How to do the windmill dance

00 for my “best” attempt : bboy

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A community for anyone interested in b-boying/b-girling (or as more know it: breakdancing). Come to watch videos, see pictures, or discuss about the dance and culture.

Created Mar 10, 2009





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Windmill | Hip Hop Dance Wiki

The Windmill (or briefly Mill) is a popular b-boying move. The breaker rolls his torso continuously in a circular path on the floor, across the upper chest/shoulders/back, while twirling his legs in a V-shape through the air.[1]


  • 1 Origin
  • 2 Description
    • 2.1 Power Windmills
      • 2.1.1 Variations
    • 2.2 Halos
    • 2.3 Air Track
  • 3 Notes and references
  • 4 External links


The discovery of this move is credited to Crazy Legs of the Rock Steady Crew from Bronx, NY.[2] It was accidentally created when he overshot his chair freeze into a continuous back spin.[2] From then on, it became a widely popular move.[2] Some believe that it originated before that having been inspired by a Kung Fu kick from the ground.


Stabbed windmills transitioning into a back spin.

The twirling of the legs is akin to twirling a math compass around in the hands; the momentum created by this twirling motion gives the breaker the majority of his power. The leg position and motion is seen in several other power moves, which makes the windmill an essential power move to learn first.

The basic windmill can either be "stabbed" or "unstabbed". The stab position helps to keep the hips up high which aids in momentum and execution of the move,[1] especially during the first rotation. Unfortunately, it slows down movement when multiple windmills are performed. Accomplished breakers may stab to begin the windmill, but they will perform subsequent rotations unstabbed (sometimes called a "forearm mill").

Power Windmills[]

Windmills performed with out the use of hands usually rotating using the head as the pivot point; results in a much faster rotation. As power windmills free the use of hands, there are many variations corresponding to the location of ones hands.


There are many variations of Power Windmills, some of the more popular ones including:

  • Nutcrackers- Windmills performed with hands placed over groin.
  • Barrels- Hands and shoulders rounded in front of the body as if hugging a barrel to ones chest.
  • 'Handcuffs- Hands held together behind the back.
  • Genies/Coffins- Hands crossed over chest.
  • Confusions- Hands placed over the face.
  • Eggbeaters- Hands place on thighs.
  • Tombstones/Frankensteins- Hands and legs extended straight in front ones body.
  • Grab Millz- The boy/girl grabs the non-kicking leg and pulls it closer to his or her body so that it is in a bent position while performing windmills.
  • Lotus- The windmill is done with legs folded in a lotus position.


The Halo is a move similar to headmills and air tracks/air flares. Icey Ice from the New York City Breakers is credited with making this move. In this move the breaker's head stays in constant contact with the floor on a 45 degree angle, and the body rotates around the head such that the point of contact with the ground traces a halo pattern around the calvaria. No other part of the body touches the ground except the hands which are briefly employed at the point when the forehead is facing down. They may protect the face, stabilize the rotation, or push off to gain momentum.

Halos are often launched from windmills because the two share many similarities, plus the windmill is easier. Halos can be performed with the legs swinging relatively near the floor, or they can become more and more vertical until they approximate a headspin. However, there are distinct differences in that halos employ the hands for a part of the rotation, the point of contact changes, and the swinging motion of the legs remains critical in generating momentum. Halos are performed much higher off the ground than the typical windmill, but lower than the air track/air flare, described below, which has a similar motion but has the hands contacting the ground rather than the head.

Air Track[]

The Air Track is more extreme still, and they are considered a separate move. An Air Track is basically a halo/headtrack in midair. You use only your hands and you hop from hand to hand in somewhat of a circular motion. There is dispute about whether this move is different from the Air Flare. Some say that Air Tracks have the body traveling only on the X axis, while with an Air Flare the body travels on both X and Y axes. Others contend that the moves are one and the same, and that the name difference is merely based on the evolutionary history of the moves.

