How to do the soldier boy dance

How to Do the Soulja Boy Hip-Hop Dance Move

Learn how to do the Soulja Boy from choreographer Randy Connor in this hip-hop dance video from Howcast.

Transcript

My name is Randy R.C. Connor, choreographer to the stars. I've worked with Britney Spears, P. Diddy Combs, Prince, Mary J. Blige, Janet Jackson, Jay-Z. We're gonna just break down some moves, that you can use at the club, at the parties, at home, in your bathroom -- just have fun guys, so let's get started. C'mon! This next dance basically created started a revolution. This is the Soulja Boy Dance. It's a really basic routine. But really simple really cool. There's a few steps we have to learn in this one though, guys. Alright, so we're going to take it from the top and we're going to go right through. Alright? So, we have one and two, three and four, five and six, seven and eight. Okay? Let's take it slow. Five, six, seven, eight. One and two, three and four, five and six, seven to the left. One and two, three and four. Okay? Alright. Excellent! Alright, but we still have a few more counts to go. Alright? But let's take that much. Do it with me. Five, six, together on eight. One, two, three, four, five, six, seven, eight. One and two. Good. Three and four, five and six. Good. Seven and eight. Nice! Let's take that from the top. I think you pretty much got it. Alright? We still have a few more steps that we gotta learn, but that's the first eight counts. The first couple of eight counts, actually. Alright? So let's try it a bit with music. Here we go. Nice and slow, guys. Ready? Do it with me now. And five, six, five, six, together on eight. One, two, three, four, five, six, seven, bounce. One two, three, four, five, six good and eight. Excellent. I think you got that. We're moving on. Okay. Seven, eight. That was our last count. Now, we have cross and. Okay? Touch and. S, we have one, two, three, four. Okay? Five and six. Okay? So we have one and two and three and four. Okay? Again, five, six, seven, eight. One and two and three and four. Good. So, now we're moving on. So, we have one and yeah. Two and yeah. Three and four. Yeah. Five and six and superman eight. One and two, three and four, five and six, seven and eight. Excellent and that's the Soulja Boy Dance. But we're gonna put it together now. Alright? But, before we do that lets take the last piece we worked on. So, we're going from here. Five, six, together on eight. We have one and two and three and four, five, six, seven and eight. One, two and three, four and five, six and seven, eight and one. Alright, okay. We got that? Now, let's put it all together from the top. Let's take it really slow. Alright? Because you gotta memorize this. Alright? So here we go. Five, six together on eight. One and two, three, four, five, six, seven and eight. One and two, three and four good five, six, seven and eight. One and two and three and four, five and six, seven, eight. One and two, three and four, five and six good seven and eight. There you go. We're gonna try that with the music. The Soulja Boy Dance. Alright? Bounce, bounce. Here we go. Ready? Five, six, five, six, together on eight. One, two, four, six, eight. One and two. Good. Four, six, eight. One and two and three and four. Five, six, and seven, eight. One and two three and four, five and six, seven, eight. Excellent! There you go guys. That was the Soulja Boy Dance. So go out, have fun, and enjoy. Make Soulja Boy proud.

Crank That (Soulja Boy) by Soulja Boy

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Songfacts®:

"Crank That (Soulja Boy)" was a monster hit, spending seven weeks at #1 in the USA. Soulja Boy, whose real name is DeAndre Cortez Way, co-wrote and produced the track when he was just 16. He had just turned 17 when the song topped the Hot 100 on September 15, 2007, making him the youngest solo artist to write, perform and produce a chart topper, a record previously held by Debbie Gibson with "Foolish Beat. "
The lyrical content of this song is a combination of bragging and dance instructions. A Crank That dance craze arose from the song's success.
These is also an alternate interpretation of the lyrics: It could be about having sex at a young age. The lyrics, "Superman that ho" can refer to something a guy might do when a girl withholds sex from him. When she falls asleep, he will ejaculate on her back and then put a bedsheet or piece of paper there so she appears to be wearing a Superman cape when she wakes up.
This song features a sample of a steel drum. Steel drums are percussion instruments originating from the West Indian islands of Trinidad and Tobago. They are generally made from 55 gallon oil drums and their use in carnival music competitions on the Caribbean islands became commonplace in the 1940s. Other hits to feature steel drums include the Hollies 1967 hit "Carrie Anne," The Beach Boys 1988 American chart-topper "Kokomo" and 50 Cent's 2003 transatlantic Top-Tenner "P. I.M.P."
Soulja Boy created this song in one hour on the Fruity Loops computer system. In an interview with HipHopDX.com, Soulja Boy explained how he uses the software: "To be honest, it took me an hour to produce the 'Crank That' song - at the most. Sometimes I just sit back... I can make a beat in my hotel room or I can make a beat in my dressing room, while getting ready for a show, and I can send it to Pro Tools, and bam, get it right back recorded on my laptop. Then I can post it for all my fans to hear."
"Crank That" was the most successful digital track of 2007 in the USA with 2,909,000 downloads.
Digital Spy asked Soulja Boy if he thought this would be a smash when he recorded it. The teenage rapper replied: "Nope. To tell you the truth, it was just another song that I was recording. I didn't go into the studio saying, 'This is gonna be a #1 smash and everyone's gonna be doing this dance'. I went in the studio to record just another song. It's crazy to think it's been the #1 song in the world."
The tune has featured in several video game including the World of Warcraft. It was also one of the featured song levels on Xbox 360's Dance Central.

