How to make dancing ribbon sticks

Dancing Ribbon Wands - Super Simple

It’s time for a dance party! These dancing ribbon wands will elevate your dance party to new heights! They are so much fun to play with and are simple to make – no fancy hardware needed and no mess! We also designed these wands to be safer for little ones with shorter ribbon stands so they don’t get tangled up and are easier for little hands to twirl. 

What to do with your Dancing Ribbon Wands?

  • Put on our Super Simple Dance playlist and dance!
  • Twirl your ribbon wand and then freeze with Red Light, Green Light.
  • Try twirling your ribbon fast and slow with Open Shut Them.
  • Take your wands to a sports game or celebration and use them like pom poms to cheer! You can even make your ribbons the same colors as your favorite team. 
  • They make great party favors!
  • Review colors with the ribbon colors. 
  • Draw different shapes in the air with your wand for shapes review.
  • Have your little ones or class put on a show using their dancing ribbon wands!

Here’s how you can make your own!

Things you’ll need

  • Small zip tie or cable tie
  • 6 to 8 lengths of ribbon. Best ribbon to use is 1/4“ to 1/2” wide and 3 to 4 feet long
  • Wooden dowel  12”long x 3/8” in width 
  • Decorative tape – we like using different kinds of washi tape!
  • Glue gun 
  • Scissors 

To decorate our wand we used different colors of decorative tape, like washi tape, to make a spiralized pattern around the wand. To make this look, hold two colors of tape side by side and wrap them around the wooden dowel on a 45 degree angle. Slowly twist around the dowel until you reach the end and trim off any excess tape. You can also paint your dowel your favorite color, or leave it plain! 

Cut your ribbons to be 3 to 4 feet in length. You’ll want to have 6 to 8 lengths of ribbon. Use whatever colors you like – try making a dancing ribbon wand using the colors from your favorite sports team for a fun way to cheer them on!

To assemble, make a loop with your zip tie (we’ll be closing the loop later) and tape the ends to the table. This will help hold the loop in place while you tie your ribbon onto the loop making it a bit easier!

Now we are going to attach the ribbon to the zip tie loop using a simple knot called a Lark’s Knot. Start by taking each length of ribbon and folding it in half, doubling it back onto itself. Then, one ribbon at a time, take both cut ends of the ribbon through the loop of the zip tie, and back through the folded end of the ribbon. Pull the ends of the ribbon to secure the knot. 

Continue with the rest of the ribbon until all your lengths of ribbon are tied around the loop of the zip tie. 

Remove the tape from the zip tie – a few final moves and you’ll be ready to dance! Give the ends of each ribbon a final pull to fully tighten their knots. Then tighten the loop of the zip tie to make a smaller loop, but don’t close it completely.

Insert your wooden dowel about half an inch into the loop of the zip tie and tighten the zip tie tightly around the dowel.

Trim off the ends of the zip tie.

Add a few small dabs of hot glue just below the ribbon knots towards the end of the wand and attach the ribbon to the dowel.

This gives it some extra security, and also hides the zip tie for a polished look.

Now you are ready to dance with your dancing ribbon wand!

Play some of your favorite Super Simple Songs dance songs and twirl away!

For more fun dance activities, crafts, and videos, check out our Super Simple Dance Party theme page!

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EASY DIY Ribbon Wands (Ready In 5 Mins)

Author: Creative Team

This post may contain affiliate links. Read our disclosure policy.

Here is a simple and easy tutorial on how to make ribbon wands that your kids are sure to love! These are perfect for a princess party or a fun project to make with your kids. These ribbon wands will bring hours of fun any day of the week!

Easy DIY Ribbon Wands

If you’re looking for a simple, affordable, FUN spring craft that your kids will love- this one is for you! I recently made one of these ribbon wands for each of my 4 kids. They literally spent over an hour running around in our backyard playing with them! I love when something so simple is so much fun!

My oldest daughter loved pretending to be Elsa from Frozen and she used the ribbons as make believe snow and ice coming from her hands- she thought it was pretty amazing!

Ribbon wands are super simple to make, and after watching how much fun my kids had with them, I knew this craft was a winner! Here’s a video that walks you through exactly how to make these ribbon wands. As you can see, it’s super simple to do and can be done in about 5 minutes or less.

