:
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This dance was created in the early 2000s, but it was repopularized by the dancer King Imprint in 2013 who was emulating driving a car in his videos.
As you do this move, you wanna really emphasize the idea that you’re grabbing a steering wheel and turning it as if you’re about to drift!
Watch the move demonstrated here:
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This hard-hitting, fun dance move comes from Dallas, and was first popularized by DJs!
You want to pretend like you’re running into a wall when you hit the Woah – when the bass hits, you’ll freeze your body and then bounce off that imaginary wall with a little reverb.
Watch the move demonstrated here:
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This is a dance that was recently revitalized in 2011 when a song called “Wop” came out, however, the dance has been around for quite a while!
The Wop actually came out in the 80s, and there were several songs that referenced the dance.
Watch the move demonstrated here:
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The Wu Tang is a fast-paced, strong, aggressive dance that should make you feel like you’re battling someone in the club.
Although, it’s likely that the name has nothing to do with the rap group of the same name!
While the exact birthplace of the Wu Tang is contested, most dancers agree that it emerged in Philadelphia and eventually became a staple move in the Florida dance scene.
Watch the move demonstrated here:
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How to Do the Death Drop Dance
How to Do the Death Drop DanceLaquifa 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.
Instructions
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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.
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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.
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5
Keep your hands at the back of your head.
Posted by agger in Dance
Dance sport Latina exercises
Basic principles of body work in Latina.
Posture and coordination in dancing.
Latin training process. Specialized exercises
Rules for the construction of choreography and dance scheme
Latin American dance program
Samba (Latin American dance program)
Cha-cha-cha (Latin American dance program)
Rumba (Latin American dance program)
Paso doble program
Jive (Latin American dance program)
Exemplary team dance and sports club ajax
Basic principles of dance sport
(sport ballroom dance)
- Each dance must be conveyed by the characteristics of each dance and the character of each dance. You need a dance soul, you need to live the dance, tell your story through the dance.
- The partner should enjoy dancing, and the partner should enjoy dancing with her and leading the couple. It is necessary to observe the gender component - the separation of the principles of the dance of the partner and the partner.
The partner goes to the parquet in order to show the partner. It is important to dance not next to each other, but to dance interacting in pairs! - The main competition now is showing more contrasts per unit of time and the ability to present it, as well as show interaction in a couple.
- Talent Perseverance Purposefulness - key success factors
- It is necessary to constantly perform exercises to pump muscles and develop and practice the necessary key skills.
- Only skills reinforce knowledge! It is necessary to do all dance training exercises honestly for yourself first of all.
- It is necessary to give specific tasks to practice the action for the dancers! The dancer needs to keep a diary, with tasks and an assessment of progress. Be aware of your dancing! Practice must be conscious and effective.
- Natural movement. Natural movement with maximum control of body parts and engagement of all muscle groups.
It is important to be able to perform elements of any complexity with a beautiful posture freely, without clamping, with a sense of weight. - Continuous movement. Permanent movement - either movement on the parquet, or body action movement of body parts in place. Continuous smooth movement without "stops", they must be excluded, except for special lines conceived according to the choreography. The dancer is never static, there is always stretching and stretching going on.
- Coordination, isolation, body axis. Volumetric, non-planar movement required. 3-D volume and natural movement through insulation and stretching. Any quick action must be done on the exhale.
- Timeliness and clarity of body weight transfer. It is imperative to monitor the timely transfer of body weight from one leg to the other leg. 2 types of weight transfer - first transfer of own weight, then synchronous transfer in pairs. It is necessary to feel the weight (the force of pressure on the floor).
Weight can be felt in any part of the body separately (weight of the shoulder blade, weight of the thigh, etc.). It is necessary to find the optimal combination of relaxation and lowering the weight on the foot, with quick collection and movement.
How the body works.
5 main blocks (floors) of the building
Feet
The foot is responsible for the rhythm. Ringing stop work. Clear work to the floor and to the beat. Control and dance ups and downs.
Knees
Beating forward and backward, bending and straightening, lifting and lowering.
Hip part - rotation and figure eight. Rib part - Presentation part
Hip part of the body
It is important to control and remove blockage in the hips (sacrum forward).
We remove the arch in the back (excessive lardos), there should be a long back.
The center must be removed and drawn into the lower back.
Rotation and figure eight actions in the hip part of the body.
Rib part of the body
Stretching and "press line" of the sides of the body
Presentation part of the body (chest, shoulder blades, arms, shoulders, neck, head)
Stretching the upper part of the body, creating volume.
Neck without clamping, head position perfectly level, without ups and downs.
The chin line is parallel to the floor line.