Notes and references[]

  1. 1.01.1 Corsica, Joey. "How to Do the Windmill" (video). Retrieved 6 November 2009. 
  2. D, Davey (July 23, 2002). "An Interview With Crazy Legs". FNV newsletter. 

External links[]

  • BBC Blast - Dance Watch Lil' Tim demonstrate windmills in this downloadable video clip from BBC Blast.
  • BBC Blast - Dance - Tips and Tools Find out how to perform a windmill.
  • Six basic mills The fifth clip is a Munch Mill and the sixth incorporates a 1990.

Community content is available under CC-BY-SA unless otherwise noted.

Dance resource: Dances, dance. Dancing and dancing

Quadrille Windmill Quadrille

1 piece:

Mouline ladies clockwise - 12345678

By at this time, take eight steps to the place of the right counterpart, for this, on the first beat, make a 90 ° right turn, go to the corner of the set, then turn left by 90 ° and to the place of the right counterpart, where he meets his D .

Having met with their left shoulders and holding with their left hands, K and D make a 360° turn in pair - 12345678.

These two eights are performed four times to their places.


First and second pair:

C and D , turning to face each other and clapping their hands, go with their backs to the corner of the set - 1234

Rotated 90° K anti-clockwise, D clockwise, partners go on the side of the set to the opposite seats - 5678

Having met with counterpart partners, K with his left hand takes his right hand D counterpart, and, turning to face the center, go to the center of the set, where they meet with their partner - 1234

C takes his left hand with his PR D and walk back to his place - 5678

Third and fourth pair at this time:

Go to the center of the set - 1234

Having met with the counterpart, K LR takes his right hand D counterpart, and, turning 90° K clockwise, D counterclockwise, go to the counter-visa's places - 5678

K and D (vis-a-vis), turning to face each other and clapping their hands, walk with their backs to the corner of the set - 1234

Then, turning 90°, they go to their places - 5678

The next four "eights" the first and second pair perform the movements of the third and fourth pair, and the third and fourth - the first and second.

2 figure:

Mouline thread K clockwise – 12345678

D at this time go eight steps to the place of the right counterpart, for this, on the first beat, make a 90 ° turn to the right, go to the corner of the set, then turn to the left by 90 ° and to the place of the right counterpart, where it meets with its K .

Having met with their left shoulders and holding with their left hands, K and D make a 360° turn as a pair – 12345678.

These two eights are performed four times to their places.

Chorus .

3 figure:

Mouline ladies clockwise - 12345678

By at this time, eight measures go to the place of the right counterpart, for this, on the first cycle, they make a turn to the right by 90 ° go to the corner of the set, then turn left by 90 ° and to the place of the right counterpart, where it meets with its own D .

Having met with their left shoulders and holding with their left hands, K and D make a turn in a pair of 360° + 180° - 12345678.

Mouline thread K clockwise – 12345678

D at this time go eight steps to the place of the right counterpart, for this, on the first beat, make a 90 ° turn to the right, go to the corner of the set, then turn to the left by 90 ° and to the place of the right counterpart, where it meets with its K .

Meeting with left shoulders and holding with left hands, K and D turn in pairs 360°+180° – 12345678.

These two "eights" are repeated one more time.


4 figure :

To goes to the left to D counter-visitor, D goes to the right to To counter-visitor and holding the LR make a circle and return to their place - 12345678

K takes his right hand with his D and raises it up, and LR left hand D and holds it at the level of the belt and three "eights" go along the line of dance.

The Windmill of Love read online by Barbara Cartland (Page 5)

When all the girls dropped into the splits at once, the men in the audience stood up. Their furious applause and enthusiastic cries deafened Valeria. Tony expressed his delight as vehemently as the others. However, the count remained seated, contemplating everything that was happening around him with an ironic smile.

"I wonder why he came here, if he feels this way about this spectacle?" thought Valeria.

Finally the dancers left the stage and the audience sat down in their seats.

