How to do the weird arm dance


10 Basic Dance Moves Anyone Can Learn

Do you ever watch someone dance and wonder how they come up with moves so easily?

Great dancers often master a specific set of moves that they can fall back on again and again.

Read on for 10 basic dance moves you can learn in minutes and use every time you wanna dance.

P.S. You can learn all of these moves for FREE on STEEZY Studio! No cc required. 😉

1. The Two-Step

When I first started dancing at parties, the Two-Step was the first move that truly came naturally to me.

It really is as simple as stepping from side to side to the beat!

If you're looking for something foolproof that allows you to just groove and enjoy the music...

Boom. Here it is.

2. The Monestary

This move was born in a club called Monestary out in St. Louis!

It’s built on a Two-Step, so if you took that class, you’ve already got a foundation for the footwork.

But rather than bringing your feet together, you’ll tap them to the front with your knee and foot turned inward.

Then, as you tap the feet, you’ll move your arms and shoulders in a circular movement.

3. Booty Pop (Side To Side)

Like the Woah, this sexy move is super TikTok-friendly – but with more feminine energy.

To do a booty pop to the side, you’re gonna bend your knees, put your hands on one knee, and then bring the other leg from bent to straight while turning your knee inward.

If you’re a long-haired baddie, be sure to keep all your hair on one side so it doesn’t flop in your face as you pop!

Read this article on How To Dance Sexy to get more tips on pulling off moves like this one!

4. The Billy Bounce

Surprise – this club-ready move is built on… a bounce!

But what makes it unique is that your knees will come inward on each bounce rather than just up and down.

Once you’ve got the funky lil knee bounce down, you’ll add in an upward kick on each side.
The best thing about this move is that while the footwork takes a few minutes to learn, you don’t necessarily need to add an arm movement to make it look cool.

Just keep your arms front and center.

5. The Woah

Even if you’re not actively involved in the dance community, you’ve probably seen people hitting the Woah – on TikTok, Reels... all over your newsfeed!

Whether you wanna make a viral video of your own, or you’re just looking for a fun, basic dance move to pull out at the clerb, this one is too good not to learn.

Since the locking arm motion is so sharp and pronounced, use the Woah to accent the heaviest bass beats in your favorite songs.

6. The Dougie

Yes, the Dougie is a real dance move!

Like the Two-Step, you’ll be shifting your weight from side to side, but this time, adding some shoulder movements and a lil more attitude.

Try this one out to some songs other than the one that made it famous – you’ll find it works with any hype beat.

7. Scoop Arm Into Hip Sway

Sooo this one is more of combo than a move, but it only takes a few minutes to learn and it works with any fun sassy song…

So it deserves to be here, ok?!

For this move, you’re gonna scoop your arm across your chest, then bring it over your head, and finally point it in front of your chest.

Once you point the arm in front of you, you’ll sway your hips from side to side and groove it out.

8. The Bust Down

The Bust Down was popularized by LA rapper, Blueface, in his 2019 club jam “Thotiana”.

You’re gonna grab your belt, put one arm in the air, and allow your body to dip with the beat.

Note: Licking your eyebrows like Blueface is fun, but not required. 😛

9. The Biz Markie

The Biz Markie is an old school party dance inspired by, you guessed it, rapper Biz Markie!

It rose to popularity in the 90s, when Biz Markie himself began performing it on stage.

As you practice it, remember to allow your shoulders to bounce – the bounce is what gives this move its cool, laidback flavor.

Wanna learn more about classic Hip Hop moves? Read this: How To Dance Hip Hop for Beginners

10. The Humpty

For this bouncy move, you’re gonna circle your hips to one side as your bend your knees.

Then, you’ll jump and cross your legs, allowing your feet to tap the floor briefly before you jump back to your original legs apart position.

Once you’ve got that down, you can complete the move by adding in a windmill motion with your arms.

The leg cross in this move makes it perfect for any Hip Hop song that features a double bass (aka that BOOM BOOM sound that you hear in songs like “Lip Gloss” by Lil Mama)

We hope you enjoyed learning some of our favorite basic dance moves.

Of course, this list is just a start!

In addition to the 10 moves on this list, STEEZY Studio has 100+ other FREE beginner classes where you can learn step-by-step from the world’s best teachers.

