How to hustle dance steps
Top 10 hustle dance ideas and inspiration
Discover Pinterest’s 10 best ideas and inspiration for Hustle Dance. Get inspired and try out new things.
Saved from m.youtube.com
Basic Hustle Dance Steps | Beginner Hustle Lesson
Learn how to hustle dance with these basic hustle dance steps! Learn the Basic Hustle Moves in this awesome Beginner Hustle Lesson.Ever wondered how to do th...
More information...
Debbie Van Meter saved to Flash Mobs
Saved from youtube.com
How to Hustle Dance for Beginners (1) | In Place & Rotating
How to Hustle Dance for Beginners - in place and rotating. This is the basic for the hustle dance and the hustle basic rotating. We introduce our beginner st...
Hustle Dance
Do The Hustle
Learn To Dance
Line Dancing
Ballroom Dance
Dance Moves
Health And Wellness
Moving
Beginners
More information...
Martin Wessels saved to Dance Hustle
Saved from greatmats. com
Flooring For The Hustle Dance
The hustle dance is a popular American disco dance from the 70s, and it’s still done today in ballroom and club settings to disco music. The hustle dance is also the inspiration behind certain line dancing and party dancers practiced by cowboys and average joes. You can learn from an online lesson, YouTube video, or dance studio. Like most ballroom dances, the best flooring for the hustle dance will allow dancers to move and step easily across it, without the worry of slipping or sticking.
Disco Music
Disco Dance
Ballroom Dance
Club Dancing
Line Dancing
1970s Disco
Disco Era
Costa Rica Liberia
Marley Floor Dance
More information...
Greatmats saved to Dance Flooring
Saved from howcast.com
How to Do the Hustle
Take charge of the dance floor by showing off your moves with the hustle.
Hustle Dance
Do The Hustle
Dance Steps
Line Dancing
Move Your Body
Dance Floor
Dance Music
My Girl
Moving
More information.
..
Jolie BoschJ
Jolie Bosch saved to The Hustle
Saved from dance.lovetoknow.com
The Hustle Dance Steps | LoveToKnow
The Hustle dance has many variations. The Saturday Night Fever line dance version is one of the most common done throughout the world. This disco dance has ...
1970s Disco
Disco Era
Cool Dance Moves
Dance Steps
Hustle Dance
Youtube Videos
Do The Hustle
Dance Instruction
Couple Activities
More information...
Beth Vincent saved to Dance dance dance
Saved from youtube.com
Vinyl Nights NYC Dance Classics 8-25-16 Hustle Dancing pt 2
Free event in front of Madison Square Garden spreading the love of music & vinyl around NYC during the Summer.Produced with Mobile Mondays! NYC 45's!
Hustle Dance
Dance Playlist
Nyc
Madison Square Garden
Free Event
During The Summer
Night
Music
Classic
More information.
..
Jeanette Tiomkin saved to Dance
Saved from youtube.com
Hustle dance - Russia's champions
Anastasy and Sergey performing the hustle dance at a club to show those who learn how to dance what can be done if trained a lot. =)
Hustle Dance
Dancing
Russia
Champion
Performance
Train
Learning
Youtube
Dance
More information...
Clayton Callaway saved to DANCING DANCING DANCING
Saved from youtube.com
Hustle Dance Timing: Single Time vs. Syncopated Timing | Technique Tuesday (26)
Hustle Dance Timing: Single Time vs. Syncopated Timing - Here we go over the difference between dancing the hustle on two different timing options. For begin...
Hustle Dance
Technique Tuesday
Dance Moves
Moving
Development
Single
Youtube
Youtubers
Youtube Movies
More information...
Doris BiddyD
Doris Biddy saved to Dance moves
Saved from youtube.
com
Hustle dance intermediate, behind the back push + hook turn
Shay Dixon giving us advanced hustle moves every Thursday at 8:30pm at By Your Side studio in Culver City, CA
Hustle Dance
Intermediate
Dixon
Ballroom
Dancing
Hook
Exercise
Turn Ons
Development
More information...