The orchestra played a waltz, and Tony, to Valeria's surprise, invited Mademoiselle Rene to dance. She looked inquiringly at the count. He nodded slightly, the young Frenchwoman stood up and Tony's hand went around her waist.

The count asked Valeria:

— Would madam like to dance?

“Thank you, I would refrain,” she replied.

- I agree with you. This place is not for you.

"What did he mean by that?" the girl thought.

But she really didn't want to dance here. Valeria noticed that most of the men dance, keeping very intimate with their partners. If this happened to her, her father would consider himself insulted. In addition, she was tormented that her brother acted like an ill-mannered person, inviting the count's girlfriend to dance without his permission.

So she asked the count, as if to apologize for the awkwardness:

“I hope… you don’t mind that Tony… is dancing with your friend?”

— If you don't mind, why should I? Besides, I must say, she's not my friend. Noticing Valeria's surprised look, the Frenchman added: "The fact is that a man who comes to the Moulin alone must treat one of the local "ladies", as they are politely called, with wine.

Valeria looked towards the bar counter, where before the start of the performance there were women without gentlemen. Now there are almost none left. But at many tables sat young women without hats. She decided that these were what the Count derisively called "ladies." Not knowing how to continue the conversation, the girl just sat silently, watching the dancers.

Finally Tony and Rene returned to their table. Tony quietly said to his sister:

“Listen, Val, you probably don't want to watch the same show again, and I was invited to a party. Do you mind if I take you to the hotel and then come back here?

Valeria was so amazed that she couldn't find the words to answer.

But then the count intervened, who probably heard her brother's question.

"Since I'm leaving, Monsieur," he said, "I could, if you don't mind, take Madame Erard myself to the hotel where you are staying. My carriage is waiting for me, and it will not be difficult for me to give Madame a lift.

"That's very kind of you, monsieur," Tony replied. "Are you sure it won't be troublesome for you?"

- Not at all.

Tony looked at his sister.

“Everything will be fine,” he said. And it's not far from the hotel.

She wanted to protest, to insist that Tony himself accompany her. But by the way her brother looked at Mademoiselle Rene, Valeria realized that the party would take place at her place, and therefore, unexpectedly for herself, she answered:

- Yes ... of course, everything will be fine.

- Thank you, Bel, you're smart! Tony exclaimed and went back to dancing with Rene.

The count stood up and said:

— Shall we go? I think you are uncomfortable here.

Valeria got up and took her shawl from the back of a chair. The count went to the exit, she followed him. Apparently, he was a famous person here, because the head waiter bowed to him, and all the waiters who met on their way followed his example.

When the count was almost at the door, one of the waiters said to him:

— There's a big crowd, monsieur.

He stopped and asked Valeria:

— Please wait here, I will find my coachman.

The entrance door was locked so that those who did not have enough space would not rush into the hall.

The porter opened the door just enough for the count to get out. Before she had time to close behind him, Valeria was called:

“Madame, I have been trying to draw your attention to myself all evening!”

She looked around in surprise and saw a man who did not look like a Frenchman and did not look particularly prepossessing, but was young and dressed appropriately. Dark hair made him look like a Spaniard.

"I'll tell you what," he continued, lowering his voice. "I'll pay you twice... no, three times as much as this man." I want you to come with me now, this minute!

Valeria was speechless in amazement. The meaning of the stranger's words did not immediately reach her, and he repeated:

- I have never seen such a beautiful woman in my life ... I am very rich. Come with me!

— No... Of course not! the girl exclaimed.

An unknown person grabbed her hand.

With a cry, Valeria broke free and rushed to the door, through which the count had just come out, but he was already returning for her.

She was so frightened that she couldn't explain anything, she just held out her hands to him and exclaimed:

"Get me out of here... hurry!"

The count did not ask anything, seeing from her expression that the girl was shocked by something. Taking her by the hand, he silently walked with her to his carriage, which was waiting for them in the street.

