How to move your feet when dancing
7 Tips That Will Take Your Footwork To The Next Level
Footwork is ESSENTIAL when you dance!
If you’re not moving your feet, then you’re not utilizing your whole body to create a complete movement!
Keone, Bam, and Lyle can show you just how effective footwork can be – ON ITS OWN:
So how do we train our feet and legs to take our freestyle and choreography to the next level?
Or even just to move ‘em naturally so we don’t look so stiff?!
We’ve got 7 training tips that you should start doing today to take you from footwork.. to foot-werrrrk.
1. Know where your weight is
Let’s start with the basics – stabilizing your balance.
To do this, feel how your weight is distributed through each move.
For example, if you have to lift your left foot up, then most of your weight should be on your right foot.
Maintain a sturdy base the next time you dance and you’ll notice how much more controlled your bottom half is!
Play around with different positions, whether it’s on one foot or both, so you get comfortable with where your weight is and how to shift between them.
See Related Article: Want To Dance With More Control? Read THIS.
2. Stay on the balls of your feet
When we asked Carlo Darang for tips for his fast-moving pieces, here’s what he had to share.
"Always try to be light-footed and ready to move from one part of the floor to another!
If you dance on your toes and heels and not set everything your entire foot, then it’s kind of like jump-roping – you’ll be ready to jump from one place to another.
This skill is like a triple-threat for basketball players, or even your ready stance for football players… for us dancers, it’s the same thing, same idea – be in a position where it’s easy for you to go anywhere."
So when you’re dancing, don’t always be flat footed! Being on the balls of your feet will help you spring and rebound off the floor much more easily.
Watch him in action in his STEEZY Studio class!
Thanks for the tips, Carlo!
See Related Article: How To Execute Choreography Better By Utilizing Your Body With Carlo Darang
3. Take it high and low
Footwork doesn’t just involve your FEET.
You can utilize your LEGS to can take your body to different levels and make your changes look more drastic.
Bend your knees to dip it low (cue Christina Milian~) and releve to reach up high.
The more burn you feel in your thighs and calves, the more dynamic your dancing is. Just kidding.
But do incorporate high and low levels to jazz up your dancing!
4. Don’t be afraid of the floor
I’m one of those people that groan when the choreographer says “there’s a little bit of floorwork..”
But once I do it, I realize how awesome it is.
For starters, it trains your athleticism by taking your body out of its comfort zone of being upright.
Second, it makes the piece look so much more dynamic because that whole level change to get to the floor is a chance to do something cool.
And lastly, working with the floor opens up a whole new door for creative choreography concepts!
You can use your hands to trace things on the floor, lay down flat and do some synchronized-swimming-esque leg movements, swivel around on your knees.
It’s like having a dance partner to work off of – except your partner is flat and unmoving.
For inspiration, check out how Chris Martin plays with the floor in his STEEZY Studio piece:
Using your legs means that you can MOOOOVE.
Like literally. Move across the floor.
Get out of your box and use steps to travel! It’ll add another dimension to your dancing and bring the audience along with you for the ride.
When you’re choreographing, try challenging yourself for a segment to come up with a way to dance from point A to point B maybe 10 feet away.
When you freestyle and feel yourself repeating the same steps you can utilize those same steps but change them in direction to travel!
6. Drill steps
Drill steps that you find in footwork-heavy styles like House and B-boying.
A big key here is repetition.
If you do the loose leg or 6-step a zillion times, then your feet are going to become conditioned to move in those combinations without you even trying.
This will also allow you to be more creative with variations of those steps!
So when you encounter a tricky step or piece of footwork, don’t just get through it but master it so you’ll be ready for next time.
7. Polish your turns
A sloppy turn can totally ruin the flow of a piece. You don’t want to clumsily jump out of a turn!
Here are some tips to make your turns clean:
Engage your core musclesImagine a line from the ceiling to your head, to your toes, to the floor.
You want to stay in that alignment as you visualize your turn – Plie for leverage, Spot!
TURN UP your piece or freestyle with some clean ass turns!
Same as any other step, turns just take a lot of repetition to master.
See Related Article: The Class You Need To Unlock Your Dancer Potential
Ready to get those feet moving? Comment below with something that helps you with your footwork!
We recommend Ray Basa, Julian Sena, Carlo Darang, or Paul Ross’ classes on STEEZY Studio to train for quicker, more dynamic footwork.
Happy (feet) learning!
Minding Your Feet: The Key to Clean Dancing
Your feet are the key to clean dancing. If you’re a belly dancer, as most of my readers are, you might be consumed with learning and refining your pelvis and torso articulations, but how much attention are you paying to your feet? It seems so obvious, but chances are you’re not paying as much attention as you should be!
The Feet are the Foundation of Dance
Most dance forms are performed upright and on the feet. There are a few exceptions, of course, like breaking (which also does feature footwork like the 6-step, but mostly features acrobatic floorwork), but for the most part, most dance traditions rely on the timing of the feet to determine the rest of the dance. The feet are our connection to the floor and the earth beneath us. They need to be strong, supple, and if we are performing to music, they need to be on the beat.
Most of the time when I see dancers who are struggling with the technical and musical elements of dance training, it’s because they are not entirely connected to their feet.
We learn to move our feet at a very young age. Most children start learning to walk at two years old. That means, most of us have been balancing ourselves on our feet since we were toddlers. In fact, that’s where the term “toddler” comes from, right? As we learn to walk we “toddle” around, finding our balance and our own personal rhythm.
For dance forms that are inextricable from music, the timing of steps and footwork are essential. Just as a house must have a sound foundation on which to build a house that will stand for years, our feet must provide that same strong base for our movement.