WantikkiW
Wantikki saved to Hustle
Saved from youtube.com
Hustle Dance Demo
#LCSwing Alessandra Marconi and company demonstrate hustle dancing at Lincoln Centers’ Midsummer Night Swing in Damrosh Park. 6/28/18 NYC #hustle #disco #ale...
Dance Choreography
Dance Moves
Hustle Dance
Youtube Videos
Lincoln Center
Line Dancing
Dance Videos
Demo
Bead Crafts
More information...
Doris BiddyD
Doris Biddy saved to Dance moves
More related to Hustle Dance
Disco And Electronic Dance
Modern Jive
Spinning Dance
Electro Dance
East Coast Swing
Trending searches for Hustle Dance
Dwts Costumes
Grand Jete
Ballet Warmups
Ballet Recital
Pirouettes
Acro Dance Costumes
Brynn Sato
How to Do the Hustle Dance Moves
How to Do the Hustle Dance MovesBefore you decide to learn the Hustler Dance you need to listen to the music first.
Listening to the 80’s music of this genre would provide you with a better understanding of the dancing steps. The Hustle music has 4 beats per measure from which only three are used in the dancing pattern. Good disco music never has one distinct beat which keeps on playing the loop. Instead there’s a variety of similar beats being played throughout the song.
Instructions
-
1
Play the song.
-
2
The hustle dance is divided in three steps namely 1,2 and 3. It goes something like “And 1, 2, 3. 1-And, 2, 3”. The ‘and’ part is where you take steps for the first step.
-
3
Now turn on the music and stand up straight.
Make sure that you have enough room to freely move around while dancing. -
4
Move four steps backwards for four beats while clapping your hands.
-
5
Move four steps forward for four beats while clapping your hands.
-
6
Spin clockwise after every two steps while moving left. Do this for the four beats with one step per beat. Clap your hands along as you move.
-
7
Spin counter-clockwise after every two steps while moving left. Do this for the four beats with one step per beat. Clap your hands along as you move.
-
8
Now raise your right arm upwards and point out your index finger. Move your right arm from the right side to the left diagonally, above and below your shoulders.
-
9
Make fists with both of your hands.
Roll them over each other like a spinner in front of your chest while making sure the hands don’t touch each other. Take a step to the right and then left, one step per two beats. -
10
Flap both your arms up and down while moving right and then left for two beats.
-
11
Last, take a step forward, backward and then sideways. Do this for four beats as you’ll complete four steps. Repeat this movement once again before you complete the dance.
-
12
Feel the groove and let yourself sway along with the music.
Hustle music exhibits a vivid rhythm which allows you to improvise other dancing steps with the beats, as long as you maintain your pace to the basic rhythm. You can switch to several dancing types in between including salsa, meringue, cha-cha or a simply swing. However, don’t try to do this while you’re still learning the dance, as it would cause too much confusion for you.
Posted by leo-bolivar in Dance
The logic of dance in the stage space
The need to talk about logic in the art of dance arose due to the fact that the author of this article repeatedly had to deal in his practice with various kinds of misunderstanding of individual choreographers, why their choreographic work is subjected to numerous critical statements from outside professional directors, especially when working with them.
The directors, in turn, are not always able to explain to the choreographer why the staged dance number does not correspond to what the director asked for, who in his work on the performance one way or another cannot but resort to the help of the choreographer and the use of dance in the concept of a dramatic performance.
When staging a dance, the choreographer must always take into account the stage space in which he has to work, and the atmosphere, those objects that are located on the stage and collectively “organize this space”. [7, p.34]
Analysis of scientific and theoretical developments in musical, theatrical and visual arts allowed the author to resort to a comparative analysis of these developments, which are associated with the creation of an artistic image in each of the considered areas of creativity [8, 9, 13]. Since the art of dance is associated with music and thought (word), space and time [4, p.25] and there were attempts to compare dance learning with language learning [12, p.
6], the author took the liberty of continuing these works to determine the logic of dance in stage space.
Just as in acting technology, we are talking about the logic of speech, its laws and rules. Here we begin to talk about the logic of dance as the need to determine the forms and laws of correct dance [5].
