How to do the rubber band dance

College of the Holy Cross

RUBBERBAND - Cancelled

'Vic’s Mix' 
Tuesday, April 14, 2020
7:30 pm | Fenwick Theatre

Tickets | About the Artists | Media

Due to COVID-19 precautions at the College, Arts Transcending Borders is cancelling all remaining events through the end of the Spring semester. We are making every effort to reschedule our remaining programming for next year, or beyond.

RUBBERBAND employs an innovative style developed by artistic director, founder, and choreographer Victor Quijada, “…a judicious blend of street dance, Hip Hop, classical ballet, and contemporary dance, with even a few circus acrobatics added in…” (The Huffington Post). Quijada founded RUBBERBAND to explore a unique dance vocabulary blending formal dance training with the ideology of his street dance origins from hip hop clubs in Los Angeles where he earned the nickname “Rubberband” for his unique elastic dance style.  

The RUBBERBAND Method blends the raw energy of hip hop/break dancing with the refinement of classical ballet and the angular quality of contemporary dance to create athletic dynamism characterized by both precision and explosive movement.

Vic’s Mix blends musical and choreographic genres, urban and classical dance, tension and humor into a “best-of” showcase of a decade and a half of Quijada’s innovation for RUBBERBAND. Vic's Mix is a watershed moment – a bridge connecting the works realized until now, a look back at pieces that established the company’s choreographic identity – set to music based on original works by Jasper Gahunia and those of other composers including Prokofiev, Verdi, Bach, and Vivaldi. 


$20 general / $10 Holy Cross faculty & staff / $5 students

Purchase tickets here (processing fees apply)
Call (508) 793-3835 for more information

Holy Cross courses: Contact the ATB Fellow at x3835 or atb@holycross. edu to make arrangements for group tickets.

About the Artists

In 17 years, Victor Quijada and his RUBBERBAND have not only redefined breakdance codes within an institutional context and enlivened the Quebec dance scene, but have opened the way for new creators fascinated by this dance form. Armed with a technique he conceived for dancers, the RUBBERBAND Method – an electrifying vocabulary combining the energy of Hip Hop, the refinement of classical ballet, and the angular quality of contemporary dance – and some 40 creations and collaborations in Canada and abroad behind him, Quijada has always continued to evolve and innovate throughout his prolific career.

Born and raised in Los Angeles, the child of Mexican parents, Quijada first danced in the b-boying circles and hip-hop clubs of his native city. He trained with Rudy Perez from 1994 to 1996, then moved to New York City to join THARP! After spending three years with that company and following a stint with Ballets Tech, in 1999, he came to Montreal to join Les Grands Ballets Canadiens in 2000. In 2002, he founded RUBBERBAND, throwing himself into deconstructing the choreographic principles he had learned by blending them with the raw ideology of his street dance origins. His creations – numerous short works and 14 full-length productions – are distinguished by a powerful theatricality, the energy of improvisation, and certain codes of film language, the whole sculpted with an incomparable precision of movement.

Listen, Watch & Read

RUBBERBAND - Pentacle - Pentacle

Ever So Slightly © Marie-Noële Pilon

Reckless Underdog © Marie-Noële Pilon

Trenzado © David Wong

Vic's Mix © Michael Slobodian

Ever So Slightly © Mathieu Doyon


Los Angeles native Victor Quijada (pronounced kee-hah-dah) brings together classical dance composition and west coast hip-hop like no one before him. Bursting onto the scene with his Montreal-based company in 2002, Quijada uprooted the boundaries of contemporary dance, creating a singular language that is uniquely his own. His dance technique, the RUBBERBAND Method is now taught in some of the most prestigious dance schools and conservatories from Los Angeles to London.



