How to move your hips when dancing

The Cuban Motion + Hip Exercises to Loosen Those Hips – Yami Dance Shoes

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Latin dance is all about making smooth moves with the whole body. And depending on the dance style, Latin dance does require lots of hip action. 

Cuban motion is a part of Latin dance that highlights the movement of the hips and the waist. Also known as the Latin hip action, this technique isn’t just about looking sexy on the dance floor. It’s about how the hip movements capture the sensuality of Latino rhythm. With your hips, you can express romance, sensuality, power. 

The thing with the Cuban motion is that some people can execute it right away, and others take more training to get it right. Maybe you can’t concentrate the movement on the hips, or the action itself isn’t as smooth as you’d like. It’s frustrating when you have to spend more time perfecting the technique, but once you get the hang of it, your performance will look absolutely smashing on the dance floor.  

Both men and women could use Cuban motion to elevate their performance. But women have wider hips and narrower waists, so the movements are more noticeable. It will take practice to loosen those hips and master the technique. Here are some tips to try:

Hip Exercises to Loosen Those Hips

Getting the Foot Position Right

The “openness” of your hips matters the most when you’re perfecting the Cuban motion, and this is determined by your foot position. It’s easier to twist and move the hips when the toes are pointing outwards. So that’s one thing to keep in mind when trying this move, do not move your feet inward! Dance every step with your feet at about 70º to build flexibility, and loosen the hips. If you’re not accustomed to dancing this way, you might feel a little pressure in certain parts of the hips, but that’s okay; you will get used to it the longer you do it. 

It’s All About the Knee Action Too

Yes, the Cuban motion puts the hips front and center, but the knees also get their time in the limelight! To create the smooth movements of a Cuban action, you need to alternate the movements between the knees. Stand with your feet together, toes pointing outwards. Bend one knee, then keep the other straight, then smoothly alternate the action by making a twisting motion with your hip. Don’t push too hard; the body weight shift between the knees should be smooth and natural so the actual dance move won’t look awkward. 

When shifting the weight between the legs, take a step as if you are climbing a flight of stairs. Step up as you bend your knee. As you shift your weight forward, push yourself up with the straightened left, then vice versa. This hip motion lets you concentrate the movement on the hips and not above the waist. Your ribcage should be over the knee as you straighten it. 

Learn the Basics

Now that you have an idea of the Cuban motion, it’s time to learn the basics of the dance style - whether it’s salsa, rumba, etc. Keep practicing the steps; make every step with your toes turned out and the knees bent. Keep the shifting of body weight smooth as butter and stick to the fundamental technique to improve your dancing. Maintain that connection with your dance partner, so the movements are synchronized. The hip action is hard to perform perfectly the first time, but you will master it in no time at all with practice. 

Cuban Motion Basics and Exercises


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5 Dance Moves for Sexy Hips

Whether you’re a man or a woman, your hips tell your dance partner a lot about you: how relaxed you are, how playful, how comfortable with your sexuality. So it should come as no surprise to know that, especially in the Latin clubs, one of the big indicators of your popularity as a dancer is how smoothly and sexily you can shake it down.

In previous articles on sexy hip movement, we explored the basic form of Latin hip movement, called Cuban motion, and I highly recommend ballroom beginners start there. For those of you a little more familiar with your body’s mid-section, here’s five more moves to develop some sexy hips!

1. The figure 8

The classic for sexy hips. The figure 8 is a great alternative for slower Latin songs. Accentuating the rotational movement in Cuban motion, the figure 8 comes from sending your hip more forward, then rolling it in a semi-circle to the back, before repeating on the opposite side.

2. The booty roll

Great for a more dramatic and sexy hip movement, the hips roll in a wide circle (or a smaller one, if space is tight). Make a side step into the roll, letting the hips roll back and side, before returning to the side you stepped on. Keep your chest high throughout the roll, with your body held in between your legs, changing weight on the end of the roll. The key is to keep your body as still as possible, so the focus stays on your hips.