The servant opened the door, Valeria hurriedly sat down, the count followed her. Without closing the door, the servant stood waiting for orders.

“I don’t know exactly where you are staying,” the count said, “but it’s not too late now. I suppose you and I could have some wine somewhere quiet.

“You have already treated me to wine,” Valeria replied. “But, if it doesn’t bother you, is it possible to have dinner somewhere?” Only now did she feel how hungry she was. She hadn't eaten anything since her light breakfast on the yacht.

— Of course! the Count agreed. "By the way, I haven't had dinner yet myself."

The count's carriage took them through the night streets. Valeria hesitantly turned to her companion:

“Perhaps… on my part… it’s not good to bother you with such requests. Especially since you've already graciously agreed to... take me home?

- You can go home as soon as you wish. But we were both hungry. I'll take you to a nice place where the food is good and where we can talk. In such a roar as in "Moulin", this is unthinkable.

He had a deep voice, and he spoke calmly and reservedly, unlike the Spaniard who had just so frightened her. The count asked:

— What scared you so much while I was away?

- A man... He spoke to me...

- What did you expect when you came to Moulin?

“Of course… I didn’t expect anything like that,” Valeria answered quietly.

But then she told herself that she came of her own free will to where dancers like Mimi perform. Therefore, one should not be surprised that the men there behave differently than at a ball in London.

— What did he say to you?

— I... I can't talk about it. I now thought that it was my own fault, since I went to ... such a place.

“But your friend Tony persuaded you,” her companion remarked. Tell him to take better care of you next time.

— Yes, of course. But, you know, he's still so young. And he so wanted to visit Paris! And my--his father wouldn't allow it.

She caught herself almost saying "my father" and thought she should be more careful in the future.

The carriage stopped near a small cozy restaurant.

Valeria has never dined in a restaurant before, especially not together with a man. In Normandy she had seen little restaurants like this one when she and her mother were shopping, but they didn't go inside.

The count, who was well known here as well, led her to the far end of the hall, to a table next to which stood a semicircular sofa. The sofa was placed in such a way that it was difficult for other visitors to see the people sitting on it.

However, throughout the hall there were two more similar sofas and no more than a dozen ordinary tables.

Valeria felt how pleasant it was to be in this quiet and comfortable place after the disturbing fuss that reigned in the Moulin de la Mer.

The count offered to order dinner at his discretion, and she agreed.

- Would you like to drink champagne? - he asked.

“Forgive me, but I would not like to abuse wine,” the girl replied. But I'm thirsty. At the Moulin, I asked Tony to order mineral water, but it never came.

“Of course,” the count smiled. “It’s more profitable for them to make you drink their expensive champagne. They won't let you quench your thirst with anything else.

- It never occurred to me! Valeria laughed. “But, of course, this is a very good way to generate income from visitors.

The count ordered a bottle of mineral water, which was immediately brought.

After drinking water, Valeria said:

— Thank you for your kindness. Maybe I shouldn't have come here, but it's very interesting to see the inside of the restaurant. It's a pretty nice environment.

— Shouldn't you have come here? asked the Count in surprise.

— Well, you know... probably shouldn't have accepted an invitation from a gentleman... whom I'm seeing for the first time and who... hasn't been introduced.

The Count smiled as if he knew she meant something else entirely.

“I assure you, madam,” he said, “it was you who did me the favor of saving me from having to dine alone.

— Weren't you going to invite Mademoiselle Rene to dinner?

The count shook his head:

— If you are interested, I was going to have dinner with a diplomat friend, but he was urgently called on business just before my arrival. He left me a letter expressing his regret. Since I had nowhere to go, I went to the Moulin.

“But you booked a table there,” Valeria remarked.

The Count smiled again.

- I actually booked it for the next performance, but since they know me at Moulin, they were ready to refuse a client who was not of particular interest to them.

— Oh, I'm so glad you gave in to Tony! It would have been a terrible blow for Tony not to see the can-can after we had worked so hard to get to Biarritz.

