How to make your booty dance
How To Shake Your Booty Like A Pro
Twerking Hip Shake Fitness /
Do you want to learn a booty workout for pros? We’ve got tips, tricks and video tutorials just for you. Put on some loose pants and get ready to shake your booty.
Shaking what your mama gave yah can make you feel empowered and can give you a great booty workout. I love taking my twerking classes because I feel so good and accomplished after. I’m not a pro booty shaker, but I am learning from one, Nicole Steen. It might sound easy to shake your booty like a pro, but it really takes a lot of practice and a lot of patience. Luckily, learning how to twerk is fun and has a lot of health benefits. I love that it tones your lower body because you’re holding a squat for most of the workout. Not only that, you also get an amazing core workout while you twerk. This is why the pros have such toned bodies because they get a total body workout everyday. One tip I learned from Nicole is to loosen up and not take yourself so seriously when twerking. Don’t worry about what you look like and embrace how your body feels. I’m sharing some of my favorite twerk tutorial videos with you below. Come join our twerk classes babes. Shake what yah mama gave yah and show it off on instagram and use #hsfteam and tag us @hipshakefitness on your twerk posts so we can give you some booty taps
In order to become a pro at shaking your booty, you gotta get the basics down. Luckily, all you need is five minutes and Nicole Steen will teach you a move or two! This is a basic twerk class, so if you already have an idea of how to twerk, skip to the next video.
Shaking your booty like a pro means you need to tone up your glutes too. Pair up your twerk skills with muscle toning and sculpting moves. Add some weights while you do squats and watch them booty gains!
This routine has a special place in my heart because a Cardi B and Nicole combo equals women empowerment. My favorite move from this twerk routine is the Show That Money move. It took me some time to get it, but the looser you are, the better your booty will shake!
Babe, I was pregnant when I did this dance and I’m always going to be so proud to be able to do the Push Up Twerk. If I can do it, I know you can too. Try this fun twerk dance to Thotiana and really show off that attitude and power you have.
Our twerk dance classes is one of the best ways to shake your booty and have fun while getting a good workout in. We’ve got 30+ twerk classes available in our studio with Nicole Steen. You can be a beginner or intermediate twerker and get an amazing workout in. Plus, 200+ fierce and feminine dance classes available for you online anytime anywhere. JOIN OUR DANCE WORKOUT STUDIO NOW.
Try A FREE Tone N Twerk Workout NOW!
Every Tone N Twerk workout starts with a toning routine that tightens your glutes. Then loosen up and learn a fun twerk dance that will surely make you feel sexy. Join us for Beginner Twerk. A 20 minute Tone N Twerk Dance Workout. You will learn how to isolate those glute muscles and get more twerk moves that you can bring with you to the club or just at home. We start with the Shuffle Twerk, Up Down Twerk, Pop Back Twerk then end with more advanced moves like the Pushup Twerk. If it’s your first time, don’t worry Nicole Steen will offer modifications. You got this babe and we’re here for you! Unlock your FREE Tone N Twerk Dance Workout video today.
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Can You Dance Your Way to a Better Butt?October 16, 2020 - Rhys Branman, MD Picture yourself dancing with abandon. When the music is right, it’s easy to get lost in the moment and not even notice that your body is getting quite the workout. Before you know it, your heart is pounding and your muscles are sore. But can your sweet dance moves help you achieve a better butt? That depends!
Boogying for a Beautiful Behind
If dancing sounds like more fun than sweating it out at the gym, a “party workout” might be for you. Instead of running or lifting weights, you dance in a club-like atmosphere with lights, pounding music, and choreography designed to tone your glutes. Being in a crowd of fun-loving people who take fitness seriously can be extra motivating—you may not even notice that you’re working out until you start seeing how tone and fit your butt is becoming.
The party doesn’t have to stop after you leave a club. In fact, you can get the same booty-shaking workout at home. Start by playing music that gets you in the mood to dance and try including these glute workouts in your routine for maximum benefit:
1. Lean forward and jog in place with your weight over your toes.
2. Move your hips in a circular motion, as if you’re balancing a hoola-hoop. Start slow and work up to a pace that gets your heart pumping.