Your Feet Are So Far Away…
In modern dance and when we teach movement to children, we often talk about the relationship between the head and tail, the right and left sides of the body, and the upper and lower parts of the body. We instinctively learn these elements when we are young, as we build our proprioception and our awareness of our own body in space and time in relationship to the world around us.
When we talk about feet, we’re also talking about the distal ends of the body. Your hands and the crown of your head are also your distal ends. Your abdomen, pelvis, and ribs are your core, sometimes referred to as “proximal.” In the dance teaching method called “Brain Dance,” the core-distal relationship is considered one of the essential movement distinctions we learn as children. The dance teacher in this video explores core and distal with her young students.
When you’re practicing, it might feel like your fingers and toes are the most difficult to keep mental track of, and that’s because they are farthest away from your core. When you are fully aware of your distal ends, you might feel that you have a greater kinesthetic sensation in these parts, which you must harness to keep your feet on time.
Releve or Flat? Choose One
In the Salimpour School of Dance, we place a lot of importance on the position of the foot, specifically whether or not it is flat or relevé. While this is not the case with all approaches to belly dance, nor all dance forms, I have observed that the stronger a dancer’s foot placement, the more secure they appear, the clearer their hipwork becomes, and the more free they are with their upper body.
When it comes to being in relevé, or demi-point, the foot must be as high up as it can go on to the metatarsals. Anywhere in between flat and demi-point becomes a kind of kinesiological no-man’s land. I’ve noticed in my years of teaching that when a dancer allows their foot to be somewhere in between releve and flat, they sink into their knees, and the rest of their entire body responds a bit slower, their hip work less clear, and their posture less upright. We jokingly call this in-between place “flat-evé.” When a dancer’s releve is strong, high, and solid, their entire body is more free.
Indeed, when a dancer is flat-footed, a similar principle applies. When a dancer distributes their weight evenly between the ball of the foot and the heel, their body feels more secure. When you are dancing, pay attention to your heels. Are they on the floor when when you are flat-footed? Are they pressed as high as your flexibility will allow when in demi-point?
Whether or not you are flat or relevé, imagine your whole foot as being supple and flexible. We might think of the foot as being one unit, but there are 26 bones in the human foot, all working with each other to keep you balanced.
Learn the Feet, Learn the Choreography
When I see dancers who struggle with learning choreography, often it’s because they feel overwhelmed with the intricate parts of a dance. They might want to get the correct position of the arms, or the hip work. They might also struggle to look like the instructor, following along as best they can.
But I can assure you that if you focus on the timing and placement of the feet, the entire choreography will start to fall into place.
When learning a choreography in a form such as belly dance, which is driven almost entirely by the music, the feet must connect to the rhythms and pulses of the songs to which we dance. Once you learn the footwork, the rest of the dance will be so much easier to remember and perform.
Get Your Feet on The Beat
When you are dancing, your feet are your metronome. In ballet, this is obvious. At the barre work on our tendu, elevé, relevé, pas de bourree, all on specific counts in the music. This detailed and meticulous attention to the timing of our footwork is essential for ballet, particularly when dancing in an ensemble. The presentational nature of ballet requires that we dance in unison with our fellow dancers. But in ballet class, often we are working on our barre and center work to solo piano music. In belly dance class, the music to which we drill often has more than just on instrument.
I’m hardly one to imply that ballet is the ultimate dance form. That’s hardly the case. Many other dances also rely on the timing of the feet to drive the movement of the entire body. Partner dances from Salsa to ballroom to Dance Sport all require that the feet be on a specific foot at a specific time. Even improvisational social dance forms like Lindy Hop have specific timings for the feet. When both partners can tap into the rhythm of the music, they can create extemporaneous dance magic.
House dance features complex footwork, often inspired by Salsa and other Latin dances. Check out “Kapelson” Kapela Marna physicalizing Azaelia Bank’s rapping with his feet. You can practically hear the rhythm of her voice through his sneakers!
Embody the Rhythm Through Your Feet
The next time you learn a choreography, or even the next time you drill your technique, find the beat with your feet. Imagine that the drum beat of the song to which you are dancing is actually driving your steps. Whether or not your feet are stepping in a chasse, or on the eighth or quarter notes, or even in 16th notes as in a Choo Choo, the music must be the impetus of when the sole of the foot makes contact with the floor.
When faced with a choreography that you find difficult to learn or retain, start with the feet first. Listen to how the feet reflect the music. What instrument are they physicalizing?
Once you start truly embodying the rhythm and pulse of a song through your feet, you’ll find that the rest of your dancing will take less effort, and hopefully allow you to connect with the music even more.
If you enjoyed this post, buy me a coffee!90,000 12 life hacks, to quickly learn how to dance from Mamita Dance
Author: Pavel Gather
Psychologist, Lecturer Salsa and Tango
Author: Pavel Pavel
Psychologist, Lecturer Salsa
on At the start, you always want to get a quick result. When it doesn't happen, the hypothesis arises that everything takes time. After a conditionally acceptable time, humility comes to mastering pair dances, which, perhaps, is not given, and I will just do what I learned somehow.
This is the most common story of those who believe that the mere act of attending a pair dance class is enough to learn how to dance.
Absolutely not. If you want to really dance well, you have to make an effort outside of the dance class. A good teacher will definitely be needed, but the initiative should be on your side.
1. Listen to music
The most common and accessible advice that is given already in the first lessons. And it definitely works. Music creates a certain atmosphere of the dance and intuitively you want to move to it. It doesn't matter where you listen to music - in the car, on headphones while walking or doing household chores.