When a child learns to speak, he first compares separate words and images, remembers the verbal designation of objects and phenomena. Then he learns to put words into phrases, trying to convey his thought, his worldview, and understand other people, their statements and thoughts. And only after that there comes a moment when a person can freely communicate in his own language. But this does not mean that he stops learning new words and concepts over the next years of study at school, college, etc.
Since dance for many centuries in many national cultures has been developing its symbolic language (Indian, Uzbek, Spanish, Russian culture, etc.), then, accordingly, ignorance of this language and its figurative system leads to all sorts of absurdities on stage.
Therefore, a professional director must:
1. At a minimum, have an idea about this language (in order to be able to distinguish and understand which people it belongs to),
2. Be able to “read” in this language (in order to understand the meaning of the dance and its individual movements).
3. And, as a maximum, to know this language (in order to be able to communicate in this language yourself).
Similarly, it will be difficult for a theater (ballet) critic without this knowledge to professionally judge the choreographic work of the director. Here we run into a problem that has become acute in recent years. Not everyone can know a large number of foreign dance languages, therefore, when evaluating a dance, they have to be content with the criterion “like it or not”, and not everyone knows their native dance language either.
For example, the cultural traditions of Russia destroyed by the revolutionary upheaval of 1917 in most places of residence of people (in its middle zone) led to the destruction of the tradition of Russian dance and the idea of it, of its figurative system.
Today in Russia, a child, especially in big cities, does not learn his native dance along with his native language and cultural traditions of the family in the way that many small peoples still do.
The peoples of the North and the East are trying to preserve and retain their national culture and traditions. And from time to time I happened to see how these nationalities at
their family holidays without hesitation and awkwardness, they gladly enter into a common dance, preserving both the character and imagery of their dance culture. I also had to see with what awe and attention they look at other people performing their national dances. At the same time, they are very jealous of the performance of certain movements, coming up and making comments if they find errors in the manner of performing a particular movement or in the nature of the dance.
Of course, in the matter of preserving Russian folk dance, not everything is so bad either, but so far attempts to preserve Russian song and dance culture are being carried out only by individual choreographers and enthusiasts.
While this does not happen at the level of preservation and transmission of family traditions from parents to children, as I have seen it in other countries and among other peoples (in Austria, Germany, Scotland, Armenia, Kabardino-Balkaria, Spain), but is rather acquaintance with the culture of the past.
The future choreographer's lack of ideas about his traditional culture greatly impoverishes his ideas about folk dance. As a rule, future choreographers are primarily trained in classical dance, while they study folk dance mainly as a folk-stage dance and apart from the song traditions of national culture.
As for ballet art, here we can talk about classical choreography as a kind of universal language of communication created on the basis of various national choreographic languages and widely used in modern choreography. But at the same time, it should be noted that, as the experience and practice of all ballet art have shown, it is not able to replace all other folk choreographic languages, since only “sublime” gestures, postures and movements were originally composed and selected in it.
And the development of pointe dance technique only confirms this. Classical dance cannot be learned by observing and participating in it. To master it, even at a basic level, requires systematic training and learning complex steps and tricks.
Folk dance was performed by a person in everyday life (at holidays, festivities, in games, ceremonies), where a person was a direct participant in everything that happened, and learning to dance took place on a par with learning the native language in the process of a person’s life in his ethnic space. At the same time, appropriate musical accompaniment was used, which reflected the reality surrounding a person. As a rule, such a dance was accompanied by the singing of the performer himself, and this allowed him to use his entire psychophysical state to the fullest.0003 apparatus: body (movement), voice (sound), thought (word) - and thereby create certain images.
Stage dance today is primarily the embodiment of the director's intention, and can be staged by him to any music available to him.
What characterizes modern stage dance:
1. It all starts with the fact that the director, for some reason, decides to stage the dance. The staging of this or that stage dance itself depends on what interests and needs are realized through this staging [6, 10].
For a teacher who teaches dance to children, it is important to be aware of the goals and objectives he pursues. In the process of staging a dance, he can use the very staging he has conceived to teach the child new material and to develop the child's data on this material, or he can use the child's data and abilities already available to realize his creative plan. In any of these cases, the viewer is meant for whom this will be shown as a result. When we talk about traditional folk dances and games, the main attention of the performers was directed to each other, and not to the observers (spectators) present. The performers followed the communication that arose between them within the dance, improvised in the conditions specified by the dance game and interacted with each other.
