How to do the nutbush city limits dance

nutbush city limits dance kid



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Every Australian knows this dance #fyp #viral #australia #memories #true #justlike #justfollow #nutbush

41.8K Likes, 1.7K Comments. TikTok video from Charlie (@clouty101): "Every Australian knows this dance #fyp #viral #australia #memories #true #justlike #justfollow #nutbush". Every Australian kid at the school disco when this song come on. Nutbush City Limits.


Nutbush City Limits - Ike & Tina Turner


maddie primo sibio

@kaylahicovski 14 years of dancing for this moment 💃#fyp #dancer #nutbush

TikTok video from maddie primo sibio (@maddieprimosibio): "@kaylahicovski 14 years of dancing for this moment 💃#fyp #dancer #nutbush". when the dance kid is on the dance floor for the nut bush…. Nutbush City Limits.


Nutbush City Limits - Ike & Tina Turner


Daniel Assetta

Just Australian things 🕺 #nutbush #nutbushdance #schooldisco #theatrekid #dancekids #aussie #australiandance

778.6K Likes, 8.5K Comments. TikTok video from Daniel Assetta (@dassetta): "Just Australian things 🕺 #nutbush #nutbushdance #schooldisco #theatrekid #dancekids #aussie #australiandance". When the DJ plays Nutbush & the dance kids take the floor. Nutbush City Limits.


Nutbush City Limits - Ike & Tina Turner



Proud Aussie. 🇦🇺🦘🐨 #aussie #straya #nutbush #nutbushcitylimits #aussiekid

3. 8K Likes, 363 Comments. TikTok video from HOPE (@hope.dx): "Proud Aussie. 🇦🇺🦘🐨 #aussie #straya #nutbush #nutbushcitylimits #aussiekid". I’ve hear people think Australian’s have no culture?! | Then explain this!!! 😁 | Taught in early primary school . . . | .... Nutbush City Limits.


Nutbush City Limits - Ike & Tina Turner


Red Tinges (Pixie)

#aussieprimaryschooledition #songfacts

23.7K Likes, 1.2K Comments. TikTok video from Red Tinges (Pixie) (@thegirlfraggle): "#aussieprimaryschooledition #songfacts". To the rest of the world, The Nutbush is just an Ike and Tina Turner song from the 70s... | Australia went an extra step... | We made a whole dance about it. We named it "The Nutbush" | .... Nutbush City Limits.


Nutbush City Limits - Ike & Tina Turner



When I found out the #Nutbush didn’t exist in USA I diiied. Let’s get it started! #fyp #trend #aussie #mate #dancechallenge #tinaturner

279.4K Likes, 4.1K Comments. TikTok video from Smac (@smacmccreanor): "When I found out the #Nutbush didn’t exist in USA I diiied. Let’s get it started! #fyp #trend #aussie #mate #dancechallenge #tinaturner". So there’s this party dance thats a huge hit in Australia | Everyone knows it. Everyone does it. | But i had no idea that the rest of the world DIDN’T KNOW IT! | .... Nutbush City Limits.


Nutbush City Limits - Ike & Tina Turner



Like bro we’re just doing the Nutbush😂

53.4K Likes, 1.2K Comments. TikTok video from ALYSSA (@alyssasinacori_): "Like bro we’re just doing the Nutbush😂". When there was always that one “professional” dancer at school. Nutbush City Limits.


Nutbush City Limits - Ike & Tina Turner



#duet with @giginaturally #aussie #nutbushcitylimits #aussieprimaryschool #humor #elderemo #alternativegirl #foryoupage #fypシ #trends #emotiktok #norsepagan

TikTok video from kourtneyrebekkah__✌🏽🌻 (@kourtneyrebekkah__): "#duet with @giginaturally #aussie #nutbushcitylimits #aussieprimaryschool #humor #elderemo #alternativegirl #foryoupage #fypシ #trends #emotiktok #norsepagan". yes, it's a childhood rite of passage to learn this dance 🤣🤣🤣. Nutbush City Limits.


Nutbush City Limits - Ike & Tina Turner

Schoolhouse, outhouse? The mysterious history of the Nutbush


  • Lifestyle
  • Life & relationships
  • Performing arts

This was published 3 years ago

By Mary Ward

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Why do Australians do a dance to Tina Turner's Nutbush City Limits? No one really knows.Credit:AP

As Christmas party season reaches its peak, the opening riff of Tina Turner's Nutbush City Limits can be heard luring young and old to dance floors across the country.