An addition that will help you dance better is your active participation in the music. Sing along, dance or simply beat musical accents with any free parts of the body. In the subway, for example, it is enough to tap out bright moments with your fingers, in the car to sing along with sounds, and at home you can jump for pleasure.
2. Watch videos of good dancers
It's complicated, but also obvious. It’s more difficult, because without recommendations from more experienced dancers, unfortunately, it’s not so easy to find a good quality video on the net (I mean not the resolution quality, but the content itself).
Meaningful video viewing is about building an understanding of HOW dancers make a particular impression on a partner or viewer. Technology is at the heart of everything. Understanding how the pros do it is a big step forward.
It is important to distinguish a show from a disco dance, a staged performance from an improvisation, a stylized dance from an authentic one, etc. Ask for recommendations and dance teachers will always throw off a couple of videos of worthy landmarks.
Tango Z. Showreel.
Online modern tango courses
Tango nuevo is the most advanced version of tango. We can quickly learn to dance from zero to a steep level.
3. Dance in salsatecas/milongas/discotheques
A very delicate moment when it is worth coming to the first party. From a technical point of view, most students in 1-3 months have a sufficient set of figures and techniques to come and dance calmly. Psychologically, the same moment can be stretched out for an indefinite time. After all, it is imperative to “not lose face”, “learn more figures” and be sure what to do in case “there is an unfamiliar movement”.
In fact, the partygoers don't really care (except for a small layer of non-professional teachers who want to help inexperienced dancers by treating them as customers in the future). It is important to come and try dancing after a month of classes. You can only with friends or guys from your group. This will be enough to feel the adrenaline and inspiration from the dance.
4. Dance with partners or partners not of your level
The conventional wisdom that you need to practice in groups of your level does not withstand the test of experience. Perhaps now your eyes widened in surprise, and you want to meaningfully read the phrase again. Yes, you saw everything correctly: when you dance with a partner of your level, you don’t grow anywhere.
It's important to understand that not only does it work one way and you have to dance with cooler dancers, but it works even more effectively the other way. It is no coincidence that teaching pair dances dramatically raises the level of the teacher himself. You have an endless stream of very beginner dancers.
How it works. A more experienced partner needs to be "stretched". It's easy and obvious. With beginners, you need to take more initiative on yourself, see the general pattern of the dance more widely, turn on and insure more, try to be an example and be more careful. The quality of interaction begins to grow significantly. And wonderful partners too.
Dancing with partners of your level doesn't make you grow. Dance with both beginners and more advanced dancers
Dominican Bachata Women's Style Online Course
Want to learn how to hypnotize those around you with the most appetizing part of your body? On the course we will tell you all the secrets.
5. Learn to dance for a partner and for a partner
Turks and Argentines are one of the best partners in the world. In Russia, partners are highly valued. Why? The answer is simple. In Argentina and Turkey, it is not questionable for men to ask another man to lead in one piece or another and give feedback on the quality of the lead. For them, it will be a great shame to hear moralizing from a partner, or even more so to be known in the community as an insecure partner.
In Russia, due to the constant, often far-fetched, opinion that there are more women in pair dances, partners calmly get up and study their partner's part. Such partners then grow into very cool dancers and teachers. In no case do this at parties, only in class. Here we are talking only about the learning strategy. At parties, be yourself.
6. Do not memorize the links
Always try to look deeper and understand the through principle and idea of movement. Understanding what and how is done will make it possible to independently generate any sequences and chips.
Human memory is limited and there will always be a moment when something will escape and your repertoire will be limited by the size of RAM.
In Argentine tango, for example, there are seven levels of movement construction that, when mastered, will allow you to make millions of combinations. And how many dance sequences can you really remember? In rueda, more than 150 figures dance in a rare circle. It's hard to keep more in mind.
7. Develop your body
Many years of experience in teaching couple dance shows that as soon as everyone pairs up in a class, any progress in individual style ends. But it is the individual style that distinguishes everyone at the disco: partners change, and style is always with you.
The body as the main instrument of dance must be very plastic, responsive and emotional. Surprisingly, not all pair dance schools have a general physical warm-up. It is vital to tune the body and understand how it works.
You can always train extra and concentrate more on the basic steps, as their true value is as body work. The sequence of steps is, in fact, the simplest thing that can be in pair dancing. The quality of individual performance determines the craftsmanship.
8. Try on the images of inspiring dancers
A psychological life hack for those who have already mastered the steps, but still feel that there is not enough brightness and drive. Most are terribly afraid of being someone else's "clone". Here the action is the same as under the influence of hypnosis - the more you resist, the more you plunge into an altered state of consciousness.
With a high degree of probability, you are already dancing like someone else's "clone". A meaningful fitting of someone else's image is that you mentally take the image of the one who inspires you (inspiration is critical in this case) and "put on" yourself. Then you start dancing and trying to feel in general how it is to be able, for example, to be the best partner or the sexiest partner in a disco. This is much more difficult than it seems. But it works extremely efficiently.
9. Dance to offbeat music
Habitual rhythms keep you tight. Tango salon or speedy timba leave little room for experimentation and fantasy. Pattern dancing is always noticeable and is reserved for beginners.
The truly new is born outside of the usual. Look for places to experiment. If there is no place, organize self-training. The main thing is not to get carried away, because music determines the style. We bring something new to pair dances, rather than trying to change them.
Search, improvise, don’t be afraid to go beyond, develop in different directions, be inspired by music atypical for the style
10. Try your hand at basic dance directions
dances exist according to their own non-choreographic laws.
