How to do the timewarp dance

Preview – Time Warp (Rocky Horror Picture Show) –[Multimedia-English videos]

Time Warp (Rocky Horror Picture Show)

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4:03

Video page URL

https://multimedia-english.com/videos/music/time-warp-rocky-horror-picture-show-1874

Description

Crazy is the word here. This song is a fragment from a famous musical (made also into a movie) called Rocky Humour Picture Show. It's cool, weird, wild, and funny. This song got very famous and there is also a more modern pop version of it. The dance was a success in Britain and got popular for parties, birthdays, wedding and all sorts of celebrations and it is still popular today there. Go to links to see the pop version and learn how to dance it.

Damian's Time Warp.

The lyrics for the pop version change a little bit, here they are:

Time warp, t-t-t-t-time time warp
t-t-t-t-time
Are you ready?
- Yeah
So you think you can do the time warp, eh?
- Alright
Well, let me tell you:

It's astounding
Time is fleeting
Madness takes its toll
But listen closely
Not for very much longer
I've got to keep control.

It's just a jump to the left
And then a step to the right
Pull your hands on your hips
You bring your knees in tight
But it's the pelvic thrust
That really drives you insane
Let's do the Time Warp again
Let's do the Time Warp again

It's so dreamy
Oh fantasy, free me
So you can't see me
No not at all
In another dimension
With voyeuristic intention
Well secluded
I'll see all

Put your right hand up above your head
And your left hand too like a ++++
Bring both hands slowly to your hips
And move your body and lick your lips
Lick your lips

Now jump to the lef
And step to the right
You got the Time Warp
Now get it right

Let, let, le-le-le-le-let's exercise, let's exercise
Let, let, le-le-le-le-let's exercise, let's exercise
Let, let, le-le-le-le-let's exercise, let's exercise
Let, let, le-le-le-le-let's exercise, let's exercise

Transcript

It's astounding
Time is fleeting
Madness takes its toll
But listen closely
Not for very much longer
I've got to keep control

I remember doing the Time Warp
Drinking those moments when
The blackness would hit me
And the void would be calling
Let's do the Time Warp again
Let's do the Time Warp again

It's just a jump to the left
And then a step to the right
With your hands on your hips
You bring your knees in tight
But it's the pelvic thrust
That really drives you insane
Let's do the Time Warp again
Let's do the Time Warp again

It's so dreamy
Oh fantasy, free me
So you can't see me
No, not at all
In another dimension
With voyeuristic intention
Well secluded, I see all

With a bit of a mind flip
You're into the time slip
And nothing can ever be the same
You're spaced out on sensation
Like you're under sedation
Let's do the Time Warp again
Let's do the Time Warp again

Well I was walking down the street
Just a-having a think
When a snake of a guy gave me an evil wink
He shook-a me up, he took me by surprise
He had a pick up truck and the devil's eyes
He stared at me and I felt a change
Time meant nothing, never would again

Let's do the Time Warp again
Let's do the Time Warp again

Explanations

ASTOUNDING= Shocking, very surprising.

FLEETING= Moving very quickly.

MADNESS= Craziness, the act of being mad (AmE= crazy).

TOLL= A fixed charge or tax for a privilege. If something takes its toll it means that you have to pay a price for it, that it has unwanted consequences.

TIME WARP= Here it is just the name of the dance, but look at the “Song Meaning” section to understand why they call this dance “Time Warp”. A time warp is a distortion in the flow of time, either because time stops, or goes extremely slow or because you turn back in time and go to the past or because the past feels like present. For example, if you are deep into your memories and are re-living a past scene intensely, so intensely you feel you are living it again now, when you come back to reality you can say that you had a time warp. The most common use, though, is when you see on TV a slow motion of something fleeting, for example, a drop of water falls into a glass of water and it takes 1/2 second, but you can see it very slowly and it takes 1/2 minute. That’s a time warp because time was distorted.

THE BLACKNESS= Darkness (here it refers to an evil sensation).

THE BLACKNESS WOULD HIT ME= Darkness used to hit me. We can use WOULD to express a habit in the past, the same as USED TO, but they are not always the same:
USED TO can express a habit or a state (a situation), but WOULD can only express a habit
- I used to get up at 8 o’clock, but now I get up later = I would get up at 8 o’clock, but now I get up later.
- That house used to look very old, but now they have repaired it. (a state. We can’t say: “that house would look very old”)
We can also use the simple past for past habits (the same as we use the simple present for present habits), but it is more ambiguous (sometimes we can’t tell if it’s a repeated habit or just one action):
- When I was a child I got up at 8 o’clock every day (here, the phrase “every day” tells us that it is a habit)

THE VOID= Something void has nothing inside, and the void is the nothingness, the emptiness.