What To Read Next:

30-Minute Dance Workouts That'll Trick You Into Becoming A Better Dancer

How To Learn Popping

How To Start Dancing Hip Hop For Beginners

How To Learn Dance At Home

How To Not Look AWKWARD When You Dance

Do you feel awkward when you dance??

It’s pretty normal to feel insecure about your dancing.

I mean, it’s your body. Your literal SELF that's being put out there!If you’re that person at the club swaying awkwardly or hanging out by the wall at a school dance…

We’re here to help make you feel more comfortable in your body.

Ready to stop being a wallflower?? Wanna get movin’ and groovin’??!?!

Let’s go!

1. Own your style

If you feel awkward when you dance, then you will look awkward when you dance. And if you keep telling yourself you're awkward, then you will stay awkward.

The first step to overcoming awkwardness is to stop that self-deprecating narrative.

You don’t have two left feet.

You do have rhythm.

You can be a good dancer.

Re-defining your view of yourself is the only way you allow yourself to grow.

And if you're truly convinced that you can't follow a beat or stop tripping over yourself... just take some time to practice those basic foundations!

STEEZY's online "Intro to Dance" program walks you through all of the fundamentals step-by-step, so it's the perfect place to start.

Click here to start the program for free!

2. Find your body’s natural groove

No two people in the world have the exact same bodies, music tastes, dance training, or life experiences. This means that no two people really dance the same.

Everyone dances like themselves. You, included! So find that groove that feels right to you.

When you take class, modify the choreography to fit your body. And when you freestyle, just start with a basic two-step.

That simple left-right, right-left skeleton leaves SO much room for you to build off of.

Feel the way your body reacts to the music...

Let yourself groove out...

3. And COMMIT to it

A lot of the time, dancers will look awkward because they PLAY THEMSELVES!!

That slight hesitation, that SMIDGEN of under-delivery, that look of “oh sh*t” on their faces…

Awkward.

Knowing and committing to yourself is the only way you won’t look awkward when you dance.

4.

Loosen up!

Really, an instant fix. Most people look awkward when they dance because they are stiff. And they’re stiff because they aren’t moving.

Don’t lock your knees.

Free your neck to let your head bob.

Shake out your arms.

Relax your core.

You can even do some stretching or pilates to help your muscles get used to that relaxed, loose state!

This pilates class on STEEZY is perfect as it's literally designed to loosen the muscles you use when you dance.

So get LOOSE. No excuses.

5. LISTEN to the music

Maybe you look awkward when you dance because your body isn’t matching the tempo of the music.

Simply aligning the rhythm of your movements to the beat will make your dancing look a lot more put together.

Or, your vibe isn't matching the vibe of the song, making your dancing look off.

Follow Melvin Timtim's advice on this:

6.

Have fun

I’ve never watched someone genuinely love what they’re doing and judged them.

Pure fun never looks or feels awkward.

So stop overthinking! Put on a soundtrack to a musical you love and lip sync it all the way through. Blast some dirty rap music in your car and go awff.

Play some sexy bedroom music and serenade your lover. At the end of the day, dance is something that lets you play.

You can be anyone you want, do anything you want, and escape from whatever stresses are plaguing your mind.

Dance is an escape, not another stressor.

So have fun with it :) and looking dope will happen on its own. Being a good dancer or a bad dancer, a dope one or an awkward one...

It depends on what you practice – both mentally and physically. Use these tips to make dancing look and feel like second nature.

You’ll be tearin’ it up on the dance floor in no time.

What are some things that helped you overcome looking awkward when you dance? Comment below and leave a tip!

Classes on STEEZY Studio help you loosen up to move more comfortably.

Take our beginner program to learn the essential grooves to start with!

Swing, concepts of hands, steps, HIP-HOP mechanics (practice)

In this topic, it is important to analyze - the strength of the swing - types of swing (by direction, by accent, by condition) - swing in separate parts of the body - swing in positions and planes
- swing for musical elements

Power of swing.
Everything is simple here. We train with the guys different variations of the swing in terms of strength: weak, normal, strong.
First, we work in each of the options. We pay special attention to a strong and clear swing, because. this option is more complex and requires some control of the body. But also such a swing is a powerful freestyle component and adds energy to the whole dance.
Then we combine different types of swing in freestyle, change the strength depending on the track or musical moment.