3. Circular booty roll

A more advanced form of booty roll, this one works best while dancing solo, as a salsa shine, for instance. Step into the roll as before, but keep your weight closer to the stepping foot. As your hip rolls towards the opposite leg, use its momentum to turn on the ball of your standing foot, sliding the free foot slightly forward on each roll until you’ve made a full circle. Taking smaller steps accentuates the sexy hip action.

4. Hip bumps

Common in bachata and kizomba, the hip bump is executed with the feet close together, and the free leg bent. Pointing the free leg into the ground, while straightening the knee, causes the hip to rise vertically, then drop when the leg is relaxed. This often done sharply, to give the movement a more powerful look, and to stand out from smoother movements.

5.Hip undulations

A smooth and sexy hip undulation is sure to turn heads. It’s often paired with the upper body to create a body wave. Keeping it isolated at the hips can make it more subtle and sexy however.

This one takes a lot of practice to develop your body awareness. Separate the lower half of your torso into 4 quadrants: upper abdomen (solar plexus), lower abdomen (belly button), upper hips (hip bones, and bottom of spine), and lower hips (the sit bones). In sequence, pull the upper 2 sections inward towards the spine, like you’re sucking in your belly, followed by rolling the upper hips back, followed by the lower hips. As you pull each section back, let the section two sections above relax (ex. relax the upper abdomen as you pull the upper hips back). When you get the order right, this will create a small wave undulation from the stomach through the pelvis.

Any questions? No? Then get practicing - more tips to come!

Hip movements.

Belly dance. Master's Lessons. Advanced level

Hip movements

Starting position: standing on a full foot, legs slightly apart (about the width of the foot) and located on the same line parallel to each other, the body is slightly tilted back, the back is straight, the stomach is relaxed, the arms are lowered along the body, the knees are “soft”.

Performing an exercise “Swinging hips back and forth (“inward” and “awayward”)”. We take the buttocks back as much as possible, while we do not deviate back, hands are brought behind the back. Then we draw the buttocks into ourselves as much as possible, and bring our hands forward with a smooth movement. We tighten the hips, sharply reducing the muscles of the buttocks so that the pelvis leans forward and up a little.

Hold this position for a few seconds. Then we take the hips back as far as possible - the legs and body remain motionless - and arch.

We work in the vertical (frontal) plane. Again, we reduce (squeeze) only the muscles of the buttocks so that the pelvis leans forward and up a little ("inward"). Movement of the pelvis forward and up - back and up, emphasis at the farthest point of this movement - again the pelvis "in itself" - again back and up, emphasis, etc.

Try to keep the movement in the frontal plane along the path of the lower arc of the semicircle. Remember your posture: shoulders down, back straight.

Starting position: standing on a full foot, legs slightly apart (about the width of the foot) and located on the same line parallel to each other, the body is slightly tilted back, the back is straight, the stomach is relaxed, the buttocks are tightened, the knees are “soft” and slightly bent, arms to the sides. We perform a rocking chair with the hips.

The rocking chair is performed by alternately straightening the knees: without changing the position of the left leg, we straighten the right leg at the knee, due to which the right thigh is “pushed” up and we sort of pull it under the rib (in this case, the lateral abdominal muscles contract).

While moving, do not tear off the heels and do not shift the center of gravity from foot to foot. The top remains motionless and does not sway during the work of the hips. We make sure that the hips move only up and down, do not take them to the side or back. They should be relaxed - only the knees work. Now we bend the right leg at the knee - we lead the left thigh up.

We continue the alternating movement with one or the other hip, without deflecting the body and keeping the line of the shoulders in the same position - parallel to the floor.

Imagine that you have a bowl of water on your head and your task is not to spill the water. You can also try to put a book on your head during this exercise and try to move so that it does not sway, much less fall.