“Well, well, he saw the cancan,” the count remarked, “and now he’s also going to visit.

Valeria found his tone strange, and she asked:

— You don't think there's anything dangerous in the way he intends to spend the evening... illegal or anything like that?

She was obviously worried, and the count hurried to reassure her:

— Of course not. I am only surprised that you are not jealous of your friend who wishes to spend the evening with Mademoiselle Rene.

— Not jealous? Valeria asked in surprise. Then, as if she had just grasped the meaning of his words, she answered: “No, of course not. I have known Tony for a long time and we are good friends. She thought the Count raised his eyebrows slightly. To change the subject, she asked, "Could you tell me about these paintings?" Are there many contemporary artists in Biarritz now?

— Just like in Paris, there are so-called impressionists here. Out of curiosity, I bought one or two of their paintings myself.

- I would like to see them! the girl exclaimed. “I read a lot about the Impressionists. It seems to me that the older generation always perceives everything new with caution. But maybe someday the time will come, and these artists will become fashionable.

“Perhaps,” the count replied doubtfully. “Be that as it may, they have a new painting technique that distinguishes their paintings from the creations of recognized masters.

— Do you collect paintings?

“I have paintings that I am very proud of,” he replied. “Perhaps one day, as you yourself suggested, I will show them to you.

“I would love to see it,” the girl replied, thinking to herself that she would hardly see the count again.

- Do you think that the meeting I'm talking about is impossible? he suddenly asked.

— How did you know what I was thinking?

- I read your thoughts.

— But... you shouldn't do that... you shouldn't...

— Why?

— Because my thoughts are my thoughts. I would be scared if you or anyone else guessed them.

— Do you think of anything bad?

- I hope not! But they concern me... and only me.

“We'll see,” the count replied enigmatically. - Now tell me, why did Mimi Blanc's dance shock you?

Valeria froze for a moment, then spoke with difficulty:

“I… would not like to discuss this.

- But you were shocked.

— Yes, it’s true… I imagined the Cancan like that, but I didn’t think that a woman could behave so… unworthily.

— How old are you? asked the Count.

Valeria shuddered. Indignant at Mimi Blanc, she forgot about caution. Now she felt that she had entered a dangerous zone.

They didn't agree with Tony on how to answer such a question, and it never occurred to Valeria that someone might ask her about it. She understood that in this outfit she looked much older than the debutante, but she had no idea how many years she could be given.

However, the count was waiting for an answer.

Valeria spoke with difficulty:

“I always thought it was… impolite for a gentleman… to ask a lady about her age, especially if she is French.

"I seem to have been reprimanded," remarked the Count.

- No, no, please don't think so... that's not the point. I just want to be young... Every woman wants it.

“I think you are really young,” he said slowly. “And it is hard for me to resist the temptation to guess your age ... and much more about you, Madame Erard.

“That would be a mistake,” said Valeria.

- Mistake? he asked.

— Today we met for the first and possibly the last time. We are like ships passing by in the night. Tomorrow I will remember this as an exciting episode.

— But not about one that you would like to repeat?

“It's not about desire,” Valeria replied. “It's just that I'm sure it won't happen. So I just want to enjoy every minute without feeling embarrassed or guilty.

The count laughed:

— You are very young in years, but at the same time you know how to appear mysterious. I accept your challenge, Madame Erard, because I like it.

— My… challenge? Valeria asked in surprise.

— Yes. I want to unravel what you want to hide. And I will have to admit defeat if you manage to stump me and disappear from my life forever.

Smiling, Valeria thought that this would most likely happen. Out loud she said:

— Very good, monsieur! Let this be my challenge. And I consider it my duty to warn you that you will not be able to win this game.


What a wonderful dinner! Valeria said as the waiter took away the empty plates.

- I'm glad you liked it. I always thought that this restaurant is one of the best places in Biarritz, although it is not as popular as other big restaurants.

— I am fascinated by Biarritz, — Valeria remarked, — and I read his story.