2 centers of the dancer's body
Lower center (lower torso, located just below the center of the lower part of the ribs - between the waist and ribs)
- Center of gravity, control of body weight. It is always necessary to be in the sensation of a retracted center. Performs the function of depreciation, reduction, rotation (rotation) and displacement (translation). The upper center is responsible for initiating movement.
Upper center (main upper torso, located in the chest area)
Referral center. When moving and rotating, the top center always comes first, then the bottom one in sequence.
Like steering wheel and wheels. Responsible for the initiation of movement, the function of rotation (rotation) and displacement (translation)
Isolation of body parts and posture in Latin
3D dance: stretching in 3 planes: Frontal left and right. Sogital - twisting of the hips and body in rotational directions.
Proper positioning of the body - keep the axis of the body.
Posture in dancing
Main problems:
- Hunched shoulders
- Head and neck forward
- Shoulder blades exposed collapsed abdomen and lower back
2 types of posture:
Classical and Latin American (the body is slightly forward over the toes, the pelvis behind the heels - a diagonal line is created)
Principles of the legs, feet. Steps, movement, movement. 5 phase steps.
- 5 stride phases:
4.
Extend - lengthening, stretching the free leg from behind. It is located on the extreme toe
5. Recover - recovery - the leg free from weight is bent at the knee.
Backstroke: 3 stages - leg in front with a natural turn of the toe, bending the leg at the knee and building a straight perpendicular line from the toe to the knee, slight tilt of the body forward, bringing the leg back to collect the knees, pushing out from the supporting leg. Emphasis on the knee - tends forward and is fixed for a moment. Knee work, repulsion, attack.
How the hands work
Hands help to make a coordinated movement, show beautiful lines, complete the meaning of the dance for judges and spectators.
The main principle of the work of the hands: The hands repeat the work of the body with a greater amplitude and a slight delay - the continuation of the work of the body, except for staging moments! Avoid ventilators.
It is necessary to combine the work of the hands with the work of the body. Brushes must always be kept in good shape.
- Shoulder, shoulder, elbow, hand control. Removal is slow with an accent in the final position.
- Closed and open hand position. If the hand goes from the center, then the palm immediately goes to the open position, if it goes up along the central axis of the body, then it goes to the closed position and then goes to the open position.
- 2 types of arm joints - elbow-rib, elbow-elbow. The shoulder is the highest part, when the arm is extended to the side.
- Working out the interaction of the work of the arms, legs of the body according to the accounts.
- Charged hands (work with an accent). Twisting of the arms (from elbow to elbow feeling twisted in opposite directions)
- Rotation of the hips and opening of the rib part of the sides, arms in the sides in good shape.
- 2 positions: parallel to the floor and just below shoulder level, set slightly forward so that the hands can be seen with peripheral vision.
- Hand: fingers in good shape, as close as possible, index finger slightly prominent. Girls can create any brush design.
- Arm extension: to the side - 3 stages - side, forward, down; Up and through the semicircle down; arms to the sides, hands in the field of lateral vision, elbows not behind the back (maintain volume, “balloons” under the armpits)
- Bringing the arm to the side: in turn, the elbow, wrist, hand. Back: turn the brush, break the elbow, lead to the lower center.
- Turning back with shoulders: shoulders, elbow, wrist, hand. Back: soften the elbow, turn the shoulders, return the brush to the center.
- Bringing the arm up: start the movement of the hand, a slight turn in the shoulders, a screw movement of the arm, then back.
Principles of positions and interaction in pairs
Gradual and gradual development of leading in pairs!
There should be no isolated dancing.
Partner "passenger", partner "Driver".
Types of dribbles:
- Physical dribble - when the partner shows the partner the direction of movement, stops. The work of the hand, the correct distribution of weight and the interaction of partners together.
- Shape guide (with preservation of shape and lines).
- Permissive maintenance. For example, Delay - tightening and stretching between partners and counterbalance, then high-speed movement.
- Case management. Interaction at a distance, without physical contact.
The dribble must always be up to the step (to the count).
Trust of partners. No need to take too much initiative.
- Body weight always with a feeling of pressure on the floor.
- When moving backward - first the legs, weight and position of the body are slightly ahead, then we bring the body.
Exemplary Team Ajax Dance and Sport Club
Exercises and training methods in the Latin American Dancesport Program
Warm-up, warm-up, training exercises for parts of the body in Latin
Warm-up, warm-up
The main task is to consistently warm up: feet and Achilles tendon, knee joint, hip joint, spine.
Warm up should consist of 3-6 exercises for different muscle groups.
