How to do the solja boy dance
Kane Brown Teaches 7-Year-Old Boy How To Do "Soulja Boy" Dance During New York City Concert
Kane Brown and 7-year-old fan Dancing in New York City; Photo Courtesy of @CountrySwag/Instagram
Boot Kickin' Mayhem January 16, 2022
While Kane Brown does welcome his tour mates Chase Rice and Restless Road to the stage during “Famous Friends” on his Blessed & Free Tour, the country superstar brought another special guest on stage during his performance at New York City’s famed Madison Square Garden on Saturday evening (Jan. 15).
The “One Mississippi” singer brought a 7-year-old boy, who says he is Brown’s No. 1 fan, on to the KB-branded stage to teach him how to do the “Soulja Boy” dance.
“Do what I do…” Brown said as he showed the young fan how to do the dance. “Then you’re going to go like this.”
While singing “Crank That (Soulja Boy),” a popular dance anthem from 2007, during a part of the show where Brown sings a mashup of songs, the 2021 CMT Artist Of The Year honoree danced and encouraged the young fan to dance, saying “I want to see you dance. ” Brown request prompted the young fan to share his best dance moves with the capacity crowd at Madison Square Garden.
The young fan’s dance moves earned him a roaring applause.
“Y’all give it up for him,” Brown said as the song came to a close.
Click below to watch a video of Brown and the 7-year-old fan dance, captured by Country Swag.
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Brown’s Blessed & Free Tour continues through February 6 with dates in Milwaukee, Wisconsin; Minneapolis, Minnesota; Chicago, Illinois; Portland, Oregon, and more.
The country hitmaker recently released a brand-new song, “Whiskey Sour,” a track co-written by Josh Hoge alongside Jaxson Free and Adam Craig. The father of two made his debut as a co-producer on the track alongside Ilya Toshinskiy.
“Whiskey Sour” tells the story of a man drowning out the pain of a difficult breakup. The couple was “two heartbeats away from wedding rings” and what they thought would be forever. Instead, he’s left alone drinking “whiskey sour / sitting bar side after hours / thinking how can I get over / if the love was never ours.”
In addition to releasing the new tune, Brown also shared a music video for the track, which features Runaway June’s Natalie Stovall on fiddle while Brown sings the somber tune.
While Brown didn’t have a hand in writing the track, he did share that he loves “getting to sing other people’s stories,” and his emotion-filled performance in the clip perfectly conveyed the song’s message.
With a fiddle-infused melody and relatable lyrics, “Whiskey Sour” showcases Brown’s country roots, while displaying an emotional side of Brown that fans have not yet seen.
“Whiskey Sour” follows Brown’s current Top 10 hit, “One Mississippi” and he and Chris Young’s multi-week No.
1, “Famous Friends.”
The track is set to appear on Brown’s yet-to-be announced album, which will follow his ACM-nominated EP, Mixtape Vol. 1. Mixtape Vol. 1 has gone on to earn several hit singles including “Cool Again,” “Worldwide Beautiful” “Worship You” and his Top 40 radio single, “Be Like That” featuring Khalid and Swae Lee.
Previously, Brown shared that the new record will include “12-15 songs,” all brand-new tracks except for “Worship You.”
Kane Brown; Photo Courtesy of YouTube“I can’t give away too much yet on the new music but I def want to keep pushing myself and making music for my fans,” Brown told Music Mayhem. “I think it will surprise people, but it’s still me.”
Recently, Brown joined Kelleigh Bannen for the year-end episode of Today’s Country Radio on Apple Music Country, where he revealed that he decided to push back the album’s release date because he wanted to play around with different styles and make each song different from one another.
“I will say I pushed it back literally the other day. I think I am going to release songs hopefully once every other month leading up to it,” he shared. “None of them sound the same, which is another thing that I’ve been thinking about.”
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8 Easy Hip-Hop Dance Moves To Start Learning
Learning hip-hop dance moves opens up a world of experiences. It may seem intimidating to take on new dance styles, but rest assured that hip-hop is accessible to all who want to learn it.
Once you’ve finished this article on how to learn hip-hop dance moves, you’ll be well on your way to becoming a hip-hop master.
Why is Hip-Hop Dance So Popular?