HIPS= The prominent part of the sides of your body between your legs and your stomach.

YOU BRING YOUR KNEES IN TIGHT= You put your knees inside, together, tightly (pressing strongly).

PELVIC= Adjective referring to the pelvic region, all the area between your legs and your stomach (the hips are the bony edges on the sides of the pelvis).

THURST= A thrust is a quick strong push.

INSANE= Mad (BrE), crazy (AmE).

DREAMY= Unreal.

WITH VOYEURISTIC INTENTION= A voyeur /vwɑ:jɜ:*/ is a person (especially hidden) who likes watching others doing something (especially, but not necessarily, something sexual). The adjective is “voyeuristic”, so if you do something with voyeuristic intention, you do it because you enjoy watching.

WELL SECLUDED= Very hidden, hiding very well.

A BIT OF A...= A little of...

FLIP= (verb) to turn over.

A MIND FLIP= A change of mind.

SLIP= (verb) to shift position, to slide out of a place, to move silently smoothly and slowly.

THE TIME SLIP= A situation when you slowly move into a different time.

YOU’RE SPACED OUT ON SENSATION= To space out is to become giddy or disoriented, so if you’re spaced out on sensation, your sensations become unreal, like in a dream.

LIKE YOU’RE UNDER SEDATION= As if you were sedated. To be sedated is to be under the effect of an anaesthetic, like when you are having an operation and they sedate you (you don’t feel any pain because you are in a deep artificial dream).

A-HAVING / SHOOK-A= This A doesn’t mean anything, it is just to get an extra syllable for the rhythm of the music.

A SNAKE OF A GUY= A guy who is like a snake (somebody you can’t trust). A guy is a boy or man (colloquial English, especially in America).

EVIL= Malicious, very bad.

WINK= To wink is to quickly close just one eye as a sign. A wink is the act of winking.

HE SHOOK ME UP= To shake (shake-shook-shaken) is to tremble strongly or move intensely to and fro with short jerks (little movements). If the man shook her, she suddenly felt a strong emotion about him (because she was afraid or shocked or attracted to him, or all three things).

HE TOOK ME BY SURPRISE= He surprised me. If somebody or something takes you by surprise, you are surprised by them/it:
- Sorry I cried, but when you suddenly turned off the lights it took me by surprise.

A PICK UP TRUCK= A kind of car open at the back (see picture).

THE DEVIL’S EYES= The eyes of the Devil. The Devil is Satan, the prince of evil spirits and king of hell.

STARED= To stare is to look intensely and fixedly. Notice the preposition AT: to stare at somebody/something.

SAY= We often use this word in conversational English to call people's attention before speaking, so they're listening to you. So it means nothing.

MADISON= The Madison is a novelty dance that was popular in the late 1950s to mid 1960s.

Meaning

A time warp is when time changes in some way. In this song they are talking about a time warp, but we don't know what it is until the end. A woman is talking about what she felt the first time he saw this man. He looked at her with an evil look and she instantly fell in love with a very strong emotion. At that moment she fell into a time warp, time slowed down, changed, distorted, everything looked unreal (yea, the usual stuff with love at first sight).

She was so thrilled about it that she wants to have that sensation again, so she repeats again and again "let's do the time warp again". Sorry lady, that feeling only appears the first time.

Yea, she falls in love with an evil man, but to understand this you must know that this gothic musical is about horror. A couple trapped inside an old mansion in a terrorific night, with all sorts of strange things happening around them.

What about a Time Warp Dance?

Blog 23 April 2021

Dance in times of digitalization: This article takes a leap into the future of dance and dance pedagogy.

Katja Vaghi

First published on tanzschreiber. de, 17.12.2020.

tanzschreiber is a module of "Attention Dance II", a project of the Tanzbüro Berlin, supported by the Association contemporary dance Berlin E.v. The project is funded from 2018-2021 by the European Regional Development Fund (ERDF) and the Senate Administration for Culture and Europe.

Here we are sitting in the mid of the second wave, and with the year and my contribution as a tanzschreiber drawing to a close, I would like to make a few reflections on dance/performing arts in this forced digitalization time. The longer we are sitting at home in some degree of lock-down, the deeper the influence is going to last. If on the positive pole, it has been an eye-opening experience connecting people in different geographical location and calling for a rethinking of the approaches to dance, on the down side, most of us crave touch or a stable (economic/working) environment. At this point, I want to look closer at three elements of dance production — creation, aesthetics and fruition — for a sort of time warp on the future of dance, also dance education.