3. Put your arms over your head and pop your hips forward and back. Keep up the momentum, but listen to your body so you don’t over do it. This motion tones your abs and lifts your behind at the same time.
Take It to the Next Level
Shaking it at a club or at home really gets the endorphins pumping, but may not be enough to permanently lift and tone your behind—particularly if you’re hoping for an increase in size. Booty-centric dance moves or a pair of short-shorts can help your butt look great in the short-term, but the results won’t last forever.
If you want your butt to look tighter, higher, and more voluminous for years to come, you may want to consider a Brazilian butt lift. This safe, effective, and permanent way to re-shape your backside can improve the size and contour of your buttocks for years.
Brazilian butt lift surgery (BBL) is a fat grafting technique that involves harvesting excess fat from troublesome areas with liposuction, such as the abdomen or “love handles,” cleaning the fat through a purifying process, and re-injecting it into the buttocks. The result is a larger, shapelier derriére—with the added bonus of less fat in an unwanted area.
How do I get a better booty?
If you’ve tried dance moves and workout parties but still wish your butt was larger or perkier, now is the time to find out if a Brazilian butt lift is right for you.
Dr. Branman is an experienced Little Rock cosmetic surgeon who can evaluate your current shape and help you decide the best way to perk it up. He works with each patient individually to make specific recommendations about how to improve their curves.
Contact us and learn more about how we can help you have a more beautiful derriére!
How to learn to dance twerk - Lifehacker
November 21, 2020LikbezSports and fitness
The size of the priests does not matter!
Author of Lifehacker, athlete, Candidate Master of Sports
Twerk is just a super sexy dance that will pump your plasticity, and at the same time load your abs and back muscles well. To begin with, we will learn a few basic movements, and then we will diversify the dance vocabulary and analyze the main mistakes. And at the end you will find a bonus in the form of a playlist with suitable music.
If you have problems with your lumbar spine, exercise with caution, or better yet, consult your doctor.
Learn how to do basic elements
Booty pop back
Stand with your feet wider than shoulder width, toes slightly apart. Bend your knees and place your hands on your hips, turning them inward with your fingers, bend your lower back.
From this position, twist the pelvis down, and then, due to the deflection in the lower back, return it to its original position. Imagine that you are trying to reach the top of your head with your pelvis.
It is important to fix the upper back and work only on the lower back. You can not strain the gluteal muscles, otherwise the movement will turn out to be clamped.
If difficulties arise, try the lead-in exercise first. Place your hands on your hips so that your middle fingers rest on the protruding bones of the pelvis in front, and your thumbs - behind, closer to the sacrum. Bend your knees, move your pelvis down and then up, controlling the movement with your hands.
When you feel more confident, remove your hands and connect the movement with your knees. When the pelvis goes down, the knees bend, when it rises, they unbend. No need to lock the knees at the extreme point, they should remain slightly bent.
The pelvis moves back not only due to the straightening of the knees. The lower back must work.
Front booty pop
This movement is very similar to the previous one, only the emphasis is on pushing the pelvis forward rather than backward.
Stand with your feet wide and point your toes slightly out. You can put your hands on your hips to better feel the tilt. At the same time, bend your knees and sharply move your pelvis forward so that your butt goes down, and then bend your lower back and bring your pelvis back.
The emphasis is on the first phase of the movement, when the butt goes down. It is important at this moment not to pinch the buttocks, but to change the position of the pelvis due to the tension of the abdominal muscles.
Try other twerk moves
This element repeats the usual booty pop, only the movement of the pelvis in it is double: down-down, up-up.
Stand with your feet wider than shoulder width. At the same time, turn one leg with your toe and knee out and transfer your weight to the opposite thigh. Then, with a small jump, switch sides.
First try to move slowly to get the point, then speed up. Jump relaxed.
Up down twerk
Arch your lower back and push your pelvis back. On the count of “one”, simultaneously round the lower back, bringing the pelvis forward, bend the knees and bring the shoulders forward. On the count of "two", bend your lower back and take your ass back in a semi-squat.
On the count of three, straighten your knees, round your lower back, and roll your shoulders forward. On the count of four, arch your back in the thoracic region, straightening your shoulders.
It turns out that at the lower point you bend in the lower back, and at the top - in the chest.