Hip-hop is often considered the antithesis of the dance stylings of academies and companies. Hip-hop music was invented by African-American dancers in New York City in the late 1960s, gaining popularity throughout the 1970s. African dance styles heavily inspired hip-hop. They both have moves that involve staying low to the ground and dancing to complex rhythms.
African culture and black Americans also invented jazz dance. While jazz dance and hip-hop often blend, hip-hop differs from jazz by being more fluid with the entire body. Pop dance, on the other hand, draws heavy influence from hip-hop, but tends to be more upright and rigid.
8 Easy Hip-Hop Dance Moves
Hip-hop may look intimidating for beginners, but learning just a handful of basic hip hop dance moves can have you dancing like a pro in no time.
Here are some tips on how to do hip-hop dance moves.
Popping and Locking
Popping and locking are multi-step dance move that makes even a beginner look like a professional. First, step with your right foot while putting your left arm up. On the next beat, cross both across your body. Once you pull your limbs in, push out with the opposite arm and leg. Let the wrist of the arm in the air circle and drop, or ‘lock’.
To pop, push your arms out forward and move back, as though you are popping yourself back.
Break Dancing
Break dancing is an entire subgenre of hip-hop, if not its genre of dance entirely, but you can learn the basics in six steps. The most basic hip-hop movement is to helicopter the legs around the body while balancing on one arm.
To do this, get low to the ground, palm on the floor. Pedal your legs in a circular pattern, switching arms to let the legs continue to swing around.
Boogaloo Dance
The Boogaloo dance, inspired by Latin dances, is an exaggerated walk where the arms are swung wide.
Step with one leg, swinging the opposite arm back, then pause for a beat. Step forward with the opposite leg, switch the placement of the arms, and once again pause for a beat.
Walk it back, pivot, then do the same on the other side, creating a V pattern.
Social Dances
Social dance covers a wide array of dances, including the Bennington. This version of the Wop may be difficult for beginners, but it’s possible to learn.
Rock the torso back and forth, keeping hands crossed over the groin. Then switch to swinging the arms back and forth, shifting weight from foot to foot. Kick on beat with the off foot before shifting weight back.
Once you’ve mastered these moves, come visit our studio to learn how to elevate your game. Struggling with any of these techniques? We can help you nail your moves and become an incredible hip-hop dancer.
Soulja Boy
To understand the mechanism of this iconic dance, you first need to learn the superman dance move.
The superman move mimics the iconic pose of the superhero, with arms pushed towards the sky with clenched fists while you bounce back on your heels.
To dance the Soulja Boy, you incorporate the superman with arm cranks while bouncing back and forth on your heels.
The Moonwalk
The Moonwalk, invented by pop legend Michael Jackson, creates an optical illusion that still amazes decades after its invention. The dancer slides backward on the toes of their shoes while making motions that indicate they are trying to walk forward. This physics-defying dance is sure to dazzle on the dance floor.
The Camel Walk
The Camel Walk is similar to the Moonwalk, except you’re moving forward. Pick up each knee and move forward on the beat, as though you’re a horse (or a camel). Remember to keep your body loose and flow with the movement to get the hip-hop flavor.
The Running Man
The Running Man dance move is one of the simplest on this list. If you’ve ever tried to run in place, you’re already halfway to knowing this move.
Run in place, pushing your feet back after they touch the ground. Then you can either swing your arms out on the beat or pull them in.
The Wobble
The Wobble is a perfect example of the fluidity of hip-hop. Lean back and wiggle the shoulders in a modern version of the shimmy. Wobbling looks easy but can take some work to perfect. Take time to learn how to relax enough for the dance to look effortless while maintaining your form.
Body Roll
Body rolls are a hip-hop staple. With this dance move, you remain in place, but undulate your body bit by bit to create a wave motion with your entire body. If you’re going from the bottom up, start with your hips, then back, chest, shoulders, and head. If you’re going top down, go in the opposite order.
How To Start Learning Hip-Hop Dance Moves Quickly
Maybe you’re preparing for an event coming up, like a school dance or a wedding. Maybe you’re just hoping to develop a new skill before the season is over. Whatever the reason, there are plenty of ways to help you learn hip-hop dance moves quickly, whether inside dance studios or out.
Watch Videos Online
If you’re struggling to follow written instructions, then look for videos of people performing the dance moves you want to learn.