More songs from Soulja Boy
More songs that have their own dance
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More song titles with the artist's name
More songs from 2007
Lyrics to Crank That (Soulja Boy)

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Dance of the Soldier - Choreographic Ensemble Inspiration

The period of the Great Patriotic War is a time of courage, heroes and fortitude of the whole nation and every person.

In this difficult time for people, song and dance led forward, charged with energy and faith in Victory and success.

Military dances appeared with the advent of people and military conflicts on Earth. In ancient times, the family of a warrior accompanied him into battle with a ritual dance. The purpose of which was to protect him in battle, help him win and return home.

Subsequently, songs and dances began to reflect the spirit of victory and courage of the heroes. The soldiers honored their strength, ingenuity and perseverance shown in battle. This style has come down to our time and generation.

The Soldier's Dance are finely practiced movements that reflect the music played or played. It happens: individual, pair dance and collective.

The military period has died down, but military dances continue to live among the people. In the repertoire of dance groups, there are always several similar works prepared for military-themed ceremonial events.

History and the young generation in the soldier's dance

Within the framework of the educational system of the kindergarten and school there is a point of patriotic education. This is an extensive program that includes thematic events of both classroom and school scale. It does not do without outdoor events.

They tell about the history of the country, teach to be proud and respect their country and the heroes it raised. In memory of the exploits and victories at the solemn holidays dedicated to important events in the history of the country and the world.

Children begin to learn the dance of the soldier from a very young age. The dance of the children's soldiers contains simple movements:

marching
squat
circular movements
restructuring in ranks and columns.

In most cases, it is performed collectively, so that the children feel more confident.

Dance little soldiers

Dance of soldiers in kindergarten , prepared in advance, so that all participants memorize the movements and fully practice them. It takes several days to prepare, it can even take a couple of weeks.

The following compositions are used in their repertoire:

dance “A soldier is walking through the city”

"Good Soldiers" dance;

dance "We are now soldiers."

Boys mostly take part in the dance, girls are also welcome. The main movements are designed for boys, girls perform auxiliary fragments. During the war years, the girls actively fought shoulder to shoulder with the guys, not yielding in anything. They were soldiers, they were nurses. And this is reflected in modern military dances.

The dance “A soldier has a day off” and the children's dance “Good Soldiers” are structured in such a way that everyone takes an active part.

At the beginning of the song, the children go on stage and march in a circle, after passing the circle, they line up in twos, make two columns, move towards the audience, turn left, march in a circle.

From the couplet about kvass, turn around, two columns go towards each other and change places.

Then make two circles, outer and inner, moving in the opposite order.

After they make one column, stand at the counter facing the guests, and the baton is intercepted by the girls from the line about the place of residence of their beloved.

Walk past the boys and wave to them. Stand at the opposite wall.

The boys do another marching circle, the girls clap, then bow and they leave the stage.

Both boys and girls in military uniforms and hats, in most cases caps.

Children's dance Soldiers and the dance "We are now soldiers" include more elements of marching and rebuilding into lines and columns.

Soldier's dance is an interesting and not difficult dance, the guys take part in it with interest and desire.

Children's dance soldiers video, can be found in large numbers in any search engine.