#rubberbandance #pentacleroster

Artist's website


Reckless Underdog (In Development)

Running Time: TBD
Choreographer: Victor Quijada
Dramaturgy: Mathieu Leroux
Costume Design: Cloé Alain-Gendreau
Lighting Design: Jon Cleveland
Scenography: Pierre-Étienne Locas
Musical Director & Co-Composer: Jasper Gahunia
Composers: Chilly Gonzales, Kid Koala, Vlooper of Alaclair Ensemble

RUBBERBAND’s new creation, Reckless Underdog, propels the company’s achievements of the last twenty years to new heights. In a work larger than nature, thirteen dancers come together in a choreography of three acts. Each part, a piece in itself, draws spectators into a unique, complex world through its distinctive scenography, music, and movement aesthetic.

The first, inspired by classical ballet, redefines the rules of the pas de deux in a bright, mechanical environment. The second deconstructs the break cypher in a sombre, oppressive atmosphere. The third, boldly experimental, distorts theatrical codes, confronting them head-on in an abstract, minimal, highly-coloured approach.

For artistic director and choreographer Victor Quijada, this new chapter in the company’s history is the culmination of the RUBBERBAND Method and its capacity to overturn the traditional conventions of dance genres. Reckless Underdog is guaranteed to transport us through a lyrical, figurative dissection of pedestrian movement that defies the limits of time and space.

Reckless Underdog is a coproduction of RUBBERBAND and Danse Danse. With the support of the Canada Council for the Arts, the Conseil des arts et des lettres du Québec, and the Conseil des arts de Montréal.

Ever So Slightly (2018)

Running Time: 70 minutes, no intermission (Performed with live music)
Choreographer: Victor Quijada (pronounced: kee-hah-dah)
Dramaturgy: Mathieu Leroux
Musical Director: Jasper Gahunia
Original Music: Jasper Gahunia, William Lamoureaux
Lighting Design: Yan Lee Chan
Costume Design: Cloé Alain-Gendreau

Ever So Slightly explores the behavioral mechanisms and reflexes we develop against the ceaseless flow of irritants that bombard us in our daily lives. Most of us long for calm and resilience, but how do we get to a zone where noise and aggressiveness no longer have a place? Simultaneously delivering delicacy, brutality, finesse, and high-voltage action, the choreographer conveys all the energy contained in urgency, revolt, chaos, and flight.

Victor Quijada continues with his extraordinary dance works, this time with 10 irrepressible dancers, a DJ, a musician and a wide-open venue. The vast performance space, the distorted bodies, and the live music result in a production on steroids. Sound-wise, Jasper Gahunia, one of Quijada’s longtime partner, is pushing RBDG’s musical signature by creating a bold and original soundscape to be performed live.

Co-commissioned by Global Arts Live, Cambridge, MA. Ever So Slightly premiered at the Place des Artes in Montreal, Canada on December 5, 2018.

Vic’s Mix (2016)

Running time: 70 minutes
Choreography: Victor Quijada
Lighting Design: Yan Lee Chan
Original music: Jasper Gahunia
Music: Various composers
Costume Design: Camille Thibault-Bédard

Vic’s Mix is the first phase of a long project that choreographer Victor Quijada began at the dawn of the company’s 15th anniversary in 2017. This creation is intended to highlight the essential innovations of Quijada’s choreography, synthesizing the fruitful results of his experiments in dance.

Through the prism of Victor’s influences, stretching from hip hop in his first forays to his mastery of contemporary tendencies, Vic’s Mix is a watershed moment, a bridge connecting the works realized until now, a look back at pieces that established the company’s choreographic identity.

Vic’s Mix showcases excerpts from previous RUBBERBAND pieces, notably, Elastic Perspective. The music for the production is based on original works created by Jasper Gahunia and those of classical composers (Prokofiev, Verdi, Bach, Vivaldi, among others).

City Thread (2017)

Running Time: 30 minutes
Choreography: Victor Quijada
Music: Jasper Gahunia with the collaboration of William Lamoureux
Costume Design: Cloé Alain-Gendreau
App Development: ANAGRAPH

Dance maverick Victor Quijada reimagines the city as stage in this new and innovative contemporary dance experience. Featuring a cast of 30+ dancers composed of company members and dancers/dance students from the local community, City Thread taps into the vibrant energy of public spaces and our culture of smartphone technology to create a unique, shared experience between audience, performers and the environment. Participants download a smartphone app specifically designed for the piece, and embark on a sensorial experience – activating different music compositions based on their movement throughout the performance site. Audience members are free to create their own adventure by choosing one or more of the dancers to follow along various designated paths.