Use Mirrors or Record Yourself
Even if you feel confident in your moves, it’s hard to judge your form while dancing. Use mirrors to check that you’re on the right track, or record a video of yourself dancing to watch later.
Practice Daily
Nothing improves without practice. If you want to improve your hip-hop dancing, you’ll need to practice them regularly to keep your skills sharp. Join a dance crew to get down with other people like you.
Sign Up For Classes With On One Studios
The best way to learn to dance is to do it in person with professional teachers. At On One Studios, we have beautiful dance studios and experienced instructors ready to guide you to become the best dancer you can be.
Are You Ready to Elevate Your Hip-Hop Dance Moves?
Hip-hop dancing is popular, accessible, and always evolving.
If you’re looking to add hip-hop moves to your repertoire, join us for hip-hop choreography dance classes near you that will help you learn hip-hop quickly while having tons of fun.
How to dance with a child at home. Tips from experts on how to teach children to dance on their own
Contents
Dancing is a natural human state. Starting from the age of 6-8 months, babies begin to move with pleasure to the beat of music, and having learned to walk, they stomp to their favorite songs. Between these spontaneous movements and a real expressive dance is not such a big gap. But to dance really fully and physiologically correctly you need to learn. And dance classes are very useful for children, and, importantly, give the children pleasure. Consider when to start learning to dance and how best to build homework with young children.
The benefits of dancing for the development of the baby
First, let's figure out whether it is necessary to dance in childhood and whether regular dancing classes bring benefits to the development of the child.
First of all, dance is a motor activity that is necessary for every person. Classes contribute to a harmonious load on all muscle groups, make the child more resilient and dexterous, improve his coordination and orientation in space.
In addition, dancing develops:
- flexibility;
- hearing;
- sense of rhythm;
- ability to understand music;
- creativity;
- formation of neural connections.
Dancing trains memory (the child has to memorize movements), helps to gain a beautiful posture and self-confidence. Classes contribute to the development of intelligence, the ability to concentrate on tasks, the ability to set goals and achieve them. All these skills will be useful to the child not only in further schooling, but also in adulthood.
We must not forget about social development. Even if you decide to study on your own at home, the baby has to interact with you, the child learns discipline, learns to listen and understand an adult, perform new tasks, and overcome laziness.
Even more benefits from teamwork. Here, kids learn to interact with each other, in practice they understand how important mutual assistance is, if the dances are paired, then they master the distribution of roles in the dance and gain communication skills.
At what age to start dancing with a child
It is possible to teach a child to music at an early age. You can play music for newborns, sing lullabies or funny nursery rhymes to your child. When the baby begins to coordinate his movements, add stomping, clapping, give the child a tambourine, spoons, bells or drums. You can also take the baby in your arms and move yourself to light music. Such joint exercises help to form a sense of rhythm.
As for regular classes, it depends on the individuality of the child. Some children are able to perform simple movements as early as 2-2.5 years old, and some find it difficult to concentrate on classes even at 4. . If you think that your baby is already ready, try some joint activities at home, if it doesn’t work out, put your attempts aside for a while.
There is no need to rush things and force the child to do what he is not yet ready for. This can discourage not only dancing, but also other activities.
How to properly start learning and get your child interested
As already mentioned, the main thing is not to rush things and approach learning smoothly. It is also important to interest the child, because if the baby himself wants to learn to dance, then it will be much easier for him than if he simply fulfilled the desire of his mother.
At the conscious age of a child, you can start showing performances of professional dancers, children's groups or solo dances of his peers. Choose colorful and understandable numbers, try to choose not too long programs to watch with fairly simple choreography and clear rhythmic music.
Ask the child if he wants to learn to dance too, dance with him yourself. Even if he never managed to get into the rhythm, praise him, tell him that he will make an excellent dancer.
It is worth noting that here parents may encounter some difficulties.
The fact is that most children are absolutely sure that they already know how to dance. Preschoolers are incapable of being critical of themselves. To them, antics and chaotic jumps in front of the mirror seem no less beautiful than the perfected pirouettes of a professional ballerina. In no case do not convince the child that he still knows nothing. Show him some more difficult movement and offer to practice more to learn. Offer to learn a specific little dance, etc.