Copyright: Pixabay / Evgen Rom

Starting from creation: it was the first aspect of dance production that changed drastically. From working conditions — “how do we organize online rehearsal/classes?” — to sources of inspiration — looking at works of artists who either were already active digitally or who managed the switch more easily — artists, rehearsal directors, residencies and programmer all had to wrap their heads around to understand how to maintain some sort of continuity in their working environment. Big theatres with more resources had the possibility to experiment with expensive toys such as for example the VR experiment lead by VR pioneers Varjo and Zoan at the Finnish National Opera and Ballet that allowed them to switch scenography at a click or Gilles Jobin’s company and their motion track system that allows for real-time collaborations via a special tracksuit. But what about the smaller companies and the independent artists? This of course opens up a discourse connected to the politics of resources — “who has access to what?” — that most of the current funds are trying to bridge such as for example the digital pitching of the program Tanzland. It might be a difficult topic but not considering where the money is flowing it would be like turning a blind eye to reality. Of course ‘low tech’ solutions have been found such as audio-tracks for singular walks or exercises. The aim still seems to be creating immersive experiences for the audience.

The second element is that of aesthetics, in the sense of the type of aesthetic being produced in this constrained moment/system. Most will agree that this period is going to produce a determined aesthetic response. It is just a matter of time and how the whole institutional system is going shift to adequate to it. A trivial example: today, it is paramount to keep dancers and audience at a distance, when would that no longer be a tool in itself but an independent choreography choice not dictated by the circumstances? Screendance has already been long on the forefront, now other approaches are being explored. Aesthetics and aesthetic choices are also connected to the tool being used, and so in a way, to the sense that this technology highlights. If we consider that each technology is designated to expand the possibility of mostly one sense, the media we are choosing to work with will determine the result. Which of the senses do we want to increase: the eye or the ear, the kinesthetic aspect or the haptic? Still, all other senses are also somehow involved and influenced by it and I am not sure artists have yet considered this. For example, the company Punchdrunk, famous for its immersive works, in The Third Day has now devised a format where the performance is followed live-stream with a one-take-camera work from a remote British island. Is this live-stream going to create a closer emphatic feeling in watching Jude Law — starring in the project — or is it only a gimmick? One can also consider how interactive do one want to work with the audience. Possibly, the early experiments were more distant, reserved to experiment in screendance but with more time to consider, artists have also devised other interesting solutions beside the one of the ‘passive’ observer. It is another type of perception, of kinesthetic empathy that is stimulated and I can see an expansion of the possibilities, if we will be able at a certain point to go back to some of the forms before the pandemic (in the theatre). And here we are moving to reflections about the fruition of the these works.

About fruition, or how and where do we experience dance: is it going to be only on our private pc screen, or will we be using our phones with some AR code, or will we be allowed to visit installation? I salute the initiative of larger institutions that by putting material online have kept the attention on dance and what was/is happening in the scene but are we not running into the risk of loosing ourselves into this rabbit-hole that is the screen? In a hopefully close future, there will be festivals with hybrid formats: live, hybrids and fully digital performances. Then there is the problem of the involuntary archiving of ephemeral forms such as the showing of Lina Gómez occurred in the frame of a residency at radialsystem in times of lockdown and about which I wrote about some time ago. The consideration here is that maybe this will change the choreographers reluctant attitude towards archiving. The other problem is how to find a feasible way of income. Not everything can be free of charge. Still, the effort required to the artists to set up some sort of online shop can be too much for many. Many decided for this type of job because they wanted to stay in the realm of the tangible, the realm of bodies and their mass, of physical effort and sweat. How can this be translated into the digital? Can it be, and should it be translated?

Which brings me to the last aspect that of education, or of how should we equip the young dancers of the future. On the one hand, often the students’ first experience of dance does not take place in the context of a live performance on stage but is already mediated via youtube or other social media and not a live performance on stage. The way of working has also changed drastically with easy recording devices years ago that allow checking what one has done during rehearsal. The young generation is already much more technological savvy than what I am. Do we need to introduce a module of digital approach to dance? If one looks at the work produced by the students of the HZT Berlin, one sees that most have opted for a video rendition of their works. Should institutions offering dance education have the students exposed to digital technology to prepare them for their future careers in dance, such as for example to the software Isadora that allows to create interactive digital performances and is used by many young artists in Berlin (and across the world as its fundamentals are taught at several universities)? And if so, which one among the several options: green screen, motion captures, VR, AR, screendance, and so on?