As for modern choreographic productions, almost all of them are somehow designed to be shown to the audience (parents, jury, teachers, etc.). The director tries first of all to surprise the audience's imagination with his choreographic creativity, sometimes forgetting about the primacy of pedagogical and educational tasks. If the choreographer works with professional performers who already know how to dance and this is their profession, then, of course, in this case, the choreographer has a primary task - to realize his idea. But when it comes to working with children, we must not forget that the primary task of a teacher is to teach children to dance and only then begin their professional training, so educational and pedagogical tasks should come first, especially when working with younger students.
What is more important for the teacher: for the children to understand what and why they dance, to understand and convey the image of the dance through the movements (and then a certain rehearsal time is spent on this) or it is more important for him that everyone can raise their legs 120 degrees and “show a good step"?
2.
Any dance is impossible without musical (rhythmic) accompaniment. This is the first necessary condition for the existence of dance. Musical (rhythmic)
accompaniment, being an integral part of the dance, cannot be considered without taking into account its musical form and figurative content.
For example, such names of musical works as “The Shepherd” (S. Maikapara), “Sparrow” (A. Rubbach), “The Bold Rider” (R. Schumann), “The Doll’s Disease” (P. I. Tchaikovsky), “ In the cave of the mountain king ”(E. Grieg),“ Dance of the unhatched chicks ”(M.P. Mussorgsky), they themselves are talking about the object of the composer’s attention. The composer, in turn, through the created musical work tried to express his thoughts, emotions, feelings about the object stated in the title itself, thereby creating a unique musical image.
The choreographer, using such music in his work, cannot ignore this circumstance. Consequently, when staging a choreographic number, his task will be to reveal the musical image created by the composer, using his own choreographic means.
Dance A. Duncan at one time found many admirers, but at the same time had many opponents of such creativity. Why? On the one hand, she promoted free dance, improvisation, which has always been present in folk dances of different peoples. And it has always captivated the audience. Graceful movements, filled with meaning, having emotional expressiveness, filling the viewer's imagination with inspiring images, have always been valued in dance performance art. But to dance in an antique manner and a tunic to any music indiscriminately (which many musicians and critics of that time complained about) is tantamount to the fact that we will dance a Russian dance to any musical accompaniment (to Indian, Spanish, gypsy music). Then you can perform any classical ballet to the beat of an African drum or, which is also common in recent times, dance step dance to jazz, folk and classical music: it doesn’t matter, the main thing is that we ourselves like the music.
Of course, someone will ask the question: why not?
And here we will try to figure it out.
First, we know that in the performing arts there is such a device as a paradox. And in choreography, it can also be used, but then the choreographer's thought - why is this technique used? – should be understandable to the viewer. As a rule, in dramatic art, paradox is used to enhance the emotional impression of the discrepancy between the musical image and the emotional state and experiences of the character of the play, which evokes certain thoughts and images in the audience that justify such a technique. About the dance A. Duncan, it is known that she danced music, and did not try to create paradoxically. Therefore
musicians who played symphonic music and understood that the musical images of these works are not all amenable to a uniform manner of performance, were indignant and resisted such experiments [14].
Any choreographic techniques, forms and means should work to create a clear artistic image. In the same way, in ballet, many outstanding choreographers discover the problem of inappropriate use of the material of their work in individual choreographic productions.
So, for example, it is noted that the Spanish folk dance performed in P. I. Tchaikovsky's ballet "Swan Lake" to stylized Spanish music at a fast pace does not need to be put on pointe shoes. On the one hand, you can dance on pointe shoes, and on the other hand, the question arises about the appropriateness of such a decision. The dance of passion and fire does not in any way correspond to the character of the airy, unearthly creature - the sylph. But thanks to the image of the sylph and for the sake of it, pointe shoes appeared, a finger - "air" - dance technique appeared. And if you think about why the prince liked the swan dance more than the beautiful Russian or Spanish dancing brides, then the question will clearly arise: what was their fundamental difference and through what scenographic and choreographic solution does this manifest itself?