Exercises to work upper body center:
shoulders, neck, head, chest, back, posture. Body Setting Methods
Body Setting:
Shoulders up and in a stretched free position. Slowly, we increase the action down, even position in the back. Hold down 8 counts, relax 8 counts
- Exercise a shoulder blades: move the shoulders forward, the shoulder blades are apart, then vice versa, the shoulders back, bring the shoulder blades together, then neutral tension - the shoulder blades are apart, the back is even, there is no additional tension in the body. For 4 counts forward-neutral-back. The opposite method.
- Head and neck. With expander or rubber band behind the neck and try to move it back for several counts with tension, alternating with relaxation.
Same with the back of the head. It is recommended to do 4 eights. - Chin rest , put the hand under the neck and place the chin.
- Competition for who has the longest neck , with the condition that the distance between the earlobes and shoulders is the same, without inclination. We stretch 4 eights and rest.
- Pull down exercise of the band down through the neck for control of the top and downward pressure.
- Chicken. The lower part of the shell body, hands on the belt, raise the upper part of the shell with the crown, stretch shaking the head and body, 8 counts.
- Champion point. Put your hand on the upper part of the sternum and raise your palm up, while your shoulders tend to go down, lower your hands. For 8 accounts.
- We move the walls and ceiling. We spread our arms, shoulders in a flat position, legs shoulder-width apart, arms apart to the sides or up until straightened, fixation in a flat position.
We move apart for 8 accounts and stand for 8 accounts. - Move the floor by force. Press down with your hands, pull the top of the head up, press for 8 counts, hold the position for 8 counts
- Place the object on the center of the head and move with the object.
- Chest movement isolated to the sides
- Chest rotation isolated. 1-2 melodies, with alternation.
- Side dribble - combination of rotation and offset.
- Positioning and body work, can be done against a wall . We raise and lower our hands up, the shoulders are open shoulder-width apart, we retract the center, we remove the deflection in the lower back, it is possible to the wall, on the same line of the heel, hamstrings, buttocks, lower back, shoulder blades, back of the head.
- Exercise for the correct feeling of the upper and lower center - samba move at the barre.
Shoulders and top center remain strictly parallel to the machine. - Bounce with the leg out and fixing the position of the central balance for 3 counts (in the center position). We hold ourselves on the joint of the thumb, big toe, foot pad.
- Exercises with a stick or a light object in front in front of you in your arms and on your elbows hold on straight arms with lowered shoulders: shifts, latin square, ronde, bounce step.
- Presentation Exercise - Crossing the arms behind the head and performing actions in this position
- Shoulder exercises Slowly, we increase the action down, even position in the back. Hold down 8 counts, relax 8 counts
- Rotational movement (rotation) of the shoulders (head and bottom straight). 3-4 beats.
- Turning the shoulders, then the head, return to the neutral position and then to the other side. 3-4 reps per side. Next, add a turn with the head.
- Neck and head exercises
- Hands behind the neck and head and impact, pressure back for 8 counts and rest 8 counts.
- Chin, put the palm of your hand and put the chin on the shelf. The chin line is parallel to the floor line.
- The neck should be stretched primarily in the occiput. Competition who has a longer neck, with the condition that the distance between the earlobes and shoulders is the same, without tilt.
- Turning the head to the sides for 8 counts. Stretched, but not tense neck, head level. 3-4 repetitions. Beware of individual mistakes! Double sharp turn of the head on 1 and 2. It is necessary to adjust the focus when turning the head.- Chest (Main Torso)
- Work forward backwards with the chest (upper center of "gravity"). Hands "take a point", the shoulders are motionless.
- Work with the upper center to the sides.
We use the shoulder blades to push the opposite side.
- Work with the upper center at 8 points of the hall (forward, to the sides, diagonally).
- arms to the side and make shifts of the upper part of the body, then we try to make translation only with the chest.
- Chest rotation. More expressive with partners.
- a combination of shifts of 8 accounts - to the sides, back and forth, circle, figure eight.Hip exercises, thighs
- Natural figure eight in the thighs without and with body weight transfer. Figure eight on two legs with transfer to the supporting leg, figure eight on toes, figure eight with a change in height. Figure eight in samba with bounce and transfer of body weight from foot to foot to the sides and back and forth. Reversible figure eights at the hips.
- - Leg raise with bent knee, out to the side, back, return.
It is important to control and remove blockage in the hips (sacrum forward).
We remove the arch in the back (excessive lardos), there should be a long back. The center must be removed and drawn into the lower back - Swallow center exercise. We move the hips a little forward, with the palm (stick) we press on the waist line in the center of the body. The center should "eat" the palm. 8 accounts.
- Exercise with band . We place the elastic band under the booty and press the stretched elastic band up can be done with the elastic band stretched in the hands under the booty.