Execute rocking hips to the sides in three counts: right-left and a little more slowly to the right - slightly slow down the knee extension until the movement starts in the other direction (without a pause in the movement), left-right and slightly slower to the left, slightly slowing down the knee extension until the next movement starts in the other direction. Movements should be smooth, unhurried, but continuous. Simultaneously with the rocking chair, we perform circular movements with the hands. Again we make a rocking chair with our hips to the sides without pauses. At the same time, we raise our hands up, at the same time performing rotations with the wrists along the trajectory of the eight. Repeat the movement with the hips at a fast pace.

If desired, the pace of side rocking with the hips can be increased even more: increasing it gradually and maintaining the rhythm, move on to shaking the hips. When shaking-rocking chair, the pelvis swings due to the work of the muscles of the lower back, the legs become freer. With this shaking, you can learn to walk quite easily. For example, climb on the "half-toes" and try to go forward with shaking, and then back. The faster the hips move, the more they need to relax. But don't forget to work with your hands.

If at first the shaking is good for you, and after a minute or two the muscles begin to “stone” and the shaking rhythm is lost, it does not matter. Stop, shake your legs alternately, relax your muscles and start shaking again. The vibration of the body is given by muscles relaxed at your will, and not by tension.

Performing a rocking chair at a fast pace, we take the pelvis forward, then back and then move in a circle to the left. So we impose movement "rocking hips back and forth" for movement "small circle of the hips in the horizontal plane" plus circular movements of the hands.

We connect the side rocker with the hips pulling with the hips, continuing to perform rotations with the wrists.

Hip pull is a basic element of oriental dance, a movement from the group of slips. It should be done every day during every workout.

Starting position: we stand straight on a full foot (legs are located on the same line), the body is slightly tilted back, the back is straight, the legs are shoulder-width apart, the knees are “soft”, the arms are at the sides. We take the hip as far as possible to the left (without ceasing to perform the rocking chair at the same time), leave the legs and the upper part of the body motionless and transfer the body weight to the left leg. Shoulders, belt line during pulling remain parallel to the floor, knees do not bend. We pull the hips to the right and transfer the weight of the body to the right leg. The hips move to the right and left with maximum amplitude.

Pulling with the hips stretches the lateral muscles, strengthens the muscles of the lower back and abdomen, perfectly tones the muscles of the waist, and also helps to prepare the body for further performance of various oriental movements (in particular, amplitude volumetric eights and rotations).

By sliding your hips, you can move back and forth and right and left.

After pulling with the hips, we move on to another basic movement, simple to perform, but effective and easily combined in dance with other elements, - eights. Let's start with the execution of horizontal eights (movements are performed in a horizontal plane clockwise and counterclockwise).

Horizontal figure eight backwards (“away from you”). While pulling, we lingered for a moment in a position where the left hip was maximally abducted to the left and, accordingly, the weight of the body was on the left leg.

Now we lead the right thigh diagonally forward to the right, turn it as much as possible and begin to outline the first half of the imaginary figure eight - we turn this thigh back.

Next, the left thigh is brought forward (the weight of the body is gradually transferred to the left leg), turns as much as possible (until you see your left buttock out of the corner of your left eye) and begins to outline the second half of the figure eight: to the left until it stops, and then back to the left.

Only the lower part of the body moves. Breathing remains even and smooth, like the movement itself.

You can help yourself a little: when the hips are twisting in one direction, slightly twist the body in the other (so that the hips do not drag it along).

Straight knees, feet that remain parallel, and heels that stay on the floor will help to achieve a smooth, soft and continuous movement. Imagine that you are making your way forward without the help of your hands through some rather dense, viscous substance and, as it were, are raking it with your hips, alternately pushing it to one side or the other.

This exercise increases the elasticity of the ligaments.

Movement "horizontal figure eight forward ("inward")" schematically looks the same as the previous one, only performed in the opposite direction. We take the left thigh back diagonally to the maximum twisted position (in which the chest still remains motionless).

The weight of the body is transferred to the left leg. With a smooth circular motion, we describe half of the eight forward with the left thigh, maximally turning the right thigh back. We transfer the weight of the body to the right leg.

In a circular motion, move the right thigh forward and describe the remaining half