City Thread pays tribute to the effervescence of metropolitan environments while celebrating the unpredictable exhilaration of live performance. BYOEB (Bring Your Own Ear Buds) and let your dance adventure begin.

City Thread premiered on August 28, 2017 in a celebration of the city of Montreal’s 375th anniversary with support from Place des Arts de Montreal. Local dancers included students from Montreal’s École Supérieure de Ballet and École de Danse Contemporaine de Montréal.

City Thread requires a 2 minimum week dance residency + advanced site visit with Victor.

Week 1 – Victor Quijada and a RUBBERBAND dancer to set the work on local dancers.

Week 2 – Full company arrives for on-site rehearsals with local dancers.

About the App: Audience members download the performance smartphone app with active GPS that holds a music playlist activated when they move through the designated public space. With the event’s soundtrack in the spectator’s hands, the performance begins in one central meeting point. Eventually, the dancers separate into smaller groups, moving throughout the area, and the sound score changes as audience members hit various hotspots designated throughout the site.

City Thread was made possible thanks to the participation of ANAGRAPH, Société de la Place des Arts de Montréal, TechnoMontréal, l’École supérieure de ballet du Québec, and l’École de danse contemporaine de Montréal, and the support of Valérie Truong Acupuncture Sportive, Kinatex Rockland, Luis Aledo, Azzuan, HOTEL10, GURU, and Blue Spike.

Trenzado (In Development)

(NDP Fee Support Available)
Running Time:  60 minutes
Choreography: Victor Quijada
Music Director: Jasper Gahunia
Lighting Design: Jon Cleveland
Dramaturgy: Mathieu Leroux
Scenography: Sylvain Baumann

Victor Quijada’s new, deeply personal work draws its inspiration from his experience growing up in Los Angeles first-generation Mexican-American. Coming out of retirement and returning to the stage, Victor explores themes of identity, home and motherland. Trenzado features a soundscore by composer and DJ Jasper Gahunia who samples traditional Mexican genre of Norteño (Corridos and Ranchera).  This new work challenges Victor and the audience to reckon with their own ideas of origin, belonging and displacement.

Trenzado is co-commissioned by NextMove Dance, Randy Swartz and received funding support from the New England Foundation for the Arts’ National Dance Project, with lead funding from the Doris Duke Charitable Foundation and The Andrew W. Mellon Foundation. Empirical Quotient premiered at the Cinquième Salle of Place des Arts, in Montreal and was produced by RUBBERBAND, the CanDance Creation Fund, Danse Danse, Grand Theatre Kingston, Guelph Dance, Théâtre Hector-Charland and Société de la Place des Arts de Montréal, and the Segal Performing Arts Centre. 

Performers: 13 dancers
Administrative/Tech: 4

Performers: 10 dancers, 2 musicians
Administrative/Tech: 4

Performers: 7 dancers
Administrative/Tech: 3

Performers: 10 dancers
Administrative/Tech : 4

Performers: 6-8 dancers
Administrative/Tech: 4

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Virtual Programming

  • Technology: Zoom or other live streaming platform provided by presenter.

  • Company requires Presenter to provide virtual stage manager to run virtual activities. A tech rehearsal before every event with the virtual stage manager is required.

  • The company can adapt activities to meet the needs of each presenter/theater and their respective communities.


Los Angeles native Victor Quijada, Artistic Director of Montreal-based dance company, RUBBERBAND brings together classical dance composition and West Coast hip hop like no other before him. In this 60 minute multimedia presentation, rare archival footage of Quijada as a young bboy, a dancer for Twyla Tharp and later an aspiring choreographer, highlight his remarkable story. Quijada shares with audiences his personal journey – his inspirations, struggles and discoveries as he paved his path into the contemporary dance scene.