Exercises for the work of arms, hands
- Circular movements of the hand with control of the shoulder (like scooping movements). Eights in hands on outstretched arms. Circular movements with a brush at the bottom.
- Turning the shoulders and bringing the arm back (then forward). The right hand comes out from the left shoulder and is in line with the left shoulder.
- Hands in turn to the sides, back, forward, up. Minimum 2 melodies.
- Progressive method of moving the arm to the side elbow - arm, hand and back.
- The movement of the arm is a continuation of the movement of the shoulder. working out the lines of continuation of the body forward and backward. Rotation of the shoulder - elbow - wrist - hand - turned the hand and arm - bent and returned. The arm cannot be brought back without turning the shoulders. When bringing the arm up, a screw movement of the arm is used.
- Exercise mill. Rotation of the arms in a circle with a turn of the body and shoulders.
- The arm movement method is a continuation of the shoulder movement. Articulation of the arms to the sides, forward and backward with the rotation of the shoulder, upward with the screw with the rotation of the shoulders.
Exercises for the work of the legs, feet
- Change of foot and legs - pull the knees and feet forward, gently lower into the supporting leg, be sure to pass through 2 gathered legs (near the knee and ankle).
You can train at the machine. - Leg forward and backward when collected, the knee is pulled forward and up. Necessarily without clearance through the gathered legs in the brush position, we turn the foot at the free leg, bringing it back - we straighten the knee, a strong stretched inverted foot, raising the hip, the free leg clearly controls the floor and presses on it, then swing back, knee through the knee and forward
- Exercise with a yoga block in the center of the crown , on the centers and feet, raise the foot one by one, make a change, bring the leg out, rond with the foot forward to the side back.
- Pelvis rotations on the ball of the foot , shoulders parallel to the barre, knee straight.
- External and internal twists of the machine - leg extension, knee extension, body weight transfer, knee collection and further, light heel of the skating leg during rotation, concentration on the twist part.
- Hip Twist at barre - leg behind, diagonally with bent knee and back. You can work with an object on the toe of the free leg (a sheet of paper, a disc, etc.)
- Exercise Latin Square - pulled in the stomach, lowered the shoulders, pull the ribs up, light heels, open the hands keeping the volume forward and in front of you, moved weight on skating leg, leg forward (knee out, leg straight out, push, weight transfer, leg collection, lowered into line press, leg out to the side, weight transfer, pushing action, leg collection, soft change through the balls of the foot and strong legs , moving the leg back ... Clearly determine the weight and from which leg to which we are moving, transferring the weight of the body from the supporting leg, The upper body should not be ahead of step
- Floor pressure exercise . Go through a routine or circuit with relaxation and a sense of pressure and lowering the weight into the foot.
Exemplary team dance and sports club ajax
Rules for constructing choreography and dance variations
It is necessary to create a rhythmic pattern in the dance (playing with counting and rhythm and accents)
It is necessary to change rhythmic patterns during the performance of the composition
use shifting emphasis on accounts.
There must be pauses with lines (poses). No need to just run on the floor.
Change of emphasis - a change of emphasis from one part of the body to another is required using insulation.Change of movement geometry is required during song execution.
Geometry of movement along the parquet
Samba and paso doble in a circle - for example, starting from the long side - the center of the hall, then diagonally again to another cornerGeometry inside the pair
Linear. Together and in parallel.
When dancing in parallel, it is necessary only in perfect synchronization and no more than 1-3 measures.
Rotational
With rotation of one of the partners.Dancing outside of a pair, no more than 6 measures.
3 types of guiding - coming and going freehand, framed, shoulder or body.
To be used to memorize the pair by judges and spectators. But only one in variation.
It is recommended to use the change of pitch (levels) in the dance.
The procedure for working out dance routines and patterns:
- determining the direction of each element and movement in general
- analysis of elements and patterns by counting
- analysis of technique, slowly counting by 8, half tempo, tempo.
It is not necessary to completely copy the coach or the dance you are learning, it is important to practice effectively, following the basic rules.BASIC is a template and basis from which we build and use in interpretations.
We randomly paint the elements that we would like to include in the dance scheme and can be used according to the class. Next, we determine positions and lines 2-3 bars each, a possible anchor of the composition, and then we impose random elements.