This is the deepest delusion, which has turned into a ceiling for the qualitative development of partner dances. After all, all professional dancers, for example, in salsa or bachata, build their ideas on the basic choreographic principles.
Do not think that choreography is only applicable on stage. Any meaningful movement of the body can be choreographic. In general, try classical or modern choreography. Basically, hip-hop can work too.
11. Look for battle sensations
Pair dances return us to an active position of manifestation of our body. As in the days of our ancient ancestors, we impress the members of the opposite sex by how dexterous, hardy, sexy, etc. we are. Modern laws of the jungle in the entourage of large cities.
If you look around the dance floor, it becomes clear that the majority are clearly herbivores (not in the sense of vegetarians, but in relation to those around them). I am sure that predators are always more interesting in terms of the attractiveness of the image - try to find a counterbalance among herbivores, for example, a cat woman or a lion man.
The conversation is about an internal position, not about aggressiveness. Lability and lack of control are inherent in adolescents, and not in adult self-sufficient people.
Accordingly, even a training or friendly battle gives, on the one hand, practical skills - to make a bright sequence of movements, bring an idea to a climax, show a spectacular feature, on the other hand, develops the psychological basis of the dance - self-confidence, resistance to extraneous attention, self-control and self-control in complex elements.
12. Communicate with professionals
The environment shapes the internal position. Basically, real passionaries of the dance community are ready to openly talk, discuss and support the development of dance in every possible way. Universal principles and the ideas they articulate have a much longer and more practical perspective than meets the eye.
Accept that, for example, behind the words "listen to your partner" is not only a beautiful metaphor, but also a practical skill to literally listen to your partner. At the same time, always treat every thought, even the most respected teacher, as a private opinion.
Your skill will lie in finding the scope of the idea even in conflicting opinions. Most often, the contradiction is speculative and the truth lies in the angle of perception or situationality.
Your dancing growth will stop sooner or later. This can happen at the level of three basic steps or years of experience in teaching and show performances. Regardless of your level, the suggested 12 life hacks can get you off the ground and greatly accelerate your dance growth. There is no way here without your motivation and activity. Take your dance development into your own hands. 9Ol000 Dangerous sexuality
Salsa: destroyers of stereotypes
Couple dancing as a source of strength.
Self-destruction of the couple dance community
The Salsa series as a mirror of the community
Mamita Fridays: salsa, bachata
Destroying the myths about leading pair dances
Does dancing make us better?
The seven deadly sins of teachers
Why we will never dance bachata like the Dominicans
Dispute over musicality
Selection of dances according to alcohol preferences
Where to find inspiration for dancing?
Terrible tango nuevo
Distribution of roles in a salsa party
Argentinean tango through the eyes of a salsa dancer
Is there a predisposition to dancing?
Which is more effective: individual or group lessons?
Sexual overtones in couple dances
Dive into the depths of the dance. Muscles: zoukability — LiveJournalAuthor: Murasheva Nadezhda
Friends, I am starting a block of articles about the "underwater" part of the dance. We will explore the topic in more depth, how to learn to move beautifully and plastically and hear your partner. If you don't go to some third-party classes and master classes outside of social dances, then these topics are almost not covered in the lessons. In good classes, the correct work of the muscles is sorted out, but this still does not add up to a comprehensive picture.
In one of my previous articles, I likened dance to a big iceberg, the main part of which is hidden under water and opens up to us as we deepen into the knowledge of dance, movement, and our body. When a non-dancing person looks at the dance from the side, he sees the tip of the iceberg - its external manifestation. A beginner dancer continues to see only this top for a long time (and sometimes it ends with this), because the dance for him still remains a set of movements - an external form. Even if these are movements from an advanced lesson. Beautiful, cool, complex, spectacular. "I want that too." Growing dancers begin to master all these complex movements, go into narcissism and show off through figures. When I look at dancers at parties it's 90% of the time I see exactly this - chasing the outer form. Sometimes tops dance like that. Dancers think in figures. But this is only the surface ABOVE the water! All the most interesting is deeper.
And what is there, in the depths, "under water"?
- The world of connection with a partner. What does it depend on? From connecting with yourself. How to feel a partner, if you don't feel your own body?
- Feeling and awareness of oneself as a whole. After all, our body and consciousness are interconnected, and the state of one is reflected in the state of the other. By acting on one, we have an effect on the other, and vice versa. Both in a positive and negative way. What a person has inside is how he moves.
So, today we will begin to consider the level closest to the surface of the iceberg - muscle control . It is also the easiest to understand and use. When you better understand what muscles are performing movements, what to follow, your movements will become clearer, cleaner, more conscious. The movements that you learned by visually copying after the teacher will become clear from the inside: what works, why it works and what you need to make it even better.
Why is this level closest to the surface? Because muscle ownership determines how your movements will look (but not only from this), because your balance, rotations, cambrai and much more depend on muscle tone.
And it is the simplest because it is much easier to pump up muscles than to learn isolation, relaxation and finer sensations. Muscle training is just a physical activity, albeit hard sometimes. Any dancer can pump up the press, which, however, will not teach him plasticity and connection with a partner.
Muscles not only help us perform movements correctly and beautifully, but also protect us from injuries, which is why it is so important to develop our physical form.
One of my favorite themes is that if you just go to the gym and pump something there, it doesn't help you dance properly at all. In addition to having a pumped up muscle, you must learn how to use it in dance movements, keep it in good shape on the machine, without flying out of your attention from the dance and connection, otherwise your work in the gym is useless. This is a characteristic feature of the dance. In the gym, we learn to tense our muscles strongly and relax 10-50 times. We leave the room and forget about them.