  • One multimedia presentation w/Q&A featuring Victor Quijada.

  • 25 Students Max (can also be presented as a multimedia presentation with one moderator to lead the Q&A session following the presentation, in this case the number of audience is unlimited).

  • 60 minutes (40-minute multimedia presentation followed by 20-minute Q&A session or interview).

Description: Ahead of the presentation, participants are invited to view a private YouTube playlist that features excerpts of Quijada’s choreographic milestones. Viewing can be done at their leisure. Participants are invited to submit questions to Quijada 7 days before the presentation so that he has time to incorporate some of those questions into his presentation. A Q&A with the audience follows. Company requests two prep meetings – one with the presenting organization to discuss the target audience for the presentation and a virtual tech rehearsal to run through the multimedia elements with the presenter’s virtual platform.

TRENZADO: Inside the Creation Process | Multimedia Artist Talk

Inspired by Victor Quijada’s experience growing up first-generation Mexican-American in early 90s Los Angeles, Trenzado explores themes of origin, belonging and displacement. An intimate evening of dance and conversation, Quijada unpacks the political urgencies that motivated him to create his most personal work to date. Sharing excerpts of his solo and Trenzado’s original sound score which samples traditional Mexican Corridos, Ranchera and Norteño music, Quijada offers audiences a rare glimpse into his artistic process and invites audiences to share their own sentiments around Trenzado’s themes.


  • One multimedia presentation w/Q&A.

  • 30 Students Max (can also be presented as a multimedia presentation with one moderator to lead the Q&A session following the presentation, in this case the number of audience is unlimited).

  • 60 minutes (40-minute multimedia presentation followed by 20-minute Q&A session or interview).

Description: This interactive community conversation is built around the themes of Trenzado. Quijada will present a 40-minute multimedia conversation where he shares his inspiration to create this new work and engage in a community conversation where audiences into the dialogue, to share their own personal stories and perspectives on Trenzado’s themes of origin, belonging and displacement.

CORRIDOS & CARDENCHE 2.0: DJ Demo & Artist Talk

Join longtime RUBBERBAND collaborator, composer and world renowned DJ Jasper Gahunia (1998 DMC Canadian DJ Champion and World Championship Finalist) and choreographer Victor Quijada, as they discuss the various styles, history & origins of the Mexican music featured in Trenzado which include Corridos, Rancheras, Norteño and Canto Cardenche. Gahunia will deconstruct the music in real time for the audiences, illustrating how he mixes original songs to create one-of-a-kind sound scores that have become a part of RUBBERBAND’s signature style.


  • Conversation and live dj demonstration w/ Q&A.

  • Featuring Victor Quijada & Jasper Gahunia.

  • 30 Students Max (can also be presented as a multimedia presentation with one moderator to lead the Q&A session following the presentation, in this case the number of audience is unlimited).

  • 60 minutes (40-minute presentation with demo followed by 20-minute Q&A session or interview).


In addition to creating for the stage, Victor Quijada’s work includes almost a dozen dance films including Gravity of Center and music videos for K-OS and Elton John. The company offers screenings of these films, followed by a discussion with Quijada on the differing demands when creating for the stage and for the cameral.


  • One multimedia presentation w/Q&A with Victor Quijada.

  • 30 Students Max (can also be presented as a multimedia presentation with one moderator to lead the Q&A session following the presentation, in this case the number of audience is unlimited).

  • 60 minutes (40-minute multimedia presentation followed by 20-minute Q&A session or interview).



Running Time: 21 minutes
Adaptation and Direction: François Blouin et Victor Quijada
Choreography: Victor Quijada
Director of Photography: François Dutil
Dancers: Amara Barner, Jean Bui, Daniela Jezerinac, Jontae McCrory, Sydney McManus, Jessica Muszynski, and Paco Ziel
Original music: Jasper Gahunia and William Lamoureux

In the short film Vraiment doucement/Ever So Slightly, François Blouin and Victor Quijada re-imagine the dance work of the same title created by RUBBERBAND in 2018.