Another example: Russian dance music from the ballet "Swan Lake" by P.I. have the same choreographic solution.
The song "Valenki", which has recently been called the Russian folk song, was originally a comic dance gypsy song, and became a "Russian folk" song only after Lidia Ruslanova included it in her repertoire.
This song was popular at the beginning of the 20th century: the gypsy singer Nastya Polyakova was the first to record it on a gramophone record. "Boots", performed by her at 1913 for the Gramophone company, they were sold in large numbers. Later, the song entered the repertoire of Nina Dulkevich, Vera Makarova-Shevchenko and then Lidia Ruslanova. The performance of this song on television and radio made it very popular among the people. The bright, emotional performance of this song by Ruslanova, who only sang, but did not dance to it, did not cause anyone to think about the origin of this song.
But if you carefully listen to the music of this song, not focusing on its stereotypical perception, and try to dance to it, it turns out that the gypsy movements actually “fit” this melody more harmoniously than
Russian folk dance moves. It is also worth noting that many subsequent performers of this song very often performed it, only imitating Lidia Ruslanova and not trying to find their own character and image in this song.
This has led to the fact that modern adult and children's musical groups, as well as individual performers, taking the song "Valenki" into their repertoire, for some reason try to perform this song without fail, using elements of Russian folk costume and enlivening it without fail with elements of Russian folk dance movements .
3. Images born from music by the director-choreographer. After listening to and choosing the music, the director begins to work on the realization of his idea. The idea he had. As a rule, images can always be clothed in words and concepts. These can be natural phenomena and natural elements (water, air, fire, earth), animals and their behavior in nature, human life and labor processes, human relationships, beliefs and religious practices of a person, objects, thoughts, emotions. Here the choreographer creates himself and the images born in his imagination depend on his talent, development of imagination, aesthetic and ethical views.
For example, let's consider several variants of the performance of the number "The Dying Swan" to the music of C.
Saint-Saens. If the reader sets out to conduct a comparative analysis of at least two versions of this number of our outstanding ballerinas - A. Pavlova and G. Ulanova (documentary film "Stars of the Russian Ballet", script and direction by V. Fialkovsky, production: "Studio 48 hours", 1998 .), then he will be able to see that each of them (by herself or at the suggestion of the director) dances it differently and the performance of each of them gives the audience a different meaning, different images. In one case, this is the image of a dying swan, in the other, the image of a dying soul. But in both cases, we are talking about the fact that a work of art is being created: we see and understand the meaning of what is happening on the stage, we (the audience) have an image in our imagination that the ballerina is trying to convey to us, and the musical accompaniment harmoniously complements the emerging image.
Music sounds the same every time, but the nature of the performance, images and meanings are different.
In each of the performances, we see and read a certain logic of this dance. We see the logic of the staged and performed movements, their meaning, their expressiveness, and the costume in each of the options complements the meaning of the dance in its own way.
4. Speaking about the means of embodying the image, we note that the director must take into account the following factors:
- performers: their age, gender, physical characteristics and choreographic training at the time of the dance;
- scenography: what meaning it will carry (costume, makeup, masks, props, stage design, lighting, etc.) [1, 2, 3, 11].
Speaking about the performers, it should be emphasized that their age does not always allow the choreographer to realize his plan. For example, the dance of the girls from the variety show (getting up, sitting down and spinning on chairs in dresses that slightly cover the buttocks of the performers) to the music from the movie "Moulin Rouge" (2001) directed by Baz Luhrmann, performed by 14-16-year-old schoolgirls, causes a very ambiguous perception .
The thought arises that, perhaps, the performers are specially trained to work in a brothel or nightclubs? But then what does this have to do with children's creativity and is it worth demonstrating similar achievements to other children from 6 to 16 years old? Maybe there is some paradoxical move in this? In the movements of some performers, one could feel awkwardness, misunderstanding of the meaning of the poses they performed and, as a result, the formality of the performance. From the beginning to the end of their performance, the girls remained in the same emotional mood, they also did not look very boldly into the audience, although they tried to demonstrate to the viewer that they liked their “modern” dance. But the awkwardness of the room was still felt. Even if the director himself really likes his performance, one should always take into account the real data of the performers, their age and psychophysical development.