In dancing, you need to constantly keep in good shape and control many different muscles at once. This is a lot less tension than in the gym, but getting used to this state of constant soft tone can be very difficult. The dancer must have good control over his entire body in dynamics and statics, must be able to control tension and relaxation (stability and plasticity), feel his individual muscles (isolation), must have acquired the skill of holding passive attention at several points at once (back, abs, feet as minimum), which should not distract from the dance itself, connection, music and the surrounding space.
Note: The article does not take into account physical limitations due to injuries, hernia, protrusions, etc.
Upper, lower and oblique abdominal muscles.
From an anatomical point of view, the abdominal muscles give stability to our spine (in fact, this is somewhere around 50% of success). - Balance, rotation, stability, yes, yes
The use of the press greatly reduces the load on the back when bending and tilting, it helps to build the axis on rotations. And therefore, a non-working press creates an overload of the lower back and other parts of the spine, which is fraught with muscle and nerve clamps, displacement of the spinal discs, hernia and chronic back pain, especially among zuckers. And with a broken press, you will be chatting on all rotations.
The oblique muscles of the abdomen give us plasticity, beautiful tilts to the sides, light soft work of the body in a circle and, of course, additional stability in difficult positions of the body.
If we talk about the souk, then we actively use the press in all movements with body inclinations (cambrai, headworks, bones, etc.), on rotations, on counterbalances. Wherever we need stability, a strong body, a straight back (in particular, the lower back). The press is collected on all supports and "falls" on a plank-type partner so that the body does not fall through. Sometimes, for even greater stability and inclusion of the press, it is necessary to twist the pelvis forward even more (a la Michael Jackson) to fix the body even more strongly. I use it on cambra preps, bone necks, long spins. But you need to understand that the press does not tense up in the dance with an impenetrable shield as before the opponent's blow (then the dance would be too hard and exhausting). The work of the press is rather similar to what happens in Pilates: the navel is pulled up to the spine and remains there in a passive tone always. If necessary, the lower or upper press is additionally strengthened.
Interestingly, in zouk, a number of common movements require isolated possession of the upper and lower press. So, for example, when working with the chest (headworks, etc.), we weaken the upper press, but firmly hold the lower one - for stability, balance, so as not to fall apart.
Alas, even with trained abs, many dancers don't use them. They make movements with a relaxed stomach, which is why they fall apart, lose structure in the body. Using the abdominal muscles should be a habit. Spent, automatic. However, like all other muscles, which will be discussed further. In order not to think every time about all the muscles that need to be included.
It is common to see dancers in a position of constant arching in the lower back even just standing still. This is an indicator that they do not use the press at all;) In the position of the lumbar deflection, it is possible to draw in the stomach a little, but it is impossible to fully use the press. Which is logical, because when in one place there is contraction, tension (in the lower back), then on the other side there is stretching and relaxation.
Another common mistake is the constant deflection under the shoulder blades, which they say "remove the ribs" in ballet lessons. This is a deflection above the waist, which means that in this case the upper press does not turn on and, as a rule, the back muscles in the thoracic region and sometimes between the shoulder blades are strongly clamped. It is very difficult to get rid of this habit. Usually combined with a lumbar deflection. Ribs stick out in front, buttocks in the back, and somewhere in the middle in a bend, a poor, clamped spine.
Basicly everyone knows how to pump the upper and lower press. There are a lot of options. I will only add that, firstly, you should not put your hands on your neck and try to lift yourself with a jerk of your arms or head - this is technically incorrect and dangerous, hypertension is created in the neck, and in fact you lift yourself with your neck, not with a press. It is better to keep your hands on your chest or on your stomach. If the press is weak, then it will be more difficult, yes. But now you do not deceive yourself. And secondly, if you swing the lower press by raising your legs, then there should be no deflection in the lower back. If the lower back sags, it means that you do not have enough strength and abs and back, and instead of the lower press, you again overload your back. Press your back completely to the floor and bend your knees - this will be better. And yet, given the peculiarities of the dance work of the muscles, it is better to do all exercises slowly. No need to chase the number of movements. Let them be only 10, but each stretched into 10 accounts, for example.
The oblique abdominal muscles are trained with various twists and side bends. Twisting should be smooth, on the muscles, not jerky. Turns are carried out from the waist, the hips should not turn anywhere - this is important and a common mistake. So that the hips do not exactly spin, you can do twists while sitting on the priest (and at the same time keep a straight back). Still tilts to the sides - both fast (strength training) and slow (stretching, endurance). On tilts to the side, both of your shoulders should look into the mirror, and not at the floor - otherwise you train other muscles, and the obliques remain undeveloped. The chin on the side slopes also looks into the mirror, and not at the floor.
I would like to draw attention to the following points in the photo:
Look how straight she holds her neck. The head does not move forward and does not throw back. That's right, that's the way it should be.
This position can be made easier by bending your knees and rounding your back a little (the press still works, it will be easier). But the option in the photo with a straight back is more complicated and better because the back muscles will also work this way. And the legs extended at the knees are heavier, more difficult to hold them.
There are quite a lot of gluteal muscles, and they will work differently depending on the movements. Therefore, the expression "swing ass" is somewhat abstract. But if you dance only social dances, then you should be primarily interested in the gluteus maximus muscle and the ability, if necessary, to keep (!) It in suspense during dance movements.