Filmed in an empty Olympic Stadium of Montreal, Canada, the film follows six characters in the throes of a sense of urgency, revolt, chaos, and a desire to flee.

The film Vraiment doucement/Ever So Slightly premiered on Télé-Québec in the program, Danse en trois temps, broadcast in March 2021.

This co-production of Télé-Québec, KOTV, and RUBBERBAND was supported by: the Canada Council for the Arts, the Ontario  Arts Council, the Conseil des arts et des lettres du Québec, the Conseil des arts de Montréal, SODEC, the Canada Media Fund, Danse Danse, Danse à la Carte, Société de la Place des Arts, Centre de Création O Vertigo, Théâtre Hector-Charland, Salle Pauline-Julien, Parc Olympique, Global Arts Live, SUNY Purchase, the ARRQ, the UDA, the AQTIS, and the National Bank of Canada.


Running Time: 15 minutes
Adaptation & Creation: Thibaut Duverneix & Victor Quijada
Choreography: Victor Quijada
Director of Photography: Christophe Collette
Dancers: Elon Höglund, Emmanuelle Lê Phan, Daniel Mayo, Anne Plamondon, and Victor Quijada
Original Music: Jasper Gahunia

The short film Gravity of Center is an adaptation of the eponymous stage work created by Victor Quijada. Five characters encounter each other in the wake of a natural and economic disaster. Wandering through unnamed landscapes, they depend on each other for their survival but also feel stifled by their reliance on the group. Five world-class dancers embody animal instinct and human dignity in this stunning film.

Gravity of Center won Best Experimental Short and the Kodak Award for Best Cinematography in a Canadian Short at the 2012 edition of the CFC Worldwide Short Film Festival.

The premiere of Gravity of Center took place at the Yorkton Film Festival in Yorkton, Saskatchewan, in May 2012.

Coproduced by Natalie Galazka, Sach Baylin-Stern, RUBBERBAND, and ANTLER Films. With the support of BravoFACT, the Canada Council for the Arts, Société de la Place des Arts de Montréal, and the Conseil des arts et des lettres du Québec.

Contact Pentacle for a full list of RUBBERBAND dance films available.



This original site-specific outdoor, live dance and audio installation first premiered in Montreal in 2017. City Thread has now been re-imagined as an outdoor audio/visual installation allowing performing art centers, plazas and pavilions to activate their outdoor spaces with a one-of-a-kind sound installation that is all activated through smartphone technology. Projections of footage from the original presenters featuring swarms of performers activate the space while individuals navigate throughout creating their own soundtrack for a multi-sensory experience.

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>> FAQ about RUBBERBAND’s Outreach Activities <<

Master Classes

RUBBERBAND Method Workshop for Professional Dancers and Graduating Students
This 90-min workshop outlines the RUBBERBAND Method, a movement technique developed by Victor Quijada. Based on the RUBBERBAND company class, it prepares dancers for the demands of his choreography. The class addresses the following basic principles: distribution of weight outside of the plum-line axis of the upright skeletal structure; agility in hand, elbow, and shoulder inversions; and use of the body and all its surfaces as 3-dimensional and multi-directional carving tools. Participants are introduced to a hybrid movement style that is influenced by urban and contemporary dance vocabulary, while emphasizing interpretation, decision-making, use of rhythmic variations and partnering. It prepares contemporary and classically-trained dancers for floor-work commonly associated with breakdance. With the RUBBERBAND Method, dancers will be ready to engage with the floor with authority and finesse, while negotiating their body through space using techniques that are adapted from urban approaches. The RUBBERBAND Method also brings awareness to focus and visual connections in partnering and performance.