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How to Make Ribbon Wands

Materials You’ll Need To Make Ribbon Wands:
  • Wooden dowels (you can buy a pack of 10 or 12 at Walmart for around $2!)
  • Various colorful ribbon (I prefer to use satin ribbon)
  • Scissors
  • Hot glue
  • Matches or a lighter, optional
DIY Ribbon Wands Directions:
  1. Cut the ribbon to your desired lengths.
  2. Optional: Burn the edges of the ribbon to keep them from fraying.
  3. Tie one ribbon at a time to the end of the dowel. Secure it from sliding or coming undone with some hot glue, and let it dry completely.
  4. Once dry, hand one ribbon wand to each kid and let them run around outside on a pretty spring day!

They are seriously going to have so much fun with their new wands!

I love making simple crafts that my kids can have fun with.

The colors are seriously so fun, and the kids loved them! Even the boys!

Print Pin

3.88 from 25 votes

How to Make Ribbon Wands

These ribbon wands are easy to put together and so much fun to play with!

Prep Time 1 minute

Cook Time 4 minutes

Total Time 5 minutes

Servings 24 Wands

Cost $10

  • scissors

  • Hot glue gun

  • Matches or a lighter, optional

  • 12 Wood dowels
  • Rolls Satin ribbon any color
  • Cut the ribbon to your desired lengths.

  • Optional: Burn the edges of the ribbon to keep them from fraying.

  • Tie one ribbon at a time to the end of the dowel. Secure it from sliding or coming undone with some hot glue, and let it dry completely.

  • Once dry, hand one ribbon wand to each kid and let them run around outside on a pretty spring day!

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Sobinov, Suvorov. Dance support

If a dislocation or fracture has occurred, then it is strictly forbidden to set the injured limb yourself. It is necessary to immediately call a doctor or take the victim to a medical facility.

Injuries to the skin are possible: incisions, large abrasions with

the appearance of blood. In these cases, it is necessary to immediately lubricate the affected skin area with iodine, and then bandage it with a sterile bandage.

Do not wash the wound with water, seal with paper, etc. All this can introduce infection and complicate treatment.

But the source of injuries can be causes that depend on the performers themselves, on their physical condition, degree of training and preparedness.

For example, performing exercises without prior preparation of muscles and ligaments very often ends in injury. Therefore, you cannot immediately start training acrobatic lifts without a preliminary exercise.

You can't train when you're sick. The harm from such activities is extremely great, since at an elevated temperature the cardiovascular system of the body already overcomes a large load. Girls on the days of menstruation (three days) are also not allowed to train and perform.

Do not continue exercising when you are physically tired. At this time, you need to take a break from training.

It is not recommended to work on complex acrobatic lifts at full strength after a significant break in training, especially if this break was caused by illness.

During the training of acrobatic lifts, partners must have full mutual understanding. Before performing acrobatic lifts, the partners must understand each other well and agree on the upcoming movements. When mastering a new support, one should insure either with the help of a gymnastic wall or with the help of a third partner. Such insurance in many cases is a guarantee against injuries.

Injuries must be prevented, but their prevention is possible. Trainees must know all the causes of injuries and be able to eliminate them, and in case of injuries, behave correctly.

Medical supervision

Unfortunately, there is still no medical supervision and supervision of ballet dancers in most cases. A doctor in a ballet class is invited only as a specialist to provide medical assistance. This situation cannot be considered normal.

Dance is a system of complex physical exercises that put an extremely high load on the body, and first of all on the heart. Therefore, the task of medical control includes the dosage of the load and monitoring the training.

Doctors can control performers in the same way as they control those involved in sports: medical control is mandatory for all ballet practitioners, especially in adolescence; it should be carried out every three months and recorded in a special card.

Most choreographers are women, and this obliges medical control to take into account the characteristics of the female body, especially when performing acrobatic lifts.

The main attention should be paid to boys and girls. Their bone, ligamentous and muscular apparatus are in the period of anatomical and physiological formation, which makes it possible to develop the qualities necessary for dancing due to the elasticity of the ligaments and incomplete ossification (this position is especially important for developing the eversion of the foot).