Another incentive that can be used is professional clothing. Even with self-study at home, buy ballet shoes for a child, a swimsuit and a tutu for a girl, and beautiful dance pants and a T-shirt for a boy. Take a trip to a specialty store with your child, let him choose the right clothes for dancing for himself, do not argue, even if you get a completely wild combination of colors. The child will definitely want to wear a beautiful, self-chosen outfit and try it out in class.
Sign up for a trial lesson
Choose movements that children can do and gradually increase their difficulty.
You can try the following items:
- stomps and pops;
- side steps;
- squats.
The first dance moves should be clear and not multiple, gradually complicate the compositions.
How to choose music
Classes with a child should not be monotonous and boring. Small children cannot work for hours to the same melody, honing movements to perfection. Therefore, you need to pick up a whole collection of music suitable for classes.
Of course, you need to purposefully learn dance compositions and links, and not just move to the music (although the latter is also good), but try to diversify your classes. You can use different melodies:
- for warm-up;
- for musical breaks during class;
- for coordination and stretching exercises, etc.
Be sure to consider your child's preferences, age and temperament when choosing music. If you have a fidget growing up, choose fast, rhythmic music. If the child is a little slow and thoughtful, calm smooth melodies will suit him.
It is also important that your baby likes music. You can try dancing to tunes from your favorite cartoons or to popular children's songs. Gradually diversify melodies, introduce classical music. This will allow not only to learn how to dance, but also to acquaint the child with a variety of genres of music. For example, five-six-year-olds are quite capable of mastering musical compositions to Tchaikovsky's The Nutcracker or Shostakovich's Dancing Dolls.
Professional advice: how to properly dance with children and what not to do
- All classes for preschoolers should be conducted in a playful way, all movements should be accompanied by words. Children have a well-developed figurative imagination, and if in the process of training you “walk like a duck”, “flap your wings”, jump like a grasshopper, then the baby will quickly remember all the necessary movements and postures.
- Change your activity more often. Even a six-year-old cannot concentrate on one activity for more than fifteen minutes.
Your lessons should be dynamic. You can, in addition to warming up and learning dance, include elements of finger gymnastics, outdoor games and arbitrary rhythmic movements to music, stretching exercises, etc. in your classes. - Never force a child to do something that greatly exceeds his current abilities. If something does not work out, do not scold the baby and do not focus on failure, just switch to another activity.
- Never yell at a child, scold or make harsh remarks. If the kid does not succeed, he indulges or simply does not want to listen to the teacher, show patience and tact. This will give better results than criticism and swearing.
- Do not make the lessons too long. With three-four-year-olds, you can practice for 45 minutes maximum. In this case, you should change the type of activity every 10-15 minutes. The older the child gets, the longer your lessons can be (but no more than an hour and a half) and the longer you can practice each movement or exercise.
- Dancing for yourself is wonderful. However, you should also think about the audience. Public speaking is an important stage in a child's development. They teach not to be afraid of the public, give self-confidence, allow you to share your success with the audience. You need to not only learn dance compositions, but also think about where and how your child can demonstrate their art. Arrange concerts for grandparents, for other relatives. If the kid attends a kindergarten, arrange with the teachers so that he performs with a learned number at the next holiday. Invite your child to prepare a room for a family holiday or for the birthday of one of his friends. Such performances will allow the child to be liberated, determine the purpose of the classes, evaluate their progress, and maintain interest in training.
- It is possible that sooner or later your little one will outgrow home workouts. Then it will be possible to find a good dance school for him. From a certain age, it is more interesting for children to engage in a team, in addition to communication, the child is waiting for performances, preparing costumes and other pleasant moments associated with the life of a professional dancer.
- Children learn the world by copying adults. Therefore, you should not just give instructions, but be a part of what is happening. This is especially important if you are practicing individual homework. Show your child the movements, repeat it with him, participate in games and do a warm-up.
To teach dance to your child, it would not be bad for you to be able to dance beautifully and know the basics of popular styles, and if you have already done choreography, upgrade your skills. Sign up for a trial lesson at the La Boca dance club. We offer training in various dance styles, and you can choose what you like: from classical choreography to hip-hop. Be sure that beautifully dancing mom and dad will be the best incentive for your child who does not want to be left behind!