The routine they gather for is set to a US song by a US singer, about a place in Tennessee. But the Nutbush dance is a uniquely Australian phenomenon.

Turner's live renditions of the song have never featured the repetitive line dance. In fact, in a performance of the song on US late-night variety show Midnight Special shortly after its 1973 release, the choreography on stage – full of arms and hips – could not have been further from the Nutbush we know today.

Yet, at some point in the years that followed, this line dance, performed to each compass point until all three minutes and 20 seconds of the song have run their course, emerged in Australian suburbia.

With its steps and kicks, it has been suggested it was a modification of The Madison, a 1950s line dance, although the two are not particularly similar.

Although Turner's song, the final single she produced with then-husband and collaborator Ike Turner, was only a moderate success in Australia (it peaked at #14 when first released and then a 1991 re-release made it to #16) its associated – although unaffiliated – dance has become a party institution

In July this year, 1719 people gathered at Queensland music festival The Big Red Bash to Nutbush, setting a new Guinness World Record for the most people doing the dance at one time (yes, there was a previous record).

Theories abound on the internet as to how this happened. One is that the dance was taught in primary schools in Queensland as part of the state's physical education curriculum.


However, a spokesperson for the Queensland Curriculum and Assessment Authority says the dance has "never been an official or mandated requirement in Queensland’s physical education or dance curriculums".


Instead, the decision to teach the dance in primary schools presumably came from individual teachers, copying what they had seen in other schools.

This was how Western Sydney interdisciplinary artist Kay Armstrong first encountered the Nutbush, as a primary school student newly arrived in WA from England in the late 1970s.

"We learnt the Nutbush in primary school, and then in high school, and then I've probably done it at every wedding I've gone to since."

In a 2001 performance with One Extra dance company, Armstrong did the Nutbush on stage at Sydney's Seymour Centre, joking it was a traditional dance for white Australians.

"Just because we all know something, it doesn't mean it's good," she clarifies.

Dr Amanda Card, senior lecturer in the Department of Theatre and Performance Studies at the University of Sydney, says there are a number of factors which allow social dances like the Nutbush to spread through "replication by repetition".

"It's so simple that you can learn it at a wedding, or out the back at a barbeque," she says.

"It's a certain speed, as well. It's not too fast. Like any line dancing, the reason it works is it's at a walking pace.

According to Dr Card, dance crazes are more likely to retain uniformity in "suburban places".


"Thinking back to the '70s, if you were in the city, disco was never the replicated thing that it was in the suburbs," she says. "You wouldn't get six people doing the same thing."

Armstrong admits she has recently tried to rebel against the set choreography, to limited success.

"Every time I do the Nutbush now I try to introduce a new little thing, like maybe an arm or a hand gesture, or make it a half turn instead of a quarter turn," she explains. "And, you know what? Nobody will have it. I fear that in 50 or 100 years time, there will still be people doing the exact same Nutbush."

Of course, none of this answers exactly where the dance originated. Who was the first person to decide Nutbush City Limits would be improved by the addition of a suburban stomp?

The only things we know for sure are the basic facts.

"It's a line dance that came from somewhere, and someone adapted it and people have replicated it," Dr Card offers. "Not by word of mouth, but word of foot."


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90,000 12 life hacks, to quickly learn how to dance from Mamita Dance


Author: Pavel Gather
Psychologist, Lecturer Salsa and Tango


Author: Pavel Pavel
Psychologist, Lecturer Salsa

on At the start, you always want to get a quick result. When it doesn't happen, the hypothesis arises that everything takes time. After a conditionally acceptable time, humility comes to mastering pair dances, which, perhaps, is not given, and I will just do what I learned somehow.

This is the most common story of those who believe that the mere act of attending a pair dance class is enough to learn how to dance.
Absolutely not. If you want to really dance well, you have to make an effort outside of the dance class. A good teacher will definitely be needed, but the initiative should be on your side.

1. Listen to music

The most common and accessible advice that is given already in the first lessons. And it definitely works. Music creates a certain atmosphere of the dance and intuitively you want to move to it. It doesn't matter where you listen to music - in the car, on headphones while walking or doing household chores.