Types of rock.
In this subtopic, we analyze all possible variations of the swing, moving away from the basic one (with an accent down)

In the direction of the swing, it can be:
-forward -backward -sideways -obliquely -up -circular
-down -up -impact (blow) -impulse (emphasis on the initial jerk) -double -torn

Status. In this case, we take different states and modify the quality relative to it. For example, a swing in a "curtain" or "water" state will be softer than a swing in a "rock" or "ball" state.
To consolidate the material covered, you can complete the task: Freestyle exclusively on the quality, changing its strength, accents, state.
Next, you can go a little “deep” into the body and develop in more detail the feeling of swing in each part of the body.
It is worth noting that in each part of the body all the above-mentioned swing variations work (strength, directions, accents, states)
In this format, the work is built according to the scheme already known to us:
We take one part of the body and try to apply to it all the knowledge of the swing that we already have. We select parts of the body: head, shoulders (one at a time and together), chest, body, pelvis, knees).

Quality in different parts of the body.
After the dancer has more or less figured out the swing, felt it and became able to modify it, it's time to learn how to hold the swing in difficult dance positions.
This stage is very important for the dance to be a hip-hop freestyle, and not just a flow of movements. In this case, it is very important to develop a feeling of swing in absolutely any difficult position.
How do we build the training process? Very simple and creative.
We came up with a position, gave it to the students, they picked it up and begin to swing in it, using the knowledge that they had already received earlier.
They stood, shook, came up with a new position, changed, shook again. The logic, I think, is clear.
Next, you can go to the ground and analyze the concepts and positions that took place earlier and apply the same quality to them.
Having figured out a little how to swing in different difficult positions, you can fix the theme with freestyle. The task of the guys is to move between positions, but not to lose a constant quality.

Quality and music.
At the last stage, when the student's body is already “uploaded”, you can move on to the relationship between download and music.
i.e. we offer students to work with music, but only with music. All sound elements need to be beaten only through the swing, changing its strength, speed, state, accent, and so on.
As an example, you can demonstrate that under a smooth melody, the swing can be slowed down, and under the “tsik-tsik-tsik” the swing can be accelerated and made less. You can take a rhythmic pattern and beat it with a swing.
I recommend stretching the entire stage of studying step 9 over a large number of workouts. The more your students are in the state of pumping, the faster they will develop its automatism and feeling.
Some of the master classes of visiting dancers consisted entirely in the analysis of different types of bounca’a and the “buildup” of the participants. This proves that a highly developed fundamental basis in the form of a swing plays an important role. Don't be afraid to put a lot of time and practice into it.

Dive into the depths of the dance. Structure and movement: zoukability — LiveJournal

Author: Murasheva Nadezhda

The article is a continuation of the first part: "Immersion in the depth of dance. Muscles"

I met the concept of structure only in the last year of my active motor activity, which, as it seems to me now, is rather strange. And at first I didn’t really understand what the meaning was in this concept in relation to the body and dance. It was only by delving deeper into the workings of the body and studying the physiology of movement in instructor courses that I began to understand what structure is and how it relates to our body and movement.

The phenomenon of structure is large and multifaceted, and I did not begin to put everything at once in one huge article. Today I will share with you a general understanding of structure, the most comfortable, functional and safe body structure for dancing and the differences in structure in different workouts. About the secret of an interesting, varied, artistically filled dance.

WHAT IS STRUCTURE?

In explanatory dictionaries, I found the two most suitable interpretations that apply to the structure of the body:

- "A certain interconnection, interposition of components, structure, arrangement of something"
- "A set of internal connections"

That is, the structure of the body is what our body consists of (bones, muscles, nerves, vessels, etc. - their structure, location, functions), and also (which interests me much more) is the relationship of the components of the structure to each other. Today I will give you the basic idea of ​​how it works and how it affects the dance, and next time I will continue on a deeper level.

STATES OF MUSCLE TONE

In the context of this article, I will not analyze the structure of the muscle fiber as its structure, this is not necessary here. I am interested in the structure of different muscle states as a more global phenomenon that can be felt, touched, it can be consciously changed and used both in dance and in life.

So, there are three states available to any of our muscles: relaxation, tension, stretching.

Relax

Soft muscle, limp, feels like a piece of jelly. There is no tension in it, and, accordingly, there is no movement.

Unconscious relaxation of the muscle:

1) Normal healthy muscle: worked, got tired, after the completion of its work, it relaxed, since its further work is not required.

2) Weakened muscle (hypotonicity): does not work for some reason. Making it work at first is extremely difficult, all exercises feel very difficult and nasty (typical exercises for training the thoracic spine). Usually it is not felt in any way, as if it, in principle, is not in the body.