Variations in performance:
question answer ( one is active, the second is slow and then vice versa, a dialogue occurs),
echo one partner dances the part, the second partner repeats this part (as if competition between partners)- Lunge
- Check
- Chair
- Spanish line
- Press line
- Disco sit
- SplitAll Poses
Latin American Program 9 Video Tutorials0459
Videos with warm-up options
Warm-up options in Latin
Videos of specialized exercises
in Latin for individual muscle groups. Work of arms, legs, bodyExercises for muscle groups, arms, body
Psychology of ballroom dancing and "training of emotions"
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Of course, at first our emotions are very clumsy. However, just as an open hand in a dance gradually turns into a soft and round one, then into a sharp and daring one, and finally into a magical one, that is, in the best way corresponding to the nature of the dance in general and a specific movement in particular, so special training of emotions can significantly improve their manifestation. So, to the methodology. Both partners must perform movements in accordance with the nature of the dance and express emotions corresponding to this particular dance. That is, they must express the same (love, friendship, fun, etc.) or conjugate (seduction - opposition, passion - hatred) feelings.
Parts of the body that can express emotions depend on the distance between partners. In contact dances, this is a look (mostly past the partner - except for tango), movement of the head slightly behind the body (except for individual elements), bending of the body, facial expressions. In non-contact - arms are added, greater freedom in the movements of the body and legs (hips, knees, feet).
Eye contact is very important in Latin American dancing. Partners do not just look at each other, but play with their eyes a kind of game that ignites emotions. One has only to look away or look indifferently as this fire of emotions goes out, and the dance turns into gymnastics, which is of no interest to either the dancers or the spectator. Even when eye contact disappears (during turns, lifts, in a shadow position), one should feel the partner, for example, due to the lowered head, which is slightly turned in his direction. There is no such possibility in the European program. However, even here the head and eyes seem to track the partner. Interesting eye contact in group dances with predetermined music and composition (formation). In these dances, perhaps, there is such an emotional impact with a look that makes the dancer nearby make a mistake. And such strong emotions give people dancing, in general, a banal composition, a sense of community, joy and general fun. In the European program, we don't generally look at each other, but we feel (including with our eyes) each other.
And of course, if there is an opportunity for even a short glance, it should be used to the fullest. For each position (posture) and movement in the dance, you need to find its meaning (idea, meaning, analogy) in the context of the general relationship between a man and a woman. Determine how and through the movement of which parts of the body it can be transmitted. Let's call it the construction of emotions. You need to train for each posture and movement at a very slow pace, being able to stop at any moment and check the correct display of emotions. It is not necessary to train in pairs - it is better first separately and at home, so that no one interferes. First you need to listen to the music you usually dance to for a long time. This is necessary to clear the brain of extraneous thoughts and create an appropriate emotional mood. You also need to train to the music.
In general, the women's part is much more emotional. And here the simplest and most natural way for a woman is to relax and be completely uninhibited in emotions, not to be afraid to express something even frankly immodest.
The manager will fix it. The problem is just not in excess, but in the absence of emotions. Regardless of the emotionality of the partner, one should not be afraid to show as strong emotions as he can withstand. And sooner or later he will stop you. The partner should not somehow restrain her emotions for fear of appearing immodest and being judged by her dance group colleagues, partner or spectators. At a party 50-100 gr. dry wine allow the partner to relax. It is undesirable for a partner to take alcohol, except in cases of psychological stress, for example, when he is afraid of something (forget the composition, step on the partner’s foot, etc.) Relationships in a couple, as a rule, are more significant for the partner, although she never advertises this and may not even admit it to herself. The reason for this is simple - there are much more partners, including potential partners, than partners: almost all women want to dance, but only a few men are inclined to spend time, effort and money on this; in addition, almost any girl can be taught to dance from scratch, although not every girl will dance well, and take high places in competitions - this requires both physical and psychological data - but the partner must learn to dance himself.
Unfortunately, there can be only one sympathy between a man and a woman. Therefore, of all emotions, love is the easiest to express. At the same time, partners are often considered lovers by others, although this is far from always the case. And moreover, as a rule, intimate relationships interfere with the creative growth of a couple. Therefore, regardless of whether you want something other than dancing, classes and performances should be perceived as a kind of game. Just as in the classroom we do not always dance at full speed, so with emotions - we do not throw them out in every dance. However, when we have learned the composition and the technique of its performance suits us, we need to go through it from time to time in “full pace” with a full range of emotions. And it is better to agree on this in advance. And it must be absolutely clearly understood that dance and emotions in it are just a game - and it is better to play well than badly, and it is even better to overact than to look "pale".
An excess of emotions is very rare, but a lack is all the time. Here you can draw a parallel with the theater. We go there for emotions, we empathize with the feelings of the actors. The Stanislavsky system "forces" the artists to get used to the image, to believe that it is being played. This makes the work emotionally true. We believe. Therefore, in the relationship of partners there is always a personal and even intimate moment. If it is not, then the viewer does not believe. And in the dance, the partners must also believe in it. Any falsity or pretense will be immediately noticed by the audience. The face and body (particularly of the partner) should radiate PLEASURE - and this is very important to understand in order to achieve success. This emotion is very difficult to replace with something else: complex elements, supports, etc. In experienced dancers, emotions are very plausible (even more so than in theater artists). At the same time, they are able to express other emotions that correspond to the nature of the dance, and this skill is very valuable.