"That's not surprising," the count said. “It is more surprising that you are so smart and so well-read in your way of life.

Valeria didn't quite understand what exactly he meant, so she started talking about something else:

— I think it's time for me to go home. Tony will be worried if he comes back to the hotel and doesn't find me.

— I doubt that he will return so early, but of course, if you want, I will take you to the hotel.

He asked for the bill, signed it and left the restaurant with his companion.

“I wonder if he himself lives in Biarritz?” Valeria thought, but decided that she shouldn't ask too personal questions.

- While I'm in Biarritz, I would like to see how the waves foam at the breakwaters. After all, it seems that you can watch it in any weather? she asked.

“It is indeed a splendid sight,” remarked the Count. “Tomorrow I will show it to you.

— Tomorrow? - the girl was amazed.

— I invite you to have lunch with me. And then I'll show you the waves on the sea. This spectacle, in my opinion, will be a more impressive picture for you than the can-can.

Valeria thought that these things were nothing to compare, but said:

— I still don't know what... Tony and I... will do tomorrow.

- Of course, I invite your friend too, but I think he will find something else to do.

Valeria looked at him in surprise, but then she remembered the evening at the Moulin and said:

— Maybe... the friends who... invited him to the party will want... him to spend time with them.

“In that case, I hope you will choose my company,” the interlocutor remarked.

- It's very kind of you to invite me, you probably already have appointments.

- As I said, I came to Biarritz to meet my diplomat friend, with whom we needed to discuss something. But since he abandoned me, I can only ask you to take pity on me.

“That sounds very touching,” Valeria laughed, “but I’m sure you have many friends in the city who would be happy to meet you. Only if you refuse me. Then I'll have to contact one of them.

In the meantime, the carriage has arrived at the hotel.

"So that's where you left off," the count remarked. - I think it's pretty quiet and comfortable here.

- In my opinion, too. Unfortunately, yesterday we had to hurry. Tony was still afraid of being late at the Moulin de la Mer and not getting a good seat there. - After a pause, Valeria added: - Let me thank you again for giving way to Tony and not forcing me to look for seats in the back rows.

“As soon as I saw you,” the count said, “I immediately thought that you must not be allowed to slip away from me.

Valeria looked at him in amazement. But then the footman opened the door, which saved her from having to answer. The Count followed her. At the entrance to the hotel, he asked:

— Are you sure that everything will be all right? Are you not afraid to stay here alone and wait for your friend to return?

“I… am sure… that everything will be fine,” Valeria replied. However, the prospect of spending the night alone in an unfamiliar hotel did scare her a little.

The Count seemed to read her thoughts again.

"I know what I'll do," he said, "tell me where your room is and I'll walk through the garden." If you wave to me from the window, I will know that you are safe.

“There is no need for this…” the girl began uncertainly. But then I thought that something might have happened in the hotel. Suddenly, for example, their number was also booked by someone else, and they will be asked to release it and find another one?

— Do your windows face the garden? asked her companion.

— Yes, I saw the fountain from the bedroom window.

- Then I'll wait there.

She smiled and extended her hand to him. Leaving the restaurant, Valeria did not put on gloves, and when the count took her hand, she felt his fingers tighten. She thought that some mysterious vibration from his hand penetrated into her body. The Count leaned over and kissed her hand. Valeria, surprised and embarrassed, hurried to pull it away and slipped into the hall.

The sleepy porter handed her the room key and she went up to the second floor. Finding her number, she unlocked the bedroom door. A lighted lamp stood on the dressing table. Her belongings, scattered in disarray, lay as she left them, hurrying with Tony to the performance.

It was dark in the living room. The door to Tony's room remained open. An oil lamp was also burning there, but the brother had not returned yet.

Valeria took off her shawl, opened the balcony door and went out onto the balcony.

The count was standing at the fountain below. She looked at him as if seeing him for the first time. Then she waved her hand at him, and he raised his hand in response.

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