RUBBERBAND Method Master Class for 16yrs + and First Year College Dance Students
Victor Quijada’s choreography combines urban, contemporary and classical principles and is influenced by experiences of the street, stage and camera. In this class, dancers are taught exercises that build agility and precision whether dancing on their feet or on the floor or upside down. It is an introduction to the RUBBERBAND Method, characterized by the hybrid stylings of contemporary, classical and urban dancing.

Schooltime Matinee: The Breakdown
The Breakdown is presented in a lecture demonstration format that includes excerpts of various RUBBERBAND work and culminates in a Q&A session with students. The activity provides insight into the development of Quijada’s RUBBERBAND Method illustrated through excerpts of the company’s repertory. This is behind-the-scenes event where dance and conversation are at the forefront and showcases RUBBERBAND’s spontaneous and contemporary style. The Breakdown can be tailored for different audiences – from dance aficionados to novices.  Schooltime matinee cannot be scheduled to begin before 11AM.  Length: 50 minutes + 10 min Q&A session.
Grade range: Grade 6-High School

Short Film Screening/ Dance for the Camera
RUBBERBAND has created a number of dance on film works. The company is able to offer an evening screening and discussion, allowing audiences to become better acquainted with Victor Quijada’s choreography and to have a discourse on the differences between creating dance for film and stage. In addition to a number of high-quality short films, the evening can also include a selection of music clips and videos from special projects. With viewers’ feedback and participation, the evening of screenings can be tailored to specific interests, with or without the presence of the choreographer as a mediator.

Trenzado Share-Backs
These community conversations are a key element to the development of Trenzado and building a deeper relationship with the different communities surrounding the presenting venue. Choreographer Victor Quijada, music collaborator Jasper Gahunia and dancers will engage in these conversations. Victor will share his origin story and present excerpts from his solo and discuss the music collaboration. The audience is invited to engage in the dialogue with the company, sharing their own personal stories and perspectives on Trenzado themes of origin, homeland and identity. They can be organized in studios, on campus, in community centers, church halls etc to maximize reaching the surrounding population. Contact Pentacle for A/V needs.

Pre and post-performance discussions available upon request.

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  • “Quijada’s choreography blurs hard edges of breaking with contemporary sensibility, boasting delectably clever partnering and buoyant musicality”

    Time Out Chicago

  • “A marvel of speed, precision, and invention, Victor Quijada is riveting as a performer. […] . As artistic director/choreographer of Montreal’s RUBBERBANDance Group, he mixes hip hop with contemporary and classical dance in a speedy, über-physical hybrid that blends easy elegance with male-female confrontations that threaten to become pileups. When he’s finished, the audience is whooping”

    Dance Magazine

  • “In advancing his craft, Quijada has lost none of his originality of style nor the sheer physical excitement of his street dance signature”

    The Globe and Mail

  • Ever So Slightly: In Search of Balance

    Le Devoir

  • RUBBERBAND, a delight to dazzle audiences

    Huffington Post

  • 15 Years Remix and Redux

    Thinking Dance

  • Even More Electric

    Dance Magazine

  • About
  • Repertory
  • Virtual Programming
  • Outreach

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 pair.
  • 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


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.


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.

Dancing posture

Main problems:

  • Hunched shoulders
  • Head and neck forward
  • Shoulder blades exposed
  • collapsed belly 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 the elbow to the 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 lead 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 of you in front of you in your arms and on your elbows hold on straight arms with lowered shoulders: shifts, latin square, rond, 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

    1. 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.
    2. Exercise with band . We place the elastic band under the booty and press the stretched elastic band up, you can do it with a stretched elastic band in your 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, turn the foot at the free leg, pull back - straighten the knee, strong stretched inverted foot, raise 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 supporting 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 corner

    Geometry 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.
    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
    - Split

    All 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. Arms, legs, core work

    Muscle groups, arms, core exercises

    8 reasons why dance is the best fitness workout

    Written by

    197 articles

    Who said that working on the perfect figure would be easy?
    It's time to diversify your fitness training, turn on your favorite music, surrender to the rhythm of the dance and continue to lose weight.

    Dance workouts are high-intensity physical activities that affect every cell of your body, thereby working out all the muscles and burning extra pounds.