The director should also remember that the costume has a great semantic meaning.
And there can be no random details on the stage. Unfortunately, here we encounter inconsistencies more often in children's groups than in professional groups. There are many reasons for this: and the lack of material resources, which does not allow the director to realize his plan in full; and lack of aesthetic taste; and excessive pursuit of fashion. Let's consider one example. The children have Matryoshka costumes (long voluminous sundresses), and the director staged a Russian stage dance where you need to raise your leg to 90 degrees. As a result, during the performance of a number in this costume, the child most of the time tries to cope with his costume. He needs to lift his leg, and the suit is heavy and long, and the child makes great efforts to cope with it. And since the child is not able to hide his concern for the costume, this is also reflected in his wordless behavior: in his thoughts, the nature of his movements, facial expressions, and emotional state. It is through the logic of the dancer's wordless behavior that we read the director's intention.
Since lately few of the dancers allow themselves to sing (so
how breathless when performing complex tricks), it is only by the wordless behavior of the performer that we read the images that he consciously or unconsciously tries to convey to us [5, p. 85–106].
5. The external form of the embodiment of the image is the dance itself and its specific language: a set of figurative expedient effective movements and the composition of the dance.
This item is just that important link in the dance, without which the dance will not be staged. It is important for the director not only to come up with a set of sequential movements, but also to determine for himself exactly through which images he will convey his idea first of all to the performers, and they, in turn, to the viewer.
A well-thought-out set of movements, correctly selected images that can be appropriated by the performers and conveyed by them to the viewer - all this is an important part of the work of the director and performers.
And if it is important for a choreographer to convey his idea to the public, then he will not be lazy and will pay the most reverent and biased attention to this. He will think through what words and images to convey his idea to the performers, how to direct and distribute their attention in the process of performing the dance, through what movements they will be able to most accurately express his idea and how exactly they will be able to embody it.
It is clear that a director working with professional performers will not have to teach them the dance language, they already come to him with knowledge of the dance language. But a teacher working with children will first of all have to teach children the dance language (or languages) in which he will subsequently carry out his productions. In this process, one should not rush to pronounce dance phrases until the choreographic words and their meaning are learned. After all, one of the main components in working with children is not ostentatious and quick success, but the development of the child's creative abilities through acquaintance with dance culture.
Literature
1. Berezkin VI The art of world theater scenography. Volume 1. From the origins to the middle of the twentieth century. M., "Editoril URSS", 1997. 544 p.
2. Berezkin VI Art of scenography of the world theater. Volume 2. Second half of the 20th century: In the mirror of the Prague Quadrientalle 1967–1999. M.: 2001, 807 p., ill.
3. Berezkin VI Art of scenography of the world theater. Volume 3. Masters XVI - XX. M., Editorial URSS, 2002 296 p.
4. Volkonsky SM Man as a material of art. Yearbook of the Imperial Theatres. St. Petersburg, 1911, No. 4 172 p.
5. Ershov P. M. Technology of acting, M., LLP "Gorbunok", 1992. 288 p.
6. Ershov PM The art of interpretation. In two parts. Dubna: Ed. Center "Phoenix", 1997. 608 p.
7. Brief dictionary of concepts, terms, definitions used in contemporary art pedagogy. Comp. L.G. Savenkova, M. IHO RAO, 2008. 44 p.
8. D. B. Kabalevsky. About three whales and about many other things. Music book.
Rice. R. Volsky. M., Det. lit.", 1972. 224 p.
9. Nemensky B.M. Pedagogy of art, M.: Education, 2007. 255 p.
10. Simonov P. V., Ershov P. M., Temperament. Character. Personality. M.: Nauka, 1984. 163 p.
11. Syrkina F. Ya., Kostina EM Russian theatrical and decorative art. M., 1978. 246 p., 80 sheets. ill.
12. Filatov S.V. “From figurative word to expressive movement”, M., “NB Master”, 1993. 128 p.
13. Fokin M. "Against the current". Memoirs of a choreographer. Articles, letters. L.–M.: Art, 1962. 638 p.
14. Shtork K. Dalcroze system, Petrograd Publishing House, L., 1924. 134 p.
The new visitor center, which must be booked in advance and has an entrance fee, offers visitors to experience Ashdod with the help of modern technologies. For example, here you can ride a bike along the Lachish River, reaching the city beaches, just sitting on a special bike and pedaling. The energy from the moving pedals is transferred to virtual reality glasses - and now you are already admiring the banks of the river, passing by a miniature zoo and flying further to the sea and the inhabitants walking along it.