An addition that will help you dance better is your active participation in the music. Sing along, dance or simply beat musical accents with any free parts of the body. In the subway, for example, it is enough to tap out bright moments with your fingers, in the car to sing along with sounds, and at home you can jump for pleasure.

2. Watch videos of good dancers

It's complicated, but also obvious. It’s more difficult, because without recommendations from more experienced dancers, unfortunately, it’s not so easy to find a good quality video on the net (I mean not the resolution quality, but the content itself).

Meaningful video viewing is about building an understanding of HOW dancers make a particular impression on a partner or viewer. Technology is at the heart of everything. Understanding how the pros do it is a big step forward.

It is important to distinguish a show from a disco dance, a staged performance from an improvisation, a stylized dance from an authentic one, etc. Ask for recommendations and dance teachers will always throw off a couple of videos of worthy landmarks.

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3. Dance in salsatecas/milongas/discotheques

A very delicate moment when it is worth coming to the first party. From a technical point of view, most students in 1-3 months have a sufficient set of figures and techniques to come and dance calmly. Psychologically, the same moment can be stretched out for an indefinite time. After all, it is imperative to “not lose face”, “learn more figures” and be sure what to do in case “there is an unfamiliar movement”.

In fact, the partygoers don't really care (except for a small layer of non-professional teachers who want to help inexperienced dancers by treating them as customers in the future). It is important to come and try dancing after a month of classes. You can only with friends or guys from your group. This will be enough to feel the adrenaline and inspiration from the dance.

4. Dance with partners or partners not of your level

The conventional wisdom that you need to practice in groups of your level does not withstand the test of experience. Perhaps now your eyes widened in surprise, and you want to meaningfully read the phrase again. Yes, you saw everything correctly: when you dance with a partner of your level, you don’t grow anywhere.

It's important to understand that not only does it work one way and you have to dance with cooler dancers, but it works even more effectively the other way. It is no coincidence that teaching pair dances dramatically raises the level of the teacher himself. You have an endless stream of very beginner dancers.

How it works. A more experienced partner needs to be "stretched". It's easy and obvious. With beginners, you need to take more initiative on yourself, see the general pattern of the dance more widely, turn on and insure more, try to be an example and be more careful. The quality of interaction begins to grow significantly. And wonderful partners too.

Dancing with partners of your level doesn't make you grow. Dance with both beginners and more advanced dancers

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5. Learn to dance for a partner and for a partner

Turks and Argentines are one of the best partners in the world. In Russia, partners are highly valued. Why? The answer is simple. In Argentina and Turkey, it is not questionable for men to ask another man to lead in one piece or another and give feedback on the quality of the lead. For them, it will be a great shame to hear moralizing from a partner, or even more so to be known in the community as an insecure partner.

In Russia, due to the constant, often far-fetched, opinion that there are more women in pair dances, partners calmly get up and study their partner's part. Such partners then grow into very cool dancers and teachers. In no case do this at parties, only in class. Here we are talking only about the learning strategy. At parties, be yourself.

6. Do not memorize the links

Always try to look deeper and understand the through principle and idea of ​​movement. Understanding what and how is done will make it possible to independently generate any sequences and chips.

Human memory is limited and there will always be a moment when something will escape and your repertoire will be limited by the size of RAM.

In Argentine tango, for example, there are seven levels of movement construction that, when mastered, will allow you to make millions of combinations. And how many dance sequences can you really remember? In rueda, more than 150 figures dance in a rare circle. It's hard to keep more in mind.

7. Develop your body

Many years of experience in teaching couple dance shows that as soon as everyone pairs up in a class, any progress in individual style ends. But it is the individual style that distinguishes everyone at the disco: partners change, and style is always with you.

The body as the main instrument of dance must be very plastic, responsive and emotional. Surprisingly, not all pair dance schools have a general physical warm-up. It is vital to tune the body and understand how it works.

You can always train extra and concentrate more on the basic steps, as their true value is as body work. The sequence of steps is, in fact, the simplest thing that can be in pair dancing. The quality of individual performance determines the craftsmanship.