To feel the movement, start slowly. Place your feet shoulder-width apart, place your palms opposite the pelvis. In turn, touch the palms with one or the other bone of the pelvis. Accelerate gradually.
You can wobble while standing upright or bent over. Practice slowly bending over and back up as you move. Important: you should not pinch, otherwise stiffness will occur and no shaking will work.
Get into a twerk stance, lower your right thigh first, then your left thigh. Then, one by one, lift them up to their original position. At first, perform the elements slowly, with fixation at each point, and then gradually accelerate.
You can do this movement a little higher. In this case, start with a stance on straight legs in an incline. In the same way, lower the right and left hips in turn, bending the knees, and then raise the hips, straightening the legs.
Rise up on your toes and turn your heels in and out a little. Arch your lower back, try to relax your hips as much as possible.
This element can be performed in a straight position or bent over, moving both legs at once, or one at a time.
Stand with your feet slightly wider than your shoulders, point your toes forward, tilt your body and rest your hands on your hips. Rotate your pelvis, lowering and raising it as you go.
You can do this either in a bent over position on your hips or standing up.
Start in a twerk position with your toes pointing forward. Do one regular booty pop in place, then another with the toes and knees turned out to the sides, and then the next one with them returning to a straight position.
Continue turning your toes and knees out and back, tilting your pelvis as you move.
Place your feet shoulder-width apart, rise on your toes. Pull your pelvis back a little. Move quickly from foot to foot, trying to relax your buttocks.
Raise your right leg to the side, turn it with your toe and knee inward. From this position, simultaneously transfer the weight to the left thigh and turn the raised leg with the toe outward. Return your foot to the floor and repeat on the other side.
Try moving in other positions
Twerk can be danced not only while standing, but also while squatting, on all fours and even upside down on your hands, with your feet supported against the wall. Try different positions - this will help diversify your dance.
This is the same booty pop, only squatting. If you don't have enough stretch to move freely in a deep squat, work on your hip mobility first.
Offset to one side
Good stretch is also required for this option. Otherwise, you will not be able to relax and move freely.
On all fours
First practice the standing element to get used to it. Raise one leg on the toe, turning it with the knee outward and at the same time leaning on the opposite thigh. Then smoothly switch sides.
Now place your palms on the floor, arch your lower back, bend your knees and lift your heels off the floor. Perform a familiar movement in a new position.
This is enough to get you started. Try, combine the movements with each other and, if something fails, correct the mistakes.
Understand why you don't succeed
There are three main reasons why instead of twerking you get some bullshit. And the size of the priests has nothing to do with it.
1. You lack flexibility
To twerk well, you must have good mobility in the lumbar spine and hips. If flexibility is lacking, you can improve it by doing stretching exercises.
Choose stretching exercises 🤸🏻♀️
- 50 exercises to stretch the muscles of the whole body
2.You work your upper back and shoulders
All basic movements require arching in the lower back. It is due to the lower spine that you feed the pelvis back and forth. But if during booty pop you bend in the thoracic spine and connect your shoulders, the movement will not look like a twerk.
3. You're too tight
This is probably the biggest beginner's mistake, which results in a tight, wooden pelvic movement instead of sexual shaking.
Don't push yourself too hard, relax your buttocks and thighs, shake off tension from your arms and shoulders. All elements should be carried out easily and without clamps. The best way to relax and feel the movement is to turn on the music.
Pick up the music
We found a cool audio compilation that makes you want to dance to and not stop. The description on YouTube has the names of all the tracks.
And another big selection, this time from Yandex. Music. There are some great tracks too, and some of them are pretty slow paced so you can learn the moves in a relaxed and casual way.
Write in the comments how your twerking is going. It turns out?
Read also 💃👍🤸♀️
- Dancing as a sport: choosing the right direction
- How to learn to dance: video lessons for those who are not afraid to try
- How to learn how to dance the shuffle
- How to learn street dancing without leaving home
- Dancing on a treadmill
*Activities of Meta Platforms Inc. and its social networks Facebook and Instagram are prohibited in the territory of the Russian Federation.