8 צפייה בגלריה
We pedal in the tourist center and drive along the Lachish River in Ashdod
(Photo: Anastasia Tadson)
to be on one of the beaches of Ashdod. Here is a self-taught guitarist humming a tune under his breath, and there a fit surfer hurries out to sea to catch a wave. Sunset, the sun slowly sinks into the sea, and you, being indoors, accidentally catch yourself thinking that you can enjoy the sea without getting sand on your feet.
8 צפייה בגלריה
Put on VR goggles and be on the Ashdod beach
(Photo: Anastasia Tadson)
The new tourist center will also show a film about Ashdod, a city where life is seething from dawn to dawn. By the way, the film was shot with such love for the city, and demonstrates its versatility so captivatingly that you fall in love with it from the first second.
In the main hall of the center there is also an interactive whiteboard with famous and not so famous people from Ashdod.
There are restaurateurs, and ballerinas, and comedians, and ordinary people who tell what their hometown means to them.
8 צפייה בגלריה
An interactive screen with Ashdod residents and a table with dishes from the communities living in Ashdod
(Photo: Anastasia Tadson)
The history of the city can be seen on interactive panels, as well as by participating in its virtual meeting City Council and helping to make important decisions for the city.
8 צפייה בגלריה
Screens for interactive participation in Ashdod City Council meeting
(Photo: Anastasia Tadson)
There is also an unusual table with a modern self-assembled tablecloth. With a single movement of the hand, virtual dishes of each of the 99 Jewish communities that live in the city appear on the plates: Russian dumplings, Ethiopian injera, Georgian khachapuri, Moroccan couscous. Twist and lick your lips, and then decide which restaurant in the city to go to so that you have the strength to continue walking through its amazing places.
We leave the center and head to the highest point of Ashdod - the hill of Givat Yona. It offers a wonderful view of the huge port, a picturesque park and the Ashdod water area. At one time, having climbed this very hill, the Jewish businessman, journalist and politician Oved Ben-Ami decided to found a port city here and later began to implement the plan.
8 צפייה בגלריה
View of the Ashdod port and water area
(Photo: Anastasia Tadson)
Ashdodians themselves recommend visiting the city at sunset. If only because the ancient citadel of Metsudat-yam, also called Castellum Beroar and located in an ecological park by the sea, excavated and put in order during the coronavirus epidemic, is almost the most romantic place in the city. The beautifully illuminated walls of an ancient fortress with an amazing history attract couples in love and entire families with children who want to admire the sun setting in the waters of the Mediterranean Sea. The complex is open daily from 9:00 to 22:00, admission is free and is accompanied by stories about the history of this place, which can be listened to by turning on the infomats installed here.
In addition, on Thursdays, the walls of the fortress show the light and music show "Lights of Ashdod", the schedule and tickets for which can be found on the city hall's website.
8 צפייה בגלריה
Light and music show at the Metsudat-yam citadel in Ashdod
(Photo: Anastasia Tadson)
What else is Ashdod famous for? A huge kinetic eye is installed on one of its squares, changing its illumination depending on the time of day. Every day, except Friday and the eve of holidays, a film about the history and sights of Ashdod is shown on the facade of the city hall and on the building of the pyramidal shape of the cultural center "Monart" (at 20:30 and 20:45). The huge Ashdod-yam park invites those who wish to go boating, and every evening (except Friday and the eve of holidays) you can enjoy singing fountains here - at 20:30 and 21:15.
8 צפייה בגלריה
At the Ashdod Wine Festival
(Photo: Anastasia Tadson)
Ashdod is home to many communities with a total population of 250,000 inhabitants, so the leadership considers it important to allow each community to show its character and festivals.