8. Try on the images of inspiring dancers

A psychological life hack for those who have already mastered the steps, but still feel that there is not enough brightness and drive. Most are terribly afraid of being someone else's "clone". Here the action is the same as under the influence of hypnosis - the more you resist, the more you plunge into an altered state of consciousness.

With a high degree of probability, you are already dancing like someone else's "clone". A meaningful fitting of someone else's image is that you mentally take the image of the one who inspires you (inspiration is critical in this case) and "put on" yourself. Then you start dancing and trying to feel in general how it is to be able, for example, to be the best partner or the sexiest partner in a disco. This is much more difficult than it seems. But it works extremely efficiently.

9. Dance to offbeat music

Habitual rhythms keep you tight. Tango salon or speedy timba leave little room for experimentation and fantasy. Pattern dancing is always noticeable and is reserved for beginners.

The truly new is born outside of the usual. Look for places to experiment. If there is no place, organize self-training. The main thing is not to get carried away, because music determines the style. We bring something new to pair dances, rather than trying to change them.

Search, improvise, don’t be afraid to go beyond, develop in different directions, be inspired by music atypical for the style

10. Try your hand at basic dance directions

dances exist according to their own non-choreographic laws.

This is the deepest delusion, which has turned into a ceiling for the qualitative development of partner dances. After all, all professional dancers, for example, in salsa or bachata, build their ideas on the basic choreographic principles.

Do not think that choreography is only applicable on stage. Any meaningful movement of the body can be choreographic. In general, try classical or modern choreography. Basically, hip-hop can work too.

11. Look for battle sensations

Pair dances return us to an active position of manifestation of our body. As in the days of our ancient ancestors, we impress the members of the opposite sex by how dexterous, hardy, sexy, etc. we are. Modern laws of the jungle in the entourage of big cities.

If you look around the dance floor, it becomes clear that the majority are clearly herbivores (not in the sense of vegetarians, but in relation to those around them). I am sure that predators are always more interesting in terms of the attractiveness of the image - try to find a counterbalance among herbivores, for example, a cat woman or a lion man.

The conversation is about an internal position, not about aggressiveness. Lability and lack of control are inherent in adolescents, and not in adult self-sufficient people.

Accordingly, even a training or friendly battle gives, on the one hand, practical skills - to make a bright sequence of movements, bring an idea to a climax, show a spectacular feature, on the other hand, develops the psychological basis of the dance - self-confidence, resistance to extraneous attention, self-control and self-control in complex elements.

12. Communicate with professionals

The environment shapes the internal position. Basically, real passionaries of the dance community are ready to openly talk, discuss and support the development of dance in every possible way. Universal principles and the ideas they articulate have a much longer and more practical perspective than meets the eye.

Accept that, for example, behind the words "listen to your partner" is not only a beautiful metaphor, but also a practical skill to literally listen to your partner. At the same time, always treat every thought, even the most respected teacher, as a private opinion.

Your skill will lie in finding the scope of the idea even in conflicting opinions. Most often, the contradiction is speculative and the truth lies in the angle of perception or situationality.

Your dancing growth will stop sooner or later. This can happen at the level of three basic steps or years of experience in teaching and show performances. Regardless of your level, the suggested 12 life hacks can get you off the ground and greatly accelerate your dance growth. There is no way here without your motivation and activity. Take your dance development into your own hands. 9Ol000 Dangerous sexuality

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Which is more effective: individual or group lessons? How to learn to dance shuffle - Lifehacker

Iya Zorina

Author of Lifehacker, athlete, Candidate Master of Sports



This dance style includes a lot of freedom and improvisation. That is why he is so good. You can master the basic movements in a couple of hours, and then complicate them to infinity and combine them with each other, create your own combinations and spy on others.

Dance in sneakers, socks or barefoot, in any outfit, anywhere.

Master the basic movements of the shuffle

In this style, you make all the basic movements with your feet, your hands most often move freely - as your heart tells you.

Running man

This is the most basic and essential shuffle movement. You can do it in three different ways.

Full foot

The movement begins by bending your knee and lifting one leg. Next, you need to simultaneously put both legs - supporting and raised - at a distance of one step from each other.

The raised leg is placed forward on a full foot, the standing one behind slips back on the ball of the foot and remains on it - the heel is not placed on the floor. The weight is evenly distributed between the two legs.