The effect of using the gluteal muscle is about the same as that of the press - stabilization of the core. Here it is only necessary to understand that the press directly stabilizes our top (spine), and the buttocks stabilize the pelvis, that is, the bottom (legs, hips, lower back). A retracted buttock limits the mobility and rotation of the hip joint, and the position of the hip joint affects the position of the lower back as well - everything is interconnected. By pulling your butt in, you limit the stride length available to you, this helps to fight drifts in the dance, especially on turns and spins.
What do you need to remember? The fact that if you pumped up a big beautiful ass in the gym, and in the dance she is always relaxed, then there is zero sense in her! Amen.
To dance, you just need to be able to pull it in strongly, "squeeze a coin" between the buttocks. Well, to maintain this position for a while - it's easier here than with the press.
Regular squats won't do very well here, they just increase the volume of the buttocks and thighs. Much better are leg raises while lying on your stomach, and even better are real bodily tasks in dance: ballet exercises in which you always need to keep your butt. For example, ballet plies with toned buttocks, tandu and all other happiness. The bar is still very good, if done correctly, retract and twist the pelvis forward.
But this is the wrong plank! There should not be such a bend in the lower back, the pelvis needs to be scrolled forward more.
Correct bar . Compare body lines.
LONG BACK MUSCLES
In fact, this is a whole group of closely spaced muscles. It doesn't matter to us now. If you put your thumbs on your spine and step back a little, you will feel such powerful thick seals from the lower back and along the entire spine, passing into the muscles of the neck. It's them.
Muscles are potentially very strong and useful, and therefore sad if they are not working. You have no idea how much you are missing if you don't own them! And often they are non-working and at the same time they are still heavily clogged with incorrect operation of the case in principle. Then they have overstressed painful areas that you do not know how to control, you cannot relax them and strain them at will. Then it's even more difficult, but it's fixable.
The long back muscles pull the spine up and help keep it in a straight, straight position. Just as the abs keep the spine stable on one side, the long back muscles support it on the other side. When the teacher says "we stretch the top of the head up", then the activation of these particular muscles is meant. When you feel and control them, you feel a real physical upward pull. These same muscles keep the spine in good shape and when tilting the body, they also greatly affect your posture and body structure in the dance, the pattern of relaxation and tension, and this affects how absolutely all your movements look and feel.
An ordinary unprepared person does not feel these muscles and does not understand what it means to reach up. "How to stretch, what?". Or maybe these muscles are even pumped up by boats, but it's still not clear how to reach up. This is fine. If you are working on yourself, then it is very important to learn how to master them. The technique of your rotations, centering, a smooth, stable exit from any rotations, without blockages, distortions, even with poor partner guidance, will depend on this, and in general your well-being and health will be better. When female partners fall heavily on their side in slopes and fall in turns - they do not work, there is nothing to build an axis with.
Learning to control the long back muscles is more difficult than mastering the abs or booty. First you need to remove the interference of posture, which prevent these muscles from being included in the work. Namely, you need to tighten your stomach, remove the deflections in the lower back and under the shoulder blades, remove the ribs sticking out forward. If your ribs stick out, then you a priori cannot use your back muscles normally. They are chronically tight and shortened. Stand up to the wall and try to press against the wall with your whole back as much as possible, hold the position without the wall. And strive to press the lower back, even if it doesn’t work out completely.
The strength of the long back muscles is well trained with boats and tilt-ups with a straight back, but this does not teach you to reach up. For training the stretch itself, I have not yet come across anything more effective than ballet exercises in the middle of the hall. When you balance on one foot without the support of the barre, your body finds this stretch on its own, it gives stability. That's exactly what happened to me, and pretty quickly.
I wrote an article about headwork rules. You need to know these rules!
Headworks are not done with the neck muscles. But the muscles of the neck must be in a passive tone so that the cervical vertebrae are safe, so that they are not subjected to sudden traumatic movements, are not clamped or overextended. The exercises are very simple: tilt the head up and down, turn left and right, tilt the ear to the shoulder. Exercises are best done slowly and with effort. It is also very useful to work with an isometric load: press your head through the resistance of your hands. All this at the same time is the prevention of cervical osteochondrosis, strengthens muscles and promotes the health of our cervical discs.
Typical mistakes of the zouk : throwing the head back, throwing the head back on a relaxed neck, headwork through the neck muscles, asymmetrical position of the head relative to the work of the body (the head falls forward or back and outweighs).
But besides this, there is an error in posture, which few people talk about, and which is inherent in many. This error is chin up. We know to reach up with the top of our head. That's just the muscles of the top of the head physically can not pull us up and have completely different functions. The crown is a purely visual landmark (just not everyone is aware). But we don’t even know where the top of our head is and how it should feel. And so we raise our chin and stretch our foreheads up. In this position, the front muscles of the neck stretch upward, and the back muscles, which should work, are compressed. This is exactly the opposite of what the teacher wants from you. In addition to the physiological harm to your neck, this also prevents you from dancing: the stable position of the head is disturbed, the head begins to outweigh and fills you back. This is especially problematic on spins.
It is better to correct the position of the head at the mirror and through the same exercises, carefully watching the position of the head. The simplest and most effective: put your hands on the back of your head. Feel for two bones at the base of the skull with your thumbs and grab them as well. Press your head on your hands and your hands on your head. Holding these bones and maintaining pressure, stretch your head with your hands a couple of centimeters up.
Dancers! The lower back in the dance should be straight! (Well, almost straight, - for the most meticulous) No deflections just like that in every movement. Deflection is not styling! Chronic backbend is a lump of tension that you live with, and hit it even more in all amplitude movements. Then it can turn into a hernia of the lumbar and pinched nerve endings.