Mindful muscle relaxation:

We can adjust the speed of relaxation - in dance or in special slow exercises (Pilates, etc.) We can also consciously relax something that is chronically tense - for some this can be difficult, and this needs to be learned.

Tension

Rigid muscle contracted to perform some action. The greater the tension, the shorter and stiffer the muscle becomes. Tension can be dynamic (tightened up, performed an action - relaxed) and static (loads to hold a certain position, move a fixed support, etc.). Figuratively, tension can be compared to a spring compressed before a shot. After the shot, the spring should relax and return to its normal physiological state - relaxed, not compressed and not stretched. If this does not happen, then there is a dysfunction (hypertonicity) that must be dealt with, otherwise it will contribute to the development of more serious problems.

Unconscious muscle tension:

1) Healthy muscle: our nervous system controls the tension itself to perform any action (jump, bend, run, squat) - we do not need to think about the tension of all the necessary muscles in order to move It happened.

2) Muscle in hypertonicity: chronically tense, while not performing any action (lower back, upper trapezium, postural muscles of the spine). Rigid, immobile. At best, we feel its tension, stiffness, sometimes pain, we want to stretch and relax it. At worst, we live with this tension and are not aware of it until it leads to further problems. Here you need to spend extra time on learning to notice your tension, and then this will allow you to continue working on the problem. Chronic tension leads to infringement of nerve endings, to poor blood supply to muscles, connective tissues, internal organs, to the development of osteochondrosis, protrusions and diseases of the joints, to stretching of the tendons. I’ll tell you about the causes of chronic stress another time, I’ll tell you the great Secret ;))))

Conscious muscle tension:

This is when we consciously perform any movement or exercise, tracking the technique and condition of our muscles. A necessary stage in order to develop muscle memory in oneself and then move correctly already unconsciously.

Traction

An elongated muscle that is in moderate tone and maintains this condition for some time. Not over-relaxed and not over-stressed. It can be compared to a stretched string or a bowstring. An important condition necessary for the correct execution of many movements, maintaining balance, for the health of the spine, and even just for plastic surgery. You need to learn how to move forward. If a person does not know how to do this, then he will perform all movements through tension, because he cannot do otherwise. Then his body will be rigid, movements angular and sharp. If you are not completely sure that you understand the essence of stretching and do not know for sure whether you can do it, then you do not know how. When you master stretching, there is no doubt what it is and how to do it. This is a real physical sensation that you cannot confuse with something else.

Unconscious stretching : yawned, stretched.
Conscious stretching: intentionally stretching our body in exercises, in dance. Ballet, Pilates, yoga will help you.

For harmonious control of your body and technical dance it is important to be able to control all three states, switch them, combine several states at the same time.

Structure as a combination of muscle tone states

In the dance there is a constant alternation of these states. Usually everything is built on traction. This allows you to keep a good balance, makes movements soft, flexible and strong at the same time, protects the joints from compression. By the way, all joint gymnastics and all Pilates are performed in traction.

In Zouk (with proper technique) we clearly see the constant alternation of stretching and relaxation. The same thing happens in contemporary and jazz-modern. In ballet, ballroom and more static styles, there is much less relaxation, and all movements are done on the stretch of the body, arms and legs. In contact improvisation and qigong, on the contrary, there is much more relaxation. But tension in all dances and many bodily practices is present only occasionally when performing some more complex elements and tricks: jumps, lifts, squats. If you are constantly tense in the dance, then you are clearly doing something wrong. Tension is the essence of strength training, not dance.

I think you yourself understand that in dance there will rarely be tension or relaxation in the whole body at once. Tension - in general, still happens - in ballet, etc. But complete relaxation can only be in contact improvisation, when we completely give our weight to the floor or partner. However, the zouk appears to be a very relaxed dance. Why?

In fact, in dance there is a simultaneous combination of states in constant dynamics. In Zouk, the most important thing is to stretch the body and relax the shoulder girdle. This is what allows you to make movements so plastic and flying. Only with a relaxed chest and a relaxed top of the trapezoid will it be possible to make beautiful, soft bones, waves, headworks, and so on. To prevent the body from falling apart and losing balance from this relaxation, the taut structure must be maintained in the center. If your center is something else (jelly or one big strain), then you will not have the physical ability to normally relax the top, and then you will move through tension in the chest, shoulders and neck. Visually, it may even seem flexible and beautiful, but physically you get very tired and feel badly leading / following a partner through your tension. In addition, this tension indicates the absence of a frame.