    Dancing not only improves your physical and psychological state, it makes you happier and more energetic. If you still have doubts, here are 8 more facts why you should start dancing.

    #1. Dance fitness is fun

    Research published in The Arts in Psychotherapy , have shown that for a person experiencing stress and anxiety, dance training will be the best antidepressant.

    Dance is the language of gestures and emotions. Hormones of joy that are produced during dance classes help to relax and reveal feelings, express yourself and get a tremendous boost of energy.

    #2. Dancing - improves cognitive abilities

    The brain is cunning and without a fight is not ready to part with extra pounds.
    Dance fitness will be a great way to improve cognitive abilities and negotiate with the brain.

    During dance classes, as studies have shown, he becomes much more active, in contrast to the state of rest. All parts of the brain and nervous system are involved, which means that it works at full strength and its aging slows down.

    #3. Dancing burns calories

    If you like to dance and want to lose weight, you are in luck.
    Absolutely all dance workouts help to get rid of extra pounds if you do them regularly and give your best.

    How long and how hard you dance to achieve a calorie deficit depends on your weight and diet. The more calories you eat, the more work lies ahead.

    #4. Strengthen the muscles of the body

    Dancing helps not only to get rid of extra pounds, but also strengthens and tones the muscles of the whole body. During a dance workout, almost all the muscles are involved at the same time, which means that there is simply no local load, as with ordinary fitness exercises on the same joints.

    Dancing improves circulation and works deep muscles. Therefore, as a rule, dancers have strong legs, elastic buttocks and great endurance.

    #5. Dancing replaces a full-fledged cardio workout

    Dynamic movements during a dance workout will be an effective fat burner for you that affects the whole body at once.

    Hot fitness dances like zumba combine hip-hop, salsa, belly dance and many other styles to provide excellent aerobic exercise, help you work out the maximum amount of muscle and lose weight.

    Only 30 minutes of high-intensity dancing, which includes cardio and strength training, and 300-400 kcal is gone. And you don’t have to worry about fatigue at all - during the dance you completely immerse yourself in the process, get carried away by it and stop thinking about everything.

    #6. Improve your balance

    The movements you make during a dance workout relax and help you feel, control and balance your body better. Improves motor skills and coordination.

    No. 7. Large selection of dance styles

    Dance options are endless - from ballet to modern.
    If you are agile and energetic, hip-hop, Latin American and other dances are perfect for you.
    Zumba has become a popular trend of our time - a full-fledged, super intense dance workout based on Latin American rhythms. And that means you won't get bored. Mira Novak and her six fiery fitness dances will help burn those extra pounds and get a visible result in 2-3 weeks. In addition to incendiary dances, in the classroom you can learn seduction, graceful gait and just give yourself confidence. Styles such as strip plastic, twerk, or a more gentle direction - belly dance will help with this.

    If you prefer slow and relaxing movements, like to meditate or practice yoga - try contempo. It will help keep the body in good shape and better know yourself.
    Adding these dance workouts to your fitness plan will improve and diversify your life and help you reach your cherished goal faster.

    No. 8. Available for all skill levels

    You don't have to be a professional to start dancing, the main thing is desire. Just turn on the music and start moving. And if in doubt - online training or dance schools will teach you everything.

    How to make dance a fitness training

    When the dance direction is chosen, you can start training. And don't be afraid that you won't succeed. Relax, listen to music and your body will tell you how and what to do.
    Take a few more tips:

    • replace one cardio workout with 30 minutes of non-stop dancing;
    • gradually increase the intensity and number of movements of your dance training;
    • for a detailed analysis of your movements, make a video recording of your workout;
    • imagine that you are on a big stage - this will serve as an excellent motivation to be better and achieve the highest results;

    These simple tips will help you enjoy your time, start dancing and keep losing weight.


    Is it possible to replace fitness training with dancing?

    Yes, dancing works deep muscles, burns calories, and has a positive psychological effect.

    Learn more