As I wrote above, you need to pump the lower press more, and activate the abdominal muscles to align the lower back and hip joint. In addition to this, it is very necessary to learn how to sit on the sitting bones with a flat back. This is generally a mandatory minimum for the normal posture of any non-dancing person. When you can just sit straight, then we go into the fold to the legs, be sure to stretch the lower back. It will be very gross. This is not a leg stretch, no need to dive head first. It is important to start folding towards the legs from the hip, trying to put the stomach and ribs on the legs. At the same time, you can stretch your arms forward, this helps to stretch yourself.
The muscles of the lower back are also trained in different inclinations with a straight back. Also, be sure to keep your lower back pressed to the floor in all pumping exercises when you are lying on your back. Especially when it comes to abdominal exercises. And standing against the wall, we press the lower back into the wall! Out of habit, it will seem that you are hunched over, but in fact, sleeping muscles just turn on, and your back becomes straighter. Try to maintain this position yourself by checking yourself in the mirror.
Muscle that depresses the scapula. If your shoulders often rise, it means that she is not in good shape, and at the same time, the muscles of the neck and trapezium are probably clamped. If this muscle does not work, the female partners do not understand the lead well, and the partners do not know how to frame and twitch their arms a lot. If the serratus anterior muscle is not in good shape, then the shoulder and shoulder blade are not the connecting link between the body and arms. The body moves by itself, and the arms and shoulders move by themselves, without coordination with the body. Connection without anterior dentate is snotty and twitchy (because with hands).
In the dance, you literally need to weld the shoulder blade to the ribs and leave it there forever. Difficult? Possibly)
You can come up with quite a few exercises to strengthen the anterior serratus. Mandatory condition: through "I can not" lower the shoulder blades. You can slowly raise and lower straight arms with a small weight, do rotations in the shoulder joint, you can stretch the elastic in different positions. The slats also pump the front gear well, just do not forget to press the shoulder blades down. All sorts of positions are good with an emphasis on the floor with your hands (I want to relax my shoulder, and then it will climb into my ear).
Muscle that brings the shoulder blades to the center. It affects the spread of the shoulders and the tone of the frame as well.
It is important that the muscle is in good shape, but not overstressed (!). Attempts to dance with the shoulder blades constantly gathered towards the center will kill all the plasticity in the thoracic region, and at the same time you will no longer feel the physical connection with the partner (where it is clamped, energy and subtle sensations do not pass there).
Actively activated by spreading the arms to the sides with the institution far behind the back, you can use weights, you can lie on your stomach. On your stomach, simply spread your straight arms to the sides and tear them off the floor as high as possible. If you wish, you can find many more options on the Internet.
When training the rhomboid muscle, watch the ribs, do not bend in the chest. It can be difficult)
The fact that any dancer needs strong, trained legs is obvious. And it would be strange to single out some individual muscles and say that they are the most necessary for social dances. All the muscles of the legs are somehow involved in performing various movements and maintaining balance. Everything is important here. Legs need to be trained in a complex and varied way. The health of your joints, especially your knees, depends on the condition of your legs (strength and stretching of the muscles). About them a little further.
It usually happens that dancers perform some kind of monotonous set of exercises that does not fully load their legs. This is not good, as you will be left with undeveloped areas, the weakness of which will affect the quality of your movements and may even negatively affect the condition of your joints. For example, the most common leg exercises (lunges, squats, swings, half-toes, etc. - the basic set) usually do not pump the inner thigh muscles in any way. Ballet exercises, on the contrary, perfectly pump the back muscle group and adductor muscles of the thigh, but load the muscles of the front and outer sides a little. Pilates works very complex with the muscles of the legs (and the whole body).
Conclusion: you need to train your legs in a complex way.
Do not ignore any "heavy" unusual exercises, because "in dance I don't need it." Use both the non-reversible position of the feet in the exercises (feet parallel) and the reversible position (heels together, toes apart, knee joint over the toes, between the thighs "clamped piece of paper"). Stand on your toes and on your heels. Remember that you need to evenly pump muscles and stretch. Pumped, unstretched legs are stiff, clogged, prone to accidental sprains. Poorly pumped, but well stretched - very weak, prone to joint injuries, dislocations.
The anterior and posterior thigh muscles are usually more or less trained even just in dance, without any additional effort. Although it is better, of course, to attach them and practice more. And if you often go in for some kinds of sports, then most likely they are already well developed in you.
The typical weaknesses of an ill-trained dancer are the muscles of the inner and outer sides of the thigh. And in vain, they perform important functions.
Adductors of the thigh - a bundle of internal muscles that bring the legs to the center. The tension of these muscles allows us to maintain balance very well, literally grow to a point in the floor. They help with balance even in tilted postures when the pelvis is turned back and it can be difficult to keep the tension in the gluteal muscles. And the legs in such positions continue to hold us, if they are strongly reduced to the center (at the same time, it is not at all necessary that the legs should stand close to each other). The adductors are best pumped with ballet and scissor exercises. At the same time, different internal muscles work in the reversible / non-reversible positions.
It's also very ugly when girls have a non-closing hole between their thighs.
About the outer surface of the thigh I would like to say that if you are not going to permanently raise your legs to the sides (it is not necessary in a soush), then their main purpose is to keep the knee joint in a stable position. What's the matter here? If the thigh muscles are weak, then the knee joint can fall inward (X legs), and over time, from this position, you will have big problems with the knee ligaments. If in the neutral position your legs are straight, not an X, then this is good, but not enough.