“Dance is a state of the soul, not the possibilities of your body”
Nick Palmquist:
“Dance is a state of the soul, not the possibilities of your body”
Text — Ekaterina Baeva
Photo — Irina Tuminene
No fixed points would like to thank Diana Vishneva's studio
Context Pro for their help in organizing and conducting the interview.
Nick Palmquist is a dancer, choreographer and teacher who teaches commercial jazz at Steps on Broadway, one of the most famous dance schools in New York City. In March, he came to St. Petersburg and gave two master classes at the Context Pro studio. We met with Nick after class to talk about his dancing career, teaching experience and the art of dance.
Nick is tall, articulate and very charming. Even in an unfamiliar studio, with a new audience, he is both focused and relaxed at the same time. The class begins with a twenty-minute warm-up; when it comes to push-ups and ab exercises, half the class giggles nervously. Then, little by little, they learn an intricate bunch. The teacher is very talented: over and over again he patiently demonstrates the movements, but all the time he reminds that passion is more important than accuracy, you can learn the steps, but not dance them. He has a penetrating eye and polished movements, and while showing the dancers a combination, he closely watches each of them.
They ask how to feel the movement. “You have to dance like you're trying to take some weight off your shoulders,” explains Nick. “You should feel good, really good.”
He says that usually dancers are their own harshest critics, berating themselves all the time and, of course, shrugging off praise, but “you have to be the first to believe that you are doing great, otherwise how can you convince others of this? ". It seems that this advice would be useful not only for dancers. Encouraged, the audience perks up, and they get better and better.
Nick grew up in a small town in Missouri, was a very active child and played a variety of "coordination" sports. Having tried both karate and gymnastics, at the age of 10 he began dancing, because "my parents asked me to choose one thing, and it was the perfect combination of movement and music." In addition, his older sister also dances, and she became a kind of example for her brother. In a city of 4,000 people, you don't have much to choose from, and Nick went to jazz and hip-hop clubs "suitable" for boys, where, however, only girls went.
The teachers were also exclusively women. Nick speaks very warmly about them and says that, in spite of everything, they tried very hard to make the boy interested in studying.
Oklahoma City College already had ballet, and jazz, and tap dance, and Nick, laughing, says that he had a real blast here - he enrolled in all classes at once. When asked about the dance idols of his youth, he simply says: “You know, I never had a dream job, just as there was no specific idol from the dance elite. My mom and I, of course, loved Center Stage, I had watched it a thousand times, and it was easy for me to admire these guys because I knew I would never be a classical dancer like them. I did not compare and compare myself with anyone. What really inspired me was the same dancing guys like me, with whom we met at competitions. I remember that I participated in some competitions all the time, traveled all over the country, and met amazing people there. We all loved dance, we could talk about it day and night, and I had two, so to speak, sets of friends: ordinary guys in my hometown and dancers in completely different states of America.
I think that the company of bright creative people who fully share your hobbies, and the constant support of the family are the main factors that shaped me as a dancer.
After graduating from college, Nick moved to New York, the center of the nation's dance scene. He had no clear plans or goals for the future, and the young dancer, one might say, was lucky: one choreographer saw the portfolio of a guy who was the same redhead as himself, and invited him to star in one of the episodes of Saturday Night Live, TV show, watched by all of America. So Nick was gradually recognized in dance circles and invited to participate in other projects - that’s why, Nick smiles, my resume is so motley: “When you work in some dance company or theater, they form your repertoire themselves, and you have no choice . When you're self-employed, your experience will be a little more eclectic." New York, Nick thinks, is an ideal place for experiments: today you can always do what you didn’t dare to think about yesterday, and it’s amazing.
He fondly recalls his experience at American Dance Machine, where they danced Jerome Robbins and other well-known choreographers: “There I learned what dedication to work is and how the dance process works in general, and perhaps this experience is what makes me enjoy choreographing so much: I love being in studio, surrounded by dancers, and compose something. I like that with my dance I can tell a story - or, on the contrary, not tell anything, and people will still come to see you. I think it's pretty cool."
Which is better, to stage it yourself or to dance someone else's? - Nick thinks for a moment, and then firmly answers: bet. “Actually, it really depends on the choreographer. I love working with craftsmen who clearly know and can explain what they want from you. I may not succeed, but I will try, I will learn and do the impossible - and in the end, my reward will be the satisfied face of the choreographer. It's terrible when you realize that you are dissatisfied, but you don't know why.