Spoiler for the next article: if your shoulders rise, then you do not and cannot have a frame. If you are a partner, then you lead with your hands, if you are a partner, then following goes through guessing.

What about the legs? The legs should be soft, this is important for balance, for even distribution of the load throughout the body and for good depreciation - then it does not burden the joints. If the legs are too sluggish, tangled, or, on the contrary, too stiff, then they do not perform this function, and you get an increased load on the spine and knees, as well as a constant overstrain of the muscles of the body.

Now let's get back to understanding structure. What will be the structure of the body in the dance?

The whole pattern of tension and relaxation.

Stretched spine, soft legs, light top is an example of structure. A tense wooden body is also a structure, just uncomfortable and non-functional. A weak center and raised shoulders are also structure. I perceive the structure as a set of different materials and qualities of these materials, from which the building of our body and our dance is built. One builds with rubber bands and strong flexible bases, the other with cardboard and snot.

FRAME is also a structure. And in different styles of dance, the structure of the frame is different. The position of the hands, the degree of tension, the manner of touching, the tone of the shoulders, and so on - all this matters.

Grounding and overestimation of the center are also nuances of the structure. In some dances we gravitate more towards the floor (west coast, contempo, improvisation), in some we rush upwards more (ballet, lambazook). Zouk, in my opinion, is universal and allows you to play with the height of the center, which, in turn, will affect the manner of movements and the nature of the interaction of partners. The height of the center will depend on the height of the frame, on the degree of relaxation, on the structure of the bodies of both partners, and on each specific movement and point of contact. Even from shoes. Like it or not, heeled shoes raise the center higher.

Structure and interaction of partners

A rigid body does not transmit movement and impulses well. A tense partner will feel badly leading. A tense partner will lead the partner at the “volume level” available to him, conditionally, yell in her ear. Even if it is a very soft, sensitive partner. He cannot be quieter, simply because then he himself will not hear his words. He does not realize that "quieter" exists, and that this is actually the norm, and not a whim of a partner ("how picky you are"). For him, the norm is to yell in the ear. That's where the problem is.

An over-relaxed, shapeless structure also distorts the interaction, the movement loses control and manageability. In this state, it is easy to get injured, sprained by negligence and inattention.

Only the state of soft tone on the stretch makes the dance sensitive, pleasant and well controlled.

If we imagine the interaction of partners as a pair structure, then it is also heterogeneous. In an interesting dance, this structure will change: it will become softer or denser, tighter or more airy from movement to movement, depending on what is happening in the dance, on the music and the feelings of the partners. Contrabalances and supports require more stretch and tone. Fingertip contact requires a subtle air pull (in the tooth), which can then go into counterbalance or support. Bodyworks can be very soft and gentle or active and rhythmic. A good dancer is not subject to the same structure (because he doesn't know how to do it differently), he manages his own structure as an artist. This makes the dances exciting, expressive and different from each other, perfectly keeps the attention of the dancers in sensitive contact with each other.

An example of playing with structure in a dance. If you want a deeper understanding of what I'm writing about here, find moments in the video where relaxation, grounding, stretching up and to the side, interaction with the partner's weight, changing dynamics are used. Think about where Anderson and Brenda use their core muscles to move, and where they relax and give their body to gravity and momentum.

Structure and internal state

The structure of your body, the nature of movement and the internal state are closely interconnected and mutually influence each other. Your mood and mental characteristics affect the structure of your body both at the moment and in general (psychosomatics), which in turn affects how you dance and how you want to move. From the dance and movement of a person, you can tell a lot about him and his model of interaction with the world. And, on the other hand, work on the manner of movement, relaxation and stretching exercises will affect your mental state and mood, can even lift layers of old traumas and memories and serve as light therapy for the experience, and this will change the way you feel, how you move and what decisions you make. This is the basis of body-oriented and dance-movement psychotherapy.

This concludes today. To begin with, I wanted to convey a general idea of ​​\u200b\u200bthe structure and its influence on movement. Think about what structure you usually dance with, do you know how to manage it? What works and what doesn't and why, in your opinion? Have you noticed how your structure changes with your mood?

Next time I will share the knowledge about the structural relationships in our body, which I received only in instructor courses.


Learn more

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