Dance and the performing arts will continue their creative endeavor incorporating the lesson learned during the pandemic. The changes will be seen at all levels of dance production from the start of the creative adventure, to its form and its result, but also on how to prepare dancers for the future. Writing about dance during this time has been challenging but also enriching. A spirit of engagement for the survival of the group has appeared. I hope this is going to stay for longer. On the one hand, because it is not over yet, on the other, there was/is much about dance that has to be improved and a tight front can only help in that sense.

Themes addressed

Digital skills

Force as the curvature of space. Parallel worlds [On the structure of the universe, higher dimensions and the future of space [litres]

Newton understood space and time as a huge empty arena where events take place in accordance with his laws of mechanics. Once the stage was full of miracles and secrets, but, in essence, remained inert and motionless, only a passive witness to the ritual dance of nature. However, Einstein reversed this view. For Einstein, the stage itself becomes an important part of life. In Einstein's universe, space and time were no longer the static scene that Newton assumed (and prescribed), they became dynamic, curving and wriggling in bizarre ways. Imagine that the scene of life has been replaced by a trampoline, on which all the actors gently sag under their own weight. In this state of affairs, we will see that the stage becomes as important as the actors.

Imagine that a bowling ball is placed on the bed and it gently sinks into the mattress. Now push the small ball along the curved surface of the mattress. The ball will move. A Newtonian, seeing from a distance a ball around a large ball, would come to the conclusion that there is some mysterious force with which a bowling ball acts on a small ball. He would say that the bowling ball instantly acts on the small ball, pulling it towards the center.

For a relativist who observes the movement of the ball from a close distance, it is quite clear that no force exists at all. There is only a curvature of the mattress, which makes the ball move along the curve. He says: “What is the attraction? There is only the pressure exerted by the mattress on the little ball. ” Now let's take the Earth instead of a ball, the Sun instead of a big ball, and space instead of a mattress, and we will understand that the Earth moves around the Sun not due to gravitational attraction, but because the Sun distorts the outer space around the Earth and thereby creates pressure that forces The earth move in a circle.

Thus, Einstein came to the conclusion that gravity is more like matter than an invisible force acting instantly within the universe. If you quickly shake the matter, then the resulting waves will run along its surface at a certain speed. This resolves the paradox of the vanished Sun. If gravity is a by-product of the warping of spacetime, then the disappearance of the Sun can be compared (back to the mattress) with a sharp bounce from the bed of a bowling ball. When the mattress abruptly returns to its original shape, waves run along the surface of the sheet, moving at a certain speed. Thus, by reducing gravity to the curvature of space and time, Einstein was able to reconcile it with the theory of relativity.

Imagine an ant trying to run across a crumpled piece of paper. He will move, swaying like a drunken sailor, left and right. The ant would vehemently object that he was not drunk, claiming that a mysterious force was rocking him, pulling him to the left, then to the right. For the ant, this empty space is full of mysterious forces that prevent it from going straight. However, looking at the ant from a close distance, we see that no force is pulling it. It is "pushed" by the folds of a crumpled sheet of paper. The forces acting on the ant are just an illusion caused by the curvature of space. The impact of the force is really just a "push" as he steps over the paper fold. In other words, it is not gravity that attracts, but space repels.

In 1915, Einstein finally succeeded in completing what he called the general theory of relativity, and this became the foundation upon which all cosmology rests. In this amazing picture of the world, gravity appears not as an independent force that fills the Universe, but as a visible effect of the curvature of space-time. Einstein's theory was so comprehensive that he had to sum it up in a long equation. In this brilliant new theory, the degree of curvature of space and time was determined by the amount of matter and energy they contained. Imagine throwing a stone into a pond. There will be ripples on the surface of the pond caused by the fall of the stone. The larger the stone, the more uneven the surface of the pond will become. Similarly, the larger the star, the greater the curvature of space-time surrounding the star.

14 good reasons to send your child to dance

Every parent knows how important not only the intellectual but also the physical development of the child is. After all, it is in childhood that the rapid growth of the body occurs, the nervous and musculoskeletal systems are actively formed, the respiratory apparatus is improved and the foundations of good health are laid. It is also important that properly selected physical activity has a positive effect on the child's intelligence. It is not surprising that from an early age of the baby, moms and dads seriously think about what to prefer - sports or dancing.