The key to success is constant interaction.”
This is probably why Nick himself is so good at building work with his students: when he is not teaching, he, like them, goes to auditions and looks for new dance projects, and with them new sources of inspiration.
He has been teaching on Broadway for a year and a half now and speaks of the school, its staff and students with great respect and enthusiasm. The audience of Steps on Broadway is, as a rule, professional dancers who do not stand still, but want to constantly develop their skills. Nick says that he is extremely grateful to the school administration, who believed in him and invited him to teach even when he was not particularly famous: “I was told: do not look at others. Do not watch how your colleagues conduct classes, do not try to repeat them. Do yours. Let two people come to class, but they will come to you.” At first it was like that, but over time the teacher gained confidence in his abilities - and there were noticeably more students. Sometimes someone comes and stands at the end of the hall, doing something of their own based on the material of the lesson, and Nick believes that this is normal: “Sometimes you are ready to squeeze all the juice out of yourself, and sometimes you just need to be in a creative atmosphere, get energized dance. I understand this and never press anyone. If a person is not in the mood, he simply will not be able to dance perfectly, because dance is a state of mind, and not the capabilities of your body. Do you tailor the lesson to the level of the audience? - Well, no, Nick smiles: he is a big fan of order and therefore thinks through each lesson in advance, prepares bundles and combinations. The same combination is danced several times, and then it is replaced by something new. Isn't it a pity to let go? It's a pity - shrugs - but there's nothing to be done, such is the creative process.
The creative process, however, does not stand still: Nick has already staged several dance numbers and two musicals, but he has not yet had the opportunity to do his own projects for the stage in New York.
He says that he wants to experience for himself what it is like to sit in the auditorium and watch with bated breath how others dance your work. He experienced a similar excitement preparing a project for a dance video to the music of Florence and the Machine: it was a voluntary, non-commercial project, and it was very exciting and honorable to understand that great dancers in their free time came to participate in it, simply because they like the choreography and idea. It turns out that when you do something primarily for the love of art, the work becomes truly special. “I would love to put on a show on Broadway,” admits Nick. - As a viewer, I don’t really like just lines and shapes, I prefer stories with a plot. I understand that the ability to relate yourself to the hero of the play is a double-edged sword, but I would still like to show some kind of story in which the viewer could see himself. On the other hand, if someone says “I didn’t understand what the performance was about, but I liked it”, I will still be satisfied: this will mean that body language helped me to reach the audience.
”
With perfect command of his own body language, which allows him to perfectly interpret other people's choreography, Nick admits that he prefers to compose: “What I like most is being in the class, discussing with the dancers what should be and how it should be, and talking about music and lyrics. I listen to tons of new music, and when I find a song stuck in my head and constantly spinning in my head, I add it to my special dance playlist. It's a oh-so-long playlist [laughs]. When I listen to music, I pay little attention to the lyrics.
Most of all I remember the melody, and not necessarily the most obvious fragments of it. Even as a child, I was like this: friends teased me that I could not remember a single line from popular songs, but I could sing some strange pieces of melody. And these are the snippets of melodies that inspire me to dance.” Nick shares his creations with subscribers on Instagram: “I have a rather complicated attitude towards the ubiquity of social networks: I don’t really understand yet whether it’s good or bad, it’s another matter that this is absolutely inevitable in the modern world.
But I definitely love that the videos on my blog inspire others to go and dance.” Commercial jazz, explains Nick, is a dance that should be watched through a lens, as if it was filmed and shown on TV like a commercial, hence the name [commercial - "advertising on TV", approx. ed.] . TV commercials are always shot with a certain audience in mind, but during the broadcast, other viewers also watch it, and the creators' task is to make sure that the commercial attracts everyone's attention. “People who are far from the world of dance often leave comments to me. What you do seems so easy and simple, they say, I think I can do it too! This is the trick - to make the complex look simple. And I want people to try. I always say go and dance. Go to the theatre. A live performance is an incomparable experience, and the audience in Russia, who often go to the ballet in the theater, I think they will understand me like no other.”
The main piece of advice that Nick could give dancers is to really love what you do.