I just wrote that the hip adductors help us balance. If two legs stand together, and through effort we press them against each other, then everything is fine, there should be no mistakes here. What if your feet are a little wider? This is the most common position for female partners when performing boneques and other things. Bring them together here, don't bring them together, all the same, 8 out of 10 girls' knees will come together to the center. This happens because the external thigh muscles are turned off, and there is also no habit and understanding. In fact, when we stand with our legs parallel, we need to carefully monitor the position of the knee. If we bring the adductors to the center to better hold ourselves, then the outer group of muscles should remain in good shape and “push” the knees a little to the sides. This is necessary so that the knee remains exactly above the foot and does not fall inward.
That's what I'm talking about. Not a very bright example, but my own))) Feet at a distance, knees together.
It is very important, when performing any squat (plié) in any position of the legs, to ensure that the knee is clearly above the foot and does not fall either in or out.
Shank = caviar, caviar = shank, strengthen the shins = build calves? No, nifiga) This is a very limited perception.
Caviar is needed. Calves help to confidently rise to the half-toes and stand on them for a long time, help to run, jump and land. But you won't get far with them.
Other muscles also influence the position of the foot, the names of which the ordinary dancer does not know and has never heard of. The position of your ankle will depend on the condition of all the muscles of the lower leg, the balance both on the half-toes and on the full foot. And the health of your knees will also depend on the position of your ankle. If the foot is turned inward or outward, or collapses on the outer or inner rib, and the knee is not above the foot (a typical social worker mistake: toes apart - knees forward), the cruciate ligaments of the knee joint will suffer, then pain will appear. By the way, the weakness of the calf muscles is the reason why the feet of the dancers in motion accidentally come into a clubfoot position.
Therefore, it is necessary to additionally strengthen the stabilizing muscles. located in the lower part of the lower leg and affecting the position and stability of the foot. Stretch and shorten the foot, rotate the feet in a circle, roll the feet on the inner and outer ribs, stand on the toes and on the heels (no one allowed me to stand on the heels in class, and by the way, this is quite difficult and involves the front of the lower leg), through resistance to turning the foot in and out. There are many exercises, they are all simple and just require method and perseverance.
A very effective exercise for the muscles from the foot to the thigh is to stand on one leg for a long time, just on a full foot. 5 minutes or more. At the same time, try not to sag on your hip and not substitute your free leg. It also helps a lot to stand on one leg on a balance circle (a round disk that staggers).
Mandatory rule for standing on half toes : the weight must be over the big and forefinger of the foot and in no case should it fall on the little toes. It also depends on the stabilizing muscles of the lower leg.
The structure of the foot is very similar to that of the palm. She can be just as sensitive and mobile. Some professional dancers achieve this. An ordinary person hardly uses the muscles of the foot. Then the brain begins to perceive the muscles of the foot as one whole, the foot becomes like an iron shovel, rigid and inactive.
Due to the lack of development of the feet, the position of the ankle is disturbed, the softness of movements is lost (the knees also suffer from this, yes), other muscles begin to clog, which try to compensate for the weakness of the feet (usually calves, thighs).
Feet are the foundation on which our whole building stands. If something is wrong with the foundation, it will inevitably cause distortions in other parts of the body: in the knees, hips, back, it can even affect the position of the head. And therefore it is important to develop the feet, increase their mobility, strength, plasticity and sensitivity.
Dancers' feet are often very clogged, especially those dancing in heels. Attempts to maintain balance on poorly trained legs lead to the fact that the dancers try to “grab the floor” with their feet - they overstrain the muscles of the foot, squeeze their fingers. From this foot can reduce. This is especially evident in the training exercises of ballet and jazz-modern: we get so used to straining our feet that where they need to be relaxed, we generally forget to do it, and our feet start to feel pain right in the exercises. On the one hand, this comes from the wrong technique of the foot, on the other hand, from the underdeveloped muscles. Developed feet do not reduce. Well, the reasons may also be the lack of some microelements, etc. In social dance, a vivid example of tightness of the feet is when girls constantly dance on half-toes (in any shoes), practically without lowering their heels, and at the same time on bent knees. Looks ugly. This is how I dance here, it is very clearly visible: https://www. youtube.com/watch?v=lzpFeYB8nHc
Foot development exercises are far more than calf raises. It is necessary to move the fingers up, down and to the sides in isolation, lift the napkin with the toes of the foot, stretch the outer and inner surfaces. Foot massage is very useful, and for this purpose I really like a massage ball with spikes (it should be elastic, a wooden massage roller will also work). At first, I roll the ball lightly, until I feel a pleasant tickle and tingle from contact with the skin. This relaxes the tissues of the foot and stimulates blood circulation, relieving chronic tension. When the foot relaxes a little, the sensations are dulled, I start pushing the ball through the foot in different places in order to act on a deeper level. So you can find especially painful areas and suppress them longer. After such a foot massage, the balance becomes better and the legs become softer.
Here is an example of how to wake up dormant foot muscles. I made up my own mind based on what I read. I was not given this in any class. Someone will not succeed at all, someone will feel new sensations in a couple of minutes.
That's all for this article. This is a review article. Train, study your body, ask questions.
On VK you can send me your dance video for analysis, I will make a storyboard with errors and detailed comments, where you have technical errors in the sound, and where there are crookedness and obliqueness associated with the work of your body. I'll tell you what to do, how to work. I can record a detailed video answer with exercises for you. I wrote about it here: https://vk.com/wall599099_11435
I wrote this article for a very long time. I got a lot of different classes, I began to conduct thematic seminars about the work of the body in dance. While I was doing it, a lot of the material was sorted out in my head, and this affected the quality and coherence of this article. I hope that for many of you it turned out to be extremely useful and highlighted some things that you had not thought about before.