3 components of partner's lightness: zoukability — LiveJournalAuthor: Murasheva Nadezhda, Moscow
Beautiful dancers, this time I am publishing an article, which I selected from afar in previous materials. I was asked to write how to learn how to lead better, but this is a rather complex and voluminous topic, and it is simply impossible to lay out everything at once. And now, when some important points have already been covered in detail in other articles, I can finally bring it all to the issue of lightness in dance.
The previous translated article was about what it means to be an easy partner. The note is good and useful, but it did not say much about how to achieve this ease. This time I share with you what I realized and what I learned myself. A lot of specifics on the case: what makes up the lightness of the partner and weighting factors.
WHAT IS LIGHTNESS MADE OF: 3 COMPONENTS
First component: CONNECTION
The basis of lightness, the main condition for its existence. This is not all that makes up lightness, but if you remove the connection, leaving all other components, lightness will disappear completely. A partner without a connection is a locomotive with failed brakes.
So what is a connection?
"Connection" - connection, connection, coupling (English)
Roughly speaking, connection is a contact, synchronization, but in a deeper meaning. This is such a mutual understanding and mutual feeling in a pair, when the partners are, as it were, connected with each other, completely synchronized, clearly feel the leading-following of each other and represent a single whole.
Connection is the fundamental basis of any paired social dance, on which everything else is built. EVERYTHING else . This is the starting point. You are still standing still and doing nothing, but the connection already exists. (Well, or you feel his absence from the partner).
The essence of connection - constantly feel the partner .
Feel his leading, his body movements. In a close embrace - to feel the slightest transfer of the partner's weight. Feel where he is in the distance. Feel changes in softness / hardness, in the speed of its conduct and respond to them.
It's real, it can be learned. Success depends on a conscious desire to learn, attention to this topic, an understanding of its importance and on the amount of regular practice.
A dance in which there is no connection from one of the dancers or both at once is a race, a marathon, a workout, a show off, anything but a dance. The dancer's attention in this case is occupied with himself ("how beautiful I am in the dance"), practicing movements or making an impression on the audience. Such a dancer simply forgets that he is dancing with another living person who experiences some kind of emotion, has a certain individual level of technique and physical fitness.
Here are some general guidelines for understanding where to focus your attention. But the main thing for the development of the connection is to learn in practice to feel it, to let it pass through yourself. The fact that you imagine how it works does not mean that it is in your dance.
How to feel a connection with a partner
1) Set your maximum attention on your partner
Not on yourself, not on how you move or look, not on remembering the movements you have passed. If you are not yet famous for your increased sensitivity to your partner, and at the same time your thoughts are busy with how to beautifully perform a turn, insert chips from the female style, where to put your free hand, or you pay too much attention to the technique of your movements, you will not feel the connection . Your brain is already too loaded to be attentive to outside influences. If the music carries you away on its own wave, and your body movements are dictated by the music, and not by your partner, it's better to dance solo. It's good that you like music, but if you really want to learn how to play cool, you'll have to take a break from it for a while.
Try to always maintain eye contact with your partner and at the same time feel him with your body. Focus as much as possible on the points of contact with your partner, try to feel him as best as possible. What leg is his weight on now? Does he balance well? Do his arms have a springy shape or fall back? Is your partner tight or relaxed? - how do you feel it? Does he enjoy music and dancing with you, or is he introverted and insecure? Does the partner accentuate some points by changing the speed, softness or range of motion? Try not just to see all this, but to feel it, to pass it through your body.
2) Relax and turn off your head
First of all, relax psychologically, do not be nervous, do not expect anything from your partner, do not try to guess the movements. Psychological stress leads to excessive tension in the body, you close and do not feel your partner. Forget all the links you learned in class. The partner will need the ligaments, not you.
No need to do something at random, because it seems like you have to go somewhere, but it is not clear where. There is nothing wrong with stopping in the middle of a dance and waiting for a partner to give a more understandable impulse. If you do not immediately understand some movements - this is primarily a partner's problem, and not yours, there is nothing wrong with that. You are still learning.
Physical relaxation is also present, but it is a subtle subject with many nuances. It is not present in the whole body, and the level of relaxation changes during the course of the dance. If the partner is very soft and dances a lot in a close hug, relax and have fun. The closer the contact and the softer the lead, the more relaxation to feel everything.