We repeat that girls under the age of sixteen and boys under the age of eighteen are not allowed to engage in aerial acrobatic support, since any mechanical load on the bone and ligament apparatus is unacceptable during the formation of the body.

Performing acrobatic lifts during this time can stunt performers' growth and even cause spinal curvature.

Acrobatic training




at the beach

Influenced by the refreshing action of water

and warming day

exposure to sunlight increases the tone of the body and there is a desire to perform various movements.

When training complex acrobatic lifts on the beach, there is no risk of injury.

However, the sand creates unfavorable conditions for pushing, so on the shore it is best to train entrances from a place to high acrobatic lifts such as "swallows", "arabesques". We can recommend acrobatic lifts that end in a split, turns and flips, “falls” and those acrobatic lifts that are performed at a pace and that pass from one lift to another.


However, one must not forget that sunbathing and swimming in themselves are a great physical burden on the body, and therefore you should not tire it out with training.

When training on the beach, you don't feel as tired as you do in a ballet class because the water is refreshing, but the fatigue can be overwhelming and you will feel it when you return from the beach.

To avoid undesirable results, it is enough to train acrobatic lifts (under conditions of sunbathing and swimming) - thirty minutes.











support can

be an element of the dance, not







nogo dance, and finally ele

dance cop with items:

with ribbons, ball,



scarf, etc. B





kami without specific content can

serve waltz.

Lifting is often the climax of a dance combination. This is most evident in the waltz.

It is no coincidence that many ballet dancers demonstrated and demonstrate their skills in support in this dance form, starting from dance luminaries such as O. Lepeshinskaya, V. Gusev, R. Struchkova, A. Lapauri and others, and ending with graduates of the choreographer

physical schools, young

ballet dancers.


Waltz - sometimes temperamental, stormy, impetuous, sometimes lyrical,

melodious - now classic

sample dance with supports. At


we waltz fit dynamic rotation well,



you, that is, all the elements of dance support.

Waltz with lifts is best for a girl to dance

in light

chiton (sometimes simulating a lung)

dress), young man - in


light shirt and trousers.


waltz canvas with supports - tools


(“balance”, “glide path”, “highway”, etc. ).







when partner

dancing on

pointe shoes, and the second, lighter, when the partner is in soft ballet shoes.

In the first case, the elements of the dance will be strokes (the partner walks around the partner standing on pointe), rotations (“chenet”, pirouettes, tours) of both partners and one partner performing rotations standing on pointe with the active help and support of the partner, and, finally, big “jete” (the partner picks up the partner and, as it were, continues her movement, walks with her across the stage, creating the impression of her flight).


Let's analyze the supports that are most often found in the dance canvas of the concert-variety waltz.

At the beginning of the dance, for the exit of partners, support is most often performed when the partner is in a sitting position on the partner’s shoulder or straight arm. The partner brings the partner onto the stage, moving in the rhythm of the waltz.

The waltz is very characteristic of rotations and various kinds of circular air flights. It is beautiful when the partner joins in a rapid rotation from a jump. Having run up the diagonal of the stage (assume that the movement starts from the left corner), the partner pushes off the floor at a distance of two or three steps from the partner (the partner is standing in the middle of the stage) and flies towards him. The partner picks it up and, without delaying the movement, begins to rotate (Fig. 276).

Almost all the various spins can be included in a waltz composition.

Very in harmony with the music of the waltz, especially in its bravura places, air flights and flights.

Here is an example of a flight. The partner, being at the moment of the flight at the highest point, seems to linger in the air in a grouping (Fig. 277).

The climax in the waltz is usually the so-called double "swallows" (or "fish"; see Fig. 79). Flights and "swallows" are usually performed in the waltz not once, but twice in a row (to repeated music), which enhances the impression of support. Dynamic supports such as "swallows" very easily fall on waltz rhythms.


The waltz usually ends with spectacular dynamic support. It is possible, for example, to carry out the support shown in

fig. 59.

Such support is also interesting. The partner runs up front. The partner strongly pushes her up into a sitting position. High in the air, the partner sharply spreads her legs into a “split”, and then flies down (Fig. 278). The partner grabs her by the arm (and the partner hugs

his neck) and begins to rotate with her in place. Then the partner moves to a sitting position on the partner's thigh.