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What is the difference between a dance and a dance • Episode transcript • Arzamas

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Course What is modern danceAudio lecturesMaterials
Contents of the third lecture from Irina Sirotkina's course "What is modern dance"

In the last lecture we were convinced that dance is not so alien to philosophy as ignorant people used to think about it. Our next step is to show that dance can very well be a philosophy. Remember Nietzsche said that you need to philosophize with both your feet and your head? How they think with their heads seems to be clear. But is it possible to "think with your feet"? But some famous dancers speak directly about this. One of the creators of postmodern dance, Merce Cunningham (we will return to him later), stated: “I am no more philosophical than my legs.”

The more you get to know the dance, the more you notice contradictions in it. On the one hand, dance is liberation, emancipation of the body. On the other hand, there are a lot of rules in the dance. For example, when dancing with a partner and walking freely, it is important not to step on his or her foot.

Balls have always had very strict rules regarding not only the sequence of movements in each dance, but also the sequence of dances. The aristocratic ball opened with a polonaise, followed by more cheerful mazurka and cotillion. It was carefully prescribed who would dance with whom: it was indecent to dance more than three times with the same gentleman. The outfit was even more strictly controlled: it was obligatory to wear gloves (white and always clean) so that, God forbid, not to touch the skin of a partner. In other words, the ball is very, very codified by custom, rules, prescriptions. However, by the end of it, "ballroom liberties" could also increase. No wonder loves and marriages began at balls.

Yuri Mikhailovich Lotman wrote something like this: dance exists in the space between discipline and freedom, order and liberties. This is true not only about ballroom dancing, but about dance in general. The existence between order and freedom is the first dilemma of dance, which we will talk about today. By the way, the presence of two different words in the Russian language is connected with it: "dance" and "dance". These words are not full synonyms, they mean different things (I call them concept words). And their origin is different. "Dance" is a word borrowed from the German language (der Tanz), "dance" is a native Russian. The word "dance" entered the Russian language at the same time when the first balls, or "assemblies" appeared, which were arranged by Peter I.

If we place dance and dance on a scale with maximum freedom on one pole and maximum order on the other, then the dance will be closer to the pole of freedom, and the dance will be closer to the pole of order. In dance, as we have seen, there is also freedom, but in dance there is more of it. We call dance a passionate, wild, free, ecstatic dance. Unlike dance, dance is subject to regulations, the rules of the civilization that created it, the laws of art. Dance and dance in a sense oppose each other, like a free expression of feelings - self-control.

You have probably heard the expressions “nerves dance”, “soul dances”. Buffoons are dancing, a tightrope walker is dancing in the sky above the fair. Buffoons in their dance triumph over the prohibitions of the official repressive culture - it was not for nothing that the church forbade buffoon games. And the buffoons themselves were severely punished: in Andrei Tarkovsky's film "Andrey Rublev", the buffoon is cut off his seditious language.

Free from conventions and restrictions, dance is subordinated only to music, which itself is an emotional element. The dance cannot be "performed", it can only be surrendered to - like passion or ecstasy, "start dancing".

As we can understand, dance and dance are also class antipodes: rich and noble people “dance” at balls, peasants “dance”, ordinary townspeople - in a word, the people. The dance is democratic, the dance is aristocratic. Remember how in "War and Peace" Natasha Rostova, trained only in ballroom dancing, unexpectedly for everyone (and perhaps for herself) dances "Russian" to her uncle's guitar - with the full approval of the peasants.

Some even talk about the "instinct to dance", supposedly universal for all people, but I will not subscribe to the biological word "instinct". I prefer to stay in the realm of culture when talking about dance rather than speculating that animals also dance. It seems to me that we are talking about different phenomena here.

Of course, dance and dancing have a lot in common. Both serve for communication - not only personal, tete-a-tete, but, as sociologists say, are included in the processes of group communication. This is especially noticeable in some dances: look, for example, how much pride and challenge in the movements of flamenco dancers. And in Russian dances, men even have special knees: trick, breaking (hence the colloquial “Well, why are you breaking out?”), snorting, frightening, trepak. This is a challenge, intimidation of an opponent, maintaining one's own morale. They are performed, for example, during aggressive courtship or as a provocation to a fight. Not without reason, at the end of rural holidays, after round dances and dances, street fights often took place. They fought wall to wall (for example, suitors because of a girl with the support of their teams) or on a geographical basis: street to street, edge to edge. Now this tradition has partly passed to modern street dance, street dance - hip-hop. Initially, this is a rivalry between two gangs from different quarters: as in a Russian village, they compete in prowess, intimidate each other, promising to give each other a trepak.