Whatever you do, your attention should always be focused on feeling the partner's arms, and in a close embrace - his entire body. You know, there is such an expression - "turn into one big ear." Here is the same thing, only you need to listen to your tactile sensations.
Almost all movements in a pair are accompanied by some kind of tactile sensations for the partner. The point is to learn to wait for them, to understand and respond specifically to them, and not to the brave pacing of a partner next to you. If you have any doubts, ask the teacher what exactly you should feel when performing a particular movement. This is very important, do not leave these questions unattended.
I think of a comparison with a trolley bus that only travels by connecting its "horns" to the wires carrying current. The trolleybus does not travel without contact with the wires. If there is no current in the wires, it does not go either. Connect and wait for the current - it will lead you.
There are moments when the partner is allowed to "free float" for a while and her hands are freed, but in these cases the visual connection remains, and this is also very important.
4) Mirror the partner's body direction
This is more of a basic technique rule, but it significantly affects the connection in a pair. If the partner's body is turned towards you, then your body should be exactly opposite. You turn sideways to your partner only when he leads you to it.
Mistakes often occur at the exit of turns and rotations, when the partner spontaneously turns away from the partner and opens up somewhere in the wrong direction.
Fragment of an individual with Kadu at the Prague Congress, July 2012
5) Remember all this as often as possible. Practice makes the difference.
Try to consciously focus on your tactile sensations. Practice as much as possible at parties. Dance with as many partners as possible, ask them to tell you when you are walking without a lead. Invite teachers to dance, take indivs.
It is important to practice at parties and sampo, because in a group lesson your attention is occupied with other things, and there you know what to expect. By attending only group lessons and ignoring parties, you will not learn connection.
The more partners of different levels, the better. The more diverse the partner dances, the more attention he takes to himself - the more effective it is for you. Dancing with a teacher or an experienced dancer at a party is a great option if he gently leads, uses different speeds, changes direction of movement, knows how to do all sorts of tricks to lead, if he knows how to subtly return your attention to himself.
That's what I mean. Fragment of an individual with Jorge at the Prague Congress, March 2012
The bad news is that there are very few such partners. Dancing mostly with guys who don't connect and pinball you on the dance floor, you'll never learn it. You just won't realize that can be different , and you won't have practice.
Congresses, festivals are always a big step in development. If you have the opportunity to go to the congress, do not miss it!!! It will sound unpatriotic, but I always recommend choosing foreign congresses: there the MF ratio is about 50/50, and you will not be bored at the wall - at least for this reason. The rest you will understand later.
6) A very effective way to improve your connection is to dance with your eyes closed.
Even the simplest movements and hugs will open up to you from a new side through the prism of sensations. That's how it should be! You must do all the movements because you feel them with your body, and not because you see how the partner steps aside and raises his hand , like spin come on.
But be careful: the party format is not suitable for this practice! At a party, both dancers must look around and keep each other safe. You can practice like this at sampo, but on the condition that the partner understands his responsibility for your safety.
Specialized "blind" seminars for dancers are periodically held in Russia "IN THE DARK" (organizer - school "Art of play"). From 2 to 4 hours you spend with blindfolds doing different exercises and dancing with each other. Feedback suggests that many are rediscovering dance and connection during the workshop. I myself was at such a seminar, and I really liked it. Highly recommend attending this event the next time it is held.
7) Do not complete the movement for a partner if he does not lead.
Sometimes partners forget to give part of the impulses when performing a movement. They mark its beginning, but they don’t take it to the ending, supposedly the partner has already understood what is required of her. This is an incorrect position, because the movement can change at any moment, and impulses must be given from beginning to end. Or they just have not yet learned how to lead correctly and clearly. It happens very often.
I recommend not doing anything if you don't feel led, because otherwise your body gets used to not waiting for a partner and, when given the first impulse, to do the learned movement from beginning to end. It does not develop connection skills at all.
This is not a binding rule, this is my position. In the article on the link above, I described in detail the problem and my point of view on this matter. You can listen to her or not. I was surprised, but the article caused a great resonance among partners who want to see their joints in the dance.
8) Eliminate distractions
Uncomfortable clothes, uncomfortable shoes, embarrassing jewelry take your attention to themselves and are very distracting. If connection is important to you, then your appearance is chosen for it, and not vice versa.