There is also such a variant of the final waltz support. The part of the nersha from the dance step goes to the side high “swallow”. Then he makes one and a half (two) turns and comes to the partner’s hands in a low “swallow” (Fig. 279).

We give only general moments of the waltz with lifts and deliberately do not draw up a specific dance pattern. Performers and ballet masters should develop their own original solutions for dance movements and lifts.

Some performers, unfortunately, go the other way: they copy the dance patterns that have already become familiar. As a result, at


waltzes appear on the concert stage, different in name and musical material, but, alas, have already become choreographic templates.

The way we propose is more difficult: the search for an independent solution to the dance often leads to failure and grief. But on the other hand, having found its own interesting dance composition will bring real creative satisfaction to the performers


„Dance with


Acrobatic lift becomes more effective,


her drawing

complements any object - flying



tapes, etc.



ribbons used. Usually take a tape 7 m long, 5-6

cm wide and

attach it to a thin bamboo stick 75-80 long



Ribbons are mainly used in solo numbers, but there can be a very interesting solution for using them in a duet dance with supports.

Let us examine (schematically) an example of such a dance. Suppose the dance has three parts.

1. Solo part of the partner's dance with one ribbon.

2. Entry into the dance of the partner, who also has one ribbon - a duet dance piece in the stalls without supports.

3. A duet piece of a partner's dance with a partner with ribbons using supports.

A dance built according to this scheme makes it possible to gradually enhance the impression of the performance.

During the performance of solo excerpts, partners must be able to master the tape well and create beautiful drawings by playing it. The ribbon flies after the performer in jumps, as if wrapping around him at the moment of rotation, etc.

During the performance of a duet excerpt, partners must achieve synchronous action with ribbons. Ribbons in their hands converge, diverge

it. p. The group looks beautiful when one performer stands behind the other and they perform various movements with ribbons.

Let us analyze several dance passages with supports.

The partner, being in the middle of the stage in the “split” position, swings with her right hand, in which she holds the tape, and then tilts the body forward, then takes it back. The tape at this time describes wide arcuate lines (Fig. 280).

The partner stands behind the partner's necks, raising his right hand with the ribbon up and making a “snake” with the ribbon.

Then the partner moves to the right, takes the ribbon in his left hand, and the partner gives the right hand








by hand

(in the right it is



and moves the legs to the sitting position 137

(Fig. 281). The partner jerks the partner up from the floor. Strengthening the partner's jerk, the partner pushes off with her left foot and finds herself in a sitting position on the partner's chest, with her left hand clasping his neck (Fig. 282). Holding the partner, the partner begins to rotate in place.

The ribbons fly around the performers in a beautiful spiral pattern

ke, making this simple support effective. The partner holds two ribbons in her right hand (sticks of ribbons are clamped

between her fingers so that their ends diverge - otherwise the ribbons will connect and get tangled). With dance steps, partners walk diagonally from the left or right corner of the stage to the center.

Partner swings the ribbons in time with the movement. Partners take a step together with their left foot, then a step with their right foot. In the same rhythm, the partner brings forward the left leg

, partner

picks up partner and

lifts her high vol

seated support.


lifting torque

partner swings


what creates

the impression of an easy takeoff. Top partner




takes in


and the other to the left

hand and does





Then partner

throw ne

pulls the partner into a low strand



Partner in

this time does



and large arc bands





in the “swallow” position, the partner starts to rotate in place. Thanks to the ribbons, this dynamic support becomes interesting (Fig. 284).

The partner, standing in the center of the stage, lifts the partner up. Part nersha sits on his arm facing the audience. The partner goes forward to the forefront. At this time, the partner, who has a ribbon in both hands, begins to make “eights” with them, bringing the ribbons together (Fig. 285). This creates a nice support pattern.

Standing at the forefront, the partner begins to slowly lower the partner to the floor. The partner continues to wave the ribbons, which is why the “eights” (due to the decrease of the partner) seem to be gathering, forming their own figurative monogram.

The partner, being sideways to the audience, runs towards the partner standing in the center of the stage. Then she pushes off the floor, at the same time -


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