The partner must learn to give her body (like a musical instrument) for the duration of the dance to the partner at his FULL disposal. Strictly speaking, almost any girl who does not have any choreographic training can dance with a well-trained partner (it will just be a little easier to dance). And, in general, the process of her learning has not so much a physical (movements and figures) as a psychological aspect: she learns to trust her partner - to be sure that everything will work out, she will not seem funny, she will not be stepped on, not it will hurt, etc. That is, there is a process called getting rid of fears. It happens abruptly - something seems to break in the partner, and at a certain moment she doesn’t even decide, but feels that she is completely given into his hands. This happens 2 to 12 months after the start of classes, but may never happen. The outward sign of this fact is that she stops arguing with her partner.
This skill, when the partner, without thinking about the figures (they come to mind by themselves based on the characteristics of the music and previous figures), leads the partner in a dance to the music, and the partner unconditionally and correctly follows him, we will call "absolute leading".
How do you know if you have achieved it or not. Put on unfamiliar dance music that you have never danced and it is better that it is not included in the ballroom dancing program. And it is better that the rhythm of the music is quite complex. If you can dance something, and not any dance you know, and at the same time dance easily and naturally - honor and praise be to you. If not, the partner must train the brain (the ability to come up with a movement for himself and the partner immediately and lead her), the partner - the psyche (the ability to maintain mental silence) and muscle feeling (the ability to adequately respond to the partner’s control movements). The control movements are strong at the beginning, but they weaken during training, which makes the dance easier to perform and more enjoyable. This happens in about a year. However, partners often prefer not to expend significant effort themselves and “ride on partners”. At the same time, their technique and emotionality suffer greatly, the partner looks sluggish.
It must be remembered that the partner only manages the partner, and does not drag her. In addition, it is physically difficult for him to dance and he can either stop dancing altogether or change his partner to a “lighter” one. Leading in pairs
Usually leading appears in a year or two after the start of classes, and absolute - in 3-5 years, but both may never appear. A lot depends on the leader and what kind of dances he teaches - sports or social. It makes sense to engage in sports until the age of 25, if you need to understand more that you can’t see places in competitions and, of course, you can engage in a sports dance program, but this will not teach you to dance and is unlikely to make you happier.
Is it possible to consciously bring the moment of absolute knowledge closer? How to do it? In class, the partner needs to get all thoughts out of her head, by focusing on the partner - you need to “listen” to how he leads: his body, arms, and in some dances, hips and knees, and follow in accordance with his movements.
Then you need to listen to music - mostly rhythm. In this case, first of all, you need to follow your partner, and only then follow the music. This rule must be followed for two reasons. Firstly, the partner may not be musical and at the same time it is better to keep the dance than to stray and stop. In any case, the partner cannot step before the partner, even if she knows where to go, and she cannot know this in principle, since the partner leads. Experienced partners often find non-traditional continuations of standard figures in order to "educate" the partner, and this only decorates the dance. At the same time, sometimes the partner may lag behind a little, and this, as in music, gives the dance a special chic. By the way, weak musicality is quite easily treated by listening to the music to which the dance is danced for a long time. Secondly, the partner may interpret the music a little differently. And if the partner, in defiance of him or, not being able to catch something, exactly follows the musical rhythm, then this also destroys the beauty of the dance, not allowing the partner to fulfill his plan, and, ultimately, the emotional coloring of the dance.
This can often be observed in the dance of Latinos and Europeans. In such cases, the partner usually says: “He dances well. But I can't feel it.” She just can't pick up the nuances. Simply put, a partner dances as well as she feels well. Absolute leading allows not only not to make mistakes and move in sync - it is a source of additional emotions: performing a complex support, a new or unfamiliar element for the partner causes additional emotions in her: surprise, admiration - even fear, everything is beneficial for the dance and most importantly these emotions completely true because they are natural. Speaking of mistakes, here absolute control also helps, and if this happens - the first rule is not to stop. Rule two - do (the partner, of course, leads) a rotation, a turn at hand, a simple support, a hover, a lunge, at worst, just a few steps to the beat of the music and calmly continue dancing FROM THE BEGINNING OF THE DANCE. Rest assured, the audience, except for those who are dancing, will not notice anything.