At the end of this section, I will repeat once again that connection is the fundamental basis for the lightness of a partner. Without it, everything else is useless and you weigh a ton. That is why I have given so much attention to this topic here.
Absolutely everyone can develop the skill of connection, it only takes understanding, desire, regular practice and time. Everything comes gradually.
Second component: FRAME
The frame is an elastic, one-piece structure through which impulses are transmitted in a pair (lead-follow).
Frame includes arms, shoulders, chest, abs and back. It is provided by a group of actively working muscles that fix the joints in a certain position and reduce unwanted mobility in them. The rigidity of the frame is adjusted for the current dance partner and for the movements being performed. You can read in detail about how it all works in the article at the link.
The task of the frame is to simplify and speed up the transmission of impulses due to the fact that not only the hands are involved in the process, but the entire upper part of the body at once.
If you know how to use the frame, then the impulse moves your entire body in the right direction, and not the arm, followed by the shoulder, and then the rest of the scattered parts of the body.
In addition to understanding and responding to impulses, a good frame gives you additional benefits:
- stabilization of the body and smoothing out sudden, uncomfortable movements
- improved balance
- synchronized work of your body
- movement safety (the risk of sprains, dislocations and other unpleasant things is reduced)
- the beauty of posture (partially)
a big topic that requires a good understanding of how the body works in dance. I wrote a separate, very detailed article about the frame, the link to which is in the subtitle, and I will not dwell on this in detail here.
To become lighter, you need to learn what a frame is, learn how to build it in your body and use it: receive impulses through the frame, stabilize your balance with the frame, adapt the tone of the frame to different movements and softness of your partner.
A good frame requires practice and a certain level of physical fitness. This is being worked out, although at first it may seem difficult and unusual.
In the photo, the partner has a gorgeous rigid frame, which is necessary for this movement.
The third component: BALANCE
Balance - " balance ; the art of keeping the balance of the body or objects during any exercises, tricks ".
Agree that it is much more pleasant and easier to drive a car if it drives clearly along the road, and does not skid or lose control. It's the same in dance.
Until a certain stage in his development, the dancer does not seriously think about the ability to keep balance and cannot adequately assess his level of possession (or lack of possession) of balance. However, this is another important component of lightness. And not only for partners.
If you are carried away and staggered on some movements, if you rely on a partner to stabilize, if it is difficult for you to spin, if you cannot steadily freeze in place at any moment of the dance, even on the half-toes of one leg, you have something to work on .
Balance is another big topic that requires a separate detailed coverage, and there is a separate more detailed article on this topic.
Good balance - for the most part it's just very good control of the muscles of your body, the ability to provide them with stability of the body. This is the ability to "pull up" and fix certain muscles.
I would single out 2 main principles on which the entire balance is built:
1. Vertical axis and stretching of the body along vectors.
The vertical axis is always present. If you know how to correctly build your body through it, then you can maintain balance even in a difficult position. If not, then it will pass through you at random, and the uneven distribution of the body in relation to the axis will cause a loss of balance.
In the classical sense, the vertical axis runs through the entire body. Its base comes out of the center of gravity, which is exactly under the feet, and the top of the axis comes out through the top of the head. The axis is maintained by pulling the body up, mostly by the muscles of the back and abs (vector up). It really does, and it helps tremendously with zouk. And also a strong pulling of the body up is the basis of all rotations.
But besides this, there are many non-classical positions with body tilts, twists, etc. In these positions, the center of gravity may not be under the foot, and several vectors are used to balance the body. In the photo above, the center of gravity is located in the area of \u200b\u200bthe toes of the supporting foot, the vertical axis passes through the supporting part of the foot and the lower press of the girl. The legs deviate slightly from the axis. She is helped to maintain balance in this position by the second vector, which runs horizontally - in this case along the spine. However, in a social dance you are unlikely to need this)
Zoo has many movements with deflection of the thoracic spine. In all such cases, the vertical axis still runs along the spine, and you support it by pulling up the muscles of the lower back and the abs. But due to the fact that the upper back leans in any direction, the axis will not come out through the top of the head, but in the area of \u200b\u200bthe shoulder, chest or shoulder blades - depending on which side the slope is made.