With this ability of street dancing - a symbolic confrontation - to develop into a real struggle, sometimes with bloodshed and self-mutilation, perhaps the distrust of the authorities in public holidays is connected. The authorities have always tried to put the dance under their control. In pre-revolutionary Russia, the introduction of folk festivals into a "civilized" framework was carried out, in particular, by public organizations - guardians of people's sobriety. In contrast to the taverns, they opened the so-called people's houses, where they drank tea, not vodka. In Soviet times, this tradition was continued by red corners, factory and village clubs, and Houses of Culture. They tried to subdue the free, uncontrollable energy of folk festivals and dances, introduce them into a disciplinary channel, and regulate. For this, they organized "amateur art" (which, of course, is a paradox - organized amateur performance). They published instructions for holding club evenings, collections of "mass games and dances". At 19In 28, at the All-Union Spartakiad, they even organized a “dance championship” between different peoples of the USSR.

The Pyatnitsky Choir, which arose even before the revolution and was an informal gathering of singers and musicians, became "state" and even "academic" under Soviet rule. On the wave of taming the "wild" dance, in the terrible year for the country in 1937, the first State Folk Dance Ensemble was created - it was permanently led by Igor Moiseev. A rather strange hybrid of folk dance and classical ballet appeared - the so-called folk stage dance. The dance began to be staged by special choreographers and taught in special schools, including cultural institutes. Finally, the dance rose to the very top of officialdom: "folk dances" were included in physical culture and other parades on Red Square. Moiseev, Kasyan Goleizovsky, and other professional choreographers, including those from the Bolshoi Theater, took part in staging the parades.

It is curious that when Isadora Duncan came to Russia on her first tour, her dance was so unusual, it was so different from both balls and ballet that it could not even be called a dance. Journalists, critics, fans unanimously wrote and spoke about Duncan as a dancer. They remembered Nietzsche again (Isadora herself ambitiously imagined herself “a battlefield contested by Apollo, Dionysus, Christ, Nietzsche and Richard Wagner”). Her dance has become for her fans a symbol of rebellion against a repressive culture, a space of individual freedom, where creativity and creation of oneself are possible, where the human "I", the personality, is revealed - or perhaps created for the first time.
Reenactment of Isadora Duncan's dance by Sylvia Gold. Music by Franz Schubert. 1979
As we remember, the “dancing philosopher” Nietzsche admitted that he would believe “only in such a God who could dance”, and considered lost “the day when we never danced”. He meant, commented Isadora, not pirouettes and entrecha, but "an expression of life's ecstasy in motion." Creating her dance - deeply emotional and personal - Duncan claimed to experience ecstasies on stage and revel in her own "will to dance." This is how she attracted spectators who admired the "rapture of joy of the dancer" and believed that she should be seen "if only because of this joy of hers to dance." Dance-ecstasy, dance-improvisation became the most characteristic utopia of the Silver Age. Man, wrote one of Duncan's followers, must first of all awaken his "will to improvise. " Dance improvisation is "the manifestation and realization of one's higher spiritual and physical "I"". Duncan's fans saw in her dance a means to restore the once lost integrity, to bridge the gap between mind and emotions, soul and body. No wonder her dance was called free, free.

Michel Foucault has a concept of biopower - this is how he calls the control that modern society exercises over the body of an individual. This is not so much about direct control, but about a set of cultural norms and practices for disciplining the body. It is required to discipline the body, to educate, to subordinate it to control and self-control precisely because they see a danger in the body. The awakening of bodily forces and energies can be fraught both for others and for the “owner of the body” itself.

Conversely, corporeality and dancing are often seen as the last island of resistance, including resistance to a normative culture clothed in the words of an ideology.

The dancing body is more than a mere conductor of social norms. Unlike consciousness, it - so these people believe - is able to elude the rigid requirements of morality, relations of dominance and submission, the hypnosis of consumerism, consumerism. The body can become the basis for a radically different relationship. I will neither confirm nor refute this statement - I will leave it open so that the listeners themselves can explore the relations of order and freedom in their body and their dance.

More to read:
Bakhtin M. M. Folk-holiday forms and images in the novel by Rabelais. The work of Francois Rabelais and the folk culture of the Middle Ages and the Renaissance. Ch. 3. M., 1990 .
Kreidlin G. E. Non-verbal semiotics. Body language and natural language. M., 2004 .
Lotman Yu. M. Conversations about Russian culture. Life and traditions of the Russian nobility (XVIII - early XIX century). Part 2: ball. St.
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