In addition to many advantages, playing sports has its own disadvantages and contraindications. As for dancing, it is actually the best choice at any age. And the world champion, European champion among youth in 2008 in the Latin American program, vice-champion of Russia, bronze medalist of the European championship among professionals in sports ballroom dancing in 2016, the founder of one of the best dance schools in Moscow - Roman Kovgan.

1. Physical health

Dancing has the most positive effect on joints, the heart and the entire circulatory system due to interval loading and a uniform effect on all muscle groups. In addition, dancing, unlike sports, is non-traumatic and has almost no contraindications.

2. Psychological health

It is dance that allows you to throw out all the negative energy accumulated during the day, as well as give freedom to your inner feelings and energy, relieve stress.

3. Development of memory and intelligence

Systematic dance lessons, memorization of movements, steps, parts, dance sequences and combinations is, firstly, an excellent training for memory. Secondly, orientation in space and time is improved, such qualities as endurance, independence, perseverance, activity, initiative, a sense of camaraderie and mutual assistance are formed.

4. Communication and social adaptation

In dancing, even the smallest ones realize the need for communication. Children learn to find a common language, work in pairs and in a team, negotiate, feel a partner, communicate with the opposite sex respectfully and without hesitation, communicate with people of different ages - all this will definitely come in handy in adult life. “And indeed, in my experience,” says Roman, “children who have been dancing for a long time stand out from others very much, they are more free in communication, independent, confident.”

5. Aesthetic development

“Aesthetics of movement, understanding of music, good choreography and beautiful costumes, all this together contributes to the development of good taste. And if the school itself is as beautiful as our Dance School, - Roman smiles, - then this is doubly wonderful. It is no less important and pleasant for a child to study in a beautiful place than for an adult.

6. Public speaking skill

Constant open lessons, performances on stage and competitions remove any fear of the public. No embarrassment!

7. Artistry

“And also musicality, a sense of rhythm, the ability to improvise — that's what dances give in abundance. Teachers are especially working on the development of these abilities, and our school has an author's program for the smallest, where additional emphasis is placed on rhythm and the basics of acting, ”comments Roman Kovgan.

8. Coordination

One of the most important skills in life. Dancing, like no other physical activity, develops coordination and "muscle memory", children's clumsiness disappears, in the future, new directions in dancing and new sports are easily mastered, and most importantly, it turns out to easily and gracefully control your body. And this skill will remain for life.

9. Harmonious physical development

It is known that children who are constantly engaged in dancing do not suffer from curvature of the spine, have a proportionally developed muscular system, a beautiful gait and correct posture. Doctors state that no sport is as effective in aligning the spine as dancing. Plasticity, grace and dexterity are included.

10. Professional sports career at any age

- then it is in dancing that you can start dancing professionally at absolutely any age, participate in competitions and achieve the title of master of sports of international class. That is, a child can easily come to our school at the age of 10 or 14 and start dancing from scratch, and with a certain perseverance, after a while, start going to competitions and achieving titles.

11. Versatility

The wonderful thing is that you can start dancing at any age, even at 3 years old, even at 16 years old. They are suitable and will be interesting for both boys and girls. It's a myth that boys don't need dancing, they really do! And if there are no contraindications from a doctor, then there are no restrictions either on height, or on weight, or on any other data. Everybody is dancing!

12. Practical application

Skills that give constant dancing, like the ability to control your body, dance cool at any time and to any music, perform in public, lead in pairs or be able to listen to the orchestra, improvise - these are the skills that which can be useful always, at any moment of life: both in childhood and in adulthood. Perhaps, having completed your sports career, you will never long jump again, but you will dance accurately, and confidently dancing men and beautifully moving girls grow up from those who have known dances firsthand since childhood

13. Diversity

Only dances, while remaining dances, can change in this way. So, you can choose a direction according to the abilities, interests and temperament of each child. Our school has 10 directions for children, there is literally everything - both classical choreography, and sports ballroom dancing, hip-hop, break dance and even belly dancing. There is the author's program of Nadezhda Romanova "Dance Mix", where children of different ages try themselves in many directions at once. Professional teachers are always very sensitive to what is really interesting for the child, and they will definitely advise parents on which direction in dancing they should pay attention to, what the child has inclinations, interest, and where he will achieve great success.

14. Opportunity to exercise with parents

“It's a common problem: children have different physical activities, adults have different ones, and all this at different times and in different places. It’s uncomfortable and difficult,” says Roman Kovgan, “and the way out is dancing. In many schools, including ours, there are classes in parallel classes, that is, having brought a child to ballroom dancing, at the same time, without sitting in the locker room in vain, you can do body ballet or salsa.