By the way, the first and last 10 seconds of each dance should be learned by both - having strayed at the beginning it is difficult to count on success - it’s not the same fuse, completing the dance ineffectively, you lubricate all your work. You can say the word “let's go” or any other so-called key word before the first step, and when you finish the dance, say, for example, “ending”. These key words calm the partner, because she knows exactly what she will dance and is not afraid of the near future. By the way, before complex elements and supports, you can also pronounce their names. Words during the dance in no way cancel the lead - they serve another purpose, to instill confidence in the partner, and for most partners, moral support is very important. By the way, at the rehearsal, if you feel that the partner, after your words, is trying to walk on her own, you can deceive her, say one thing, and make a completely different movement. This only contributes to her professional growth, she should follow you and not even try to do what you said.
But it is better not to abuse it - and then apologize, saying that you made a mistake. In difficult cases: if one or both partners have a full bouquet of psychological clamps, we can recommend establishing good friendly, or better, a little romantic relationship. It must be understood that emotions are a manifestation of sensuality and sexuality. And if they are not there, then one of two things is likely: either we are afraid to show them to a partner or others, or we have neither sensuality nor sexuality. And here the dance will help too: relax at the party, have a drink, dance "dirty dances". If the next day you find yourself judging and embarrassed by your party friends, repeat. Maybe your attitude towards sensuality will change. If it doesn't help, see a psychologist. In the end, if nothing helps and you are ready for anything - get a good lover who will reveal you, make you more confident. Just do not plan to connect your life with him and do not choose someone from your team for this purpose.
For a small number of people, due to natural cheerfulness, carelessness and optimism, joy in the dance spills over the edge. This is a very valuable quality and you can easily achieve success in chacha, jive, quick and samba, but more sensual dances will have to be worked on. An even smaller number of people, due to their psychological characteristics, are prone to tango and paso doble. There are other psychological types who are prone to this or that dance, but to dance everything you need to be an artist, that is, to master the art of reincarnation. What helps us to show emotions
First of all, this is the actual movement itself and the pleasure that we get from it. The endomorphins (happiness hormones) produced at the same time support the necessary emotional intensity. This type of support is typical for solo latin dancers. Another kind of support can be provided by the audience - their applause, shouts - in general, any approving noise turns a couple on and as a result they can show something that cannot be achieved in training.
And, finally, the “fuel” for emotions is the very emotions of partners directed at each other. Even a modest smile, like a small spark, starts a big emotional fire. And here, neither the movements, nor the audience, nor where the couple is dancing - at the competition, at home or at the disco. Moreover, this fire also captures those around. And you don't need to hold it back. This is especially true for women. Trying to suppress a simple smile, you pull the corners of your lips down, strain your face and it becomes ugly: you get an old maid smile. In addition, you can not stand to burst out laughing and, having lost the correct position in a pair, disrupt the dance. Believe that the emotion directed at the partner during the dance does not say anything and does not oblige you to anything, including this is certainly not a declaration of love, not a manifestation of desire and not a promise to marry. However, in everyday dance at a party, if emotions fade, then it is better to finish the dance before the end of the music, and not put yourself and your partner in an uncomfortable position.
This way you will maintain good relations, since a prolonged dance will lead to their cooling. Why do people stop dancing
For men, the main thesis that allows us to answer this question is the following: we like what works well. That is, if there is progress and prospects, then we continue to work. And since there is no limit to perfection, you can practice all your life and be happy. At the same time, psychological comfort in a couple is important. The third grade is also not a marriage, and it is better to maintain good relations and conveniently dance simple elements than to swear and harass each other, trying to figure out who and what is doing wrong in complex compositions. Leave this element - you will do it in a few days, or months, when the emotions subside. For women, the personal moment is more important. There are two internal reasons - either the partner does not want to do what she requires of him in the broadest sense: from the need to keep his back straight to the requirement to immediately divorce his wife and marry her.
At the same time, the more the partner demands from the partner, the faster he will leave her. The second reason is that there is simply no partner and this depresses the woman - every lesson for her is a public shame. In this case, do not despair - train - you will dance well and a partner will appear. A man is looking for a woman with whom at least something is obtained. Sometimes a woman, having found a stronger partner, leaves the old one. I don't recommend it very much. Not the fact that the relationship will develop. And, more importantly, no one will dance with you anymore - men do not like traitors. The partner's task is to learn how to play a musical instrument called the partner's body. And this task is much more difficult. That is why it is so easy to teach a woman to dance and so difficult for a man. And, nevertheless, firstly, you need to achieve absolute leading: you need to force the partner to do all the technical elements of the dance the way the partner wants at the moment.
An experienced partner knows the pattern of all the figures of the dance, but the partner gives this pattern a specific physical embodiment, carrying an emotional coloring through the features of its performance. And such a joint, synchronous, nuanced movement of the couple gives rise to emotions. For a partner, they are a completely natural psychological reaction to movement and the pleasure and excitement experienced from this movement. The partner can surrender to feelings, because in the dance her head is completely free from any thoughts. Unlike the partner, the partner's brain is very heavily loaded during the dance.
Several tasks are solved in real time:
— music analysis;
- synthesis of figures in accordance with the music: moreover, the partner in real time must also represent the part of the partner;
- providing a dance pattern: a variety of elements, angles, advances, postures;
- security: the boundaries of the dance floor, the possibility of collision with other couples, protecting the partner from possible falls, especially with supports and other complex elements;
- in addition, forecasting is performed (prediction of future movement, position in a pair or position in the hall) within the framework of all the above tasks.
His condition can only be compared with that of a fighter pilot during World War II during a group fight. So if you have a bad partner - do not scold him, he has too many problems and he still cannot cope with them all at the same time. However, you can also help him. It is necessary to increase his self-esteem in every possible way. Comments should be tactful. You can not insist on your own, put your desires in the foreground. You should not reproach your partner and spoil his nerves in any other way. The only way you can help him is to listen sensitively to his lead, keep the body and head correctly, not think about anything and especially not talk during the dance, in no case stop, for example, when making mistakes. The dance must be preserved, and mistakes can be sorted out later. Sometimes the partner, confused, begins to repeat a series of the same figures. It must be understood that in this case he is in a state of stress: he wants to do something else, but he cannot. In this case, the partner should pronounce the name of some other figure.
When he collects his thoughts, he will perform this or that element. In case of failure at performances or competitions, you do not need to go on about emotions, blaming each other. It's better to keep a good relationship. And you can discuss problems in a few days, when emotions subside. Remember, only a good trusting relationship, without reservations, is the key to your dancing success. A very important element of training, which unfortunately is almost never used in Russia, is the joint discussion of classes over a cup of sweet tea after they are completed. A frank conversation allows you to better understand each other, to express sore points. This improves both interpersonal relationships and the overall atmosphere in the team. Summing up the discussion of the partner's emotionality, we can say that he dances and leads as well as his brain works fast. But brain training is a separate issue. The reason for the partner’s emotionality is not so much excitement and pleasure as the satisfaction of his pride from the ability to lead a partner (control her body) and present her to others in a favorable light, from the ability to do what others are not given, etc.
and to be psychologically frank from the understanding that the ability to dance also attracts other "females". Although a good partner, as a rule, is not exchanged for a more beautiful and younger one. Change the one that spoils the nerves. However, the partner's emotions are more social than sexual in nature. And although the partner's emotions are less pronounced, their spectrum can be much wider - from hatred to passion and from fear to disappointment. They are more determined by the personal qualities of the partner and can even be of an antisocial nature, for example, the desire to show one's superiority through humiliation of the partner. How to know if your emotions reach the goal: the hearts of the audience or partner. If in the middle of a performance, when performing ordinary outwardly non-spectacular elements, you hear approving cries and applause, or a partner suddenly makes an involuntary movement, and then circles you, grabs you in an armful, presses you to him, unexpectedly makes support, etc.
- it means that your emotions have reached the goal and this is aerobatics. There is no need to be afraid to show emotions at rehearsals and especially at performances: there is no dance without emotions - and you need to decide whether you are dancing for yourself or for the audience. If for yourself - do not hold back emotions and be happy. If for others - spoil your life, twitching from the envy of others. You will be judged anyway, and it is better to be judged for frivolity than frigidity. We have considered - these are two approaches to the training of emotions
One is based on the conscious construction of emotions, the other on the unconscious reflection of movement. It seems that these approaches contradict each other, but this is only at first glance. The construction of emotions with their subsequent repetition (working out) leads to not only their memorization. An associative connection appears between movement and emotion, and like any associative connection, this connection is bidirectional.
Therefore, when performing a previously worked out movement, the emotions corresponding to it are automatically (by association) reproduced. Of course, the reader will notice that the focus of the article is on women's emotions. This is no coincidence. All viewers look at the partner. Men, with the rare exception of those involved in dancing, for obvious reasons. Women empathize with her emotions. And such universal attention makes a girl even with the most ordinary appearance, but who knows how to dance and show her emotions to the public, the queen of the ball. And a man is proud of the consciousness of what he can turn "Cinderella" into. And despite the fleetingness of this feeling, it is worth a lot. In psychology, this is called the peak experience. His man remembers all his life.
Ballroom dancing gives hope to become happier in life. Many people are engaged in them, but only a few of them know how to dance (the partner leads, and the partner follows) and only a very small part realizes their skill: they regularly dance at evenings, balls and in general wherever there is an opportunity.