After that, it remains to return to the starting position. To do this, the front leg slides back, and at the same time, the back leg is pulled up. You find yourself in the starting position and repeat the cycle. The movement itself is soft and springy: do not stick into the floor, keep your legs relaxed.


This is a lighter and faster running man look that may be needed for some combinations. Here you put your foot not on the whole foot, but on the heel. At the same time, the one standing behind remains on the toe.

On pads

In this variation, the foot is placed forward on the pad. At the same time, the one standing behind also remains on the ball of the foot, and the body leans slightly back.


In this movement, one foot constantly makes a “herringbone” - turns the heel in and out - and the second touches the floor and immediately rises back.

When the heel of the skating leg turns inward, the toe of the other foot touches the floor; when outward, the other leg rises, turning the knee inward.

It turns out two positions: closed - when the legs are wrapped with the knees inward, and one leg is raised, and open - when the legs are turned out with the knees outward, and the toe touches the floor. Practice doing the T-step in both directions: slowly at first, then with acceleration.


You jump on one foot while the other touches the floor in different places: on the side of the supporting leg, across, behind - anywhere you want. You can put your foot on the toe or on the heel - the latter is called a kick. The supporting leg can simply rise low or perform a T-step - move the heel out and in.


To begin, you turn your knees and toes inward and lift one leg. Then turn your toes and knees outward, and put your raised leg forward crosswise. Repeat the same with the other leg.

All movement occurs on the balls of the feet, the heels do not fall to the floor. You can move both forward and backward.


First, with a jump, you place your feet crosswise with your toes out, then with the same jump, spread your legs to the sides.


One leg is straight, stands on the whole foot, the other is with a bent knee on the pad. Leaning on the pad, you slip the foot of a straight leg back, as if wiping the sole on the floor.

Immediately after the slip, you turn around. In the turn, the straight leg bends and goes to the pad, and the one that was on the pad, on the contrary, turns on the heel. After that, it remains only to change legs and move in the same way in the other direction.


From the starting position - standing with a raised leg, as in Running man - you turn your hips to the side with a jump and put your legs crosswise.

The front foot is on the heel, the back foot is on the ball. Then you jump back to the starting position and do the same on the other side.


From the starting position, you turn your hips to the side with a jump and spread your legs a step apart from each other. The standing foot in front is placed on the heel, the standing one behind remains on the pillow. Then, with a jump, you collect your legs and do the same on the other side.

Try other variations of the basic shuffle movements

You can perform basic movements in different directions: forward and backward, turning around. This will give you more freedom to improvise.

Variations Running man

Do several times in place and then turn around. You can also try walking this way to the side. Each time the leg will need to be placed slightly crossed in order to slowly move to the side.

Variations T‑step

You can lower your foot on the toe, on the whole foot, touch the floor to the side of the supporting leg or forward and behind it.

You can also keep the other leg on the floor at all - leave it on the toe and turn the knee in and out.

Variations Diamond

Here one more element is added to the movement – ​​the heel strike. In the starting position, you wrap the toes of the feet and knees inward, and then jump on the heels, turning the socks to the sides.

From this position, without jumping, you turn your toes and knees inward, cross your legs with a jump, turning your feet with your toes outward, and then return to the starting position.

Charleston Variations

After three turns of the Charleston, turn both toes in one direction and then in the other. At the end, you can turn the knee to the side.

Connect familiar shuffle moves

While you lack the skills to move freely and come up with something of your own, learn a few combinations. They contain interesting movements that will replenish your dance vocabulary.

Combination 1

This is a simple combination of two basic movements - Running man and T-step. First take five Running man steps, then four T-steps to the side and repeat the same in the opposite direction.

Combination 2

Another combination of two basic movements. Here you do three Running mans, then one T‑step with a back foot touch, and two front heel touch kicks. The same on the other side.

Combination 3

There are no standard steps here, but there are already familiar Sidekick and transition from heels to toes.

Learn more difficult combinations

We will add some videos with good combinations.

1. Cool video for beginners: movements are repeated in slow motion to make it easier to dance to the music.

2. And here the combination is analyzed step by step in slow motion, dividing it into three parts. Very comfortably. Look for more on this channel, there are several such analyzes.

3. There is no slowdown here, just a great combination. But you already know almost all the movements, so you can figure it out. If something is not clear, watch the video at a speed of 0.

Learn more