2. Joint control
The most stable support is the fixed support. That is why, in order to build a good balance, it is necessary to eliminate excessive mobility in the joints, which in one way or another hold our weight (serve as a support). And the mobility of the joints is regulated by the muscles adjacent to them. The tension of certain muscles allows you to fix the joint.
Well, that's it, for a general understanding. Let's add some specifics.
"Dance is the back". I have heard something like this many times, and there is truth in it. The spine is a very mobile part of the body. If the back is relaxed, then it will bend in its weakest and most mobile places under the weight of the upper body, head and under the influence of physical movements in the dance (hello, lower back pain). There will be no balance, or rather it will be purely random from time to time. So that the spine does not bend when it is not necessary and does not destabilize the balance, it must be made as straight and motionless as possible. This is what we get when we stretch our body up. The work of the back muscles and the press allows you to bring the spine into a stable position. The better the tone of your muscles, the more often you make them work, the easier it will be for you to manage the stability of the spine and your balance in general.
The back is very important for the balance and the whole dance. But that's not all, because there are many more mobile joints in our body. And here we can't help but talk about the favorite joints of all zuckers - the hips)) The hip joints can move in all directions, and how much the girls destabilize themselves with them in the pursuit of beauty!
Remember. Butt is the anchor. A retracted buttock effectively limits unwanted mobility in the hip joint. It won't let you take too many steps, it won't let you swing your hip so far that your balance is out of your foot. When you feel that the shifted balance is carrying you around the dance floor, drop the anchor - pull your butt in.
Ass and back. Back and butt. This is the first level in mastering the art of balance.
Next level is the understanding that in addition to the back and priests there are at least knees and feet. Stretched knees are not a requirement of a boring teacher for the sake of beauty, this is, first of all, the same stable support. If you get into some difficult position, then it will be much easier to resist with a knee extended. And weak feet tend to collapse and tuck. And even if the entire upper part of the body is harmoniously built, then a weak foot that has fallen in or out will spoil you. I speak by myself))
What conclusion can be drawn from all this?
Strengthen your body. Learn to control your muscles consciously and safely.
If you only do social dancing, you won't be able to do it enough. To learn how to keep a good balance, build an axis, control your body, you need to load several times more, and social dances do not give such a load.
The best way to get your muscles to work is solo work with your body weight. No supports, partners, simulators. Your body, gender and movements. The more uncomfortable and unusual the position of the body to find balance, the better. For the first time I felt what it means to reach up when we were forced to do all the exercises in the middle of the hall, without a barre at the ballet. It was then that I was surprised to discover that some new muscles in my back were getting tired. The understanding of balance was then divided in my life into "before" and "after".
The photo shows an element from the adagio on modern jazz.
All weighting factors are associated with the absence of one or another component of lightness. All of them were found in themselves.
- Too hard or too soft sinking hands. Dancing with outstretched arms or pulling your arms towards you. - No frame.
- Movement guessing - no connection and bad frame.
- Steps too large. - Poor balance. Taking big steps, you move relative to the vertical axis: after all, your partner’s arm does not stretch along with your steps, and your legs are much further than your head - this is no longer vertical, this is the Leaning Tower of Pisa.
- Back leg settling. - Poor balance. In this case, your center of gravity is under the heel or even behind it, and you are pulled back. To balance and move you, the partner has to apply more force. The farther the center of gravity, the more difficult it is to shift it.
- Hips going forward of the body or excessive swinging of the hips to the side. - Poor balance. In this case, the center of gravity constantly walks from side to side and goes beyond the foot, you deviate from the axis - see the previous paragraph. There are movements in the dance that start from the hip, but these are one-time stylistic movements, and not a general way of moving. In general, the secret is that when one hip is turned off, the second must be pulled up and fixed very well, then the support will be stable. (thank you jazz modern)
- Too much style. The partner diligently tries to make every dance as beautiful as possible and... ceases to feel her partner. Attention to the partner disappears, because. the beauty of the dance is a priority. - Very bad connection.
- Psychological factors: nerves, embarrassment, distrust, narcissism, attempts to assess the reaction of others to themselves in the dance, attempts to impress those sitting nearby, looking for a partner for the next dance "on the spot", looking for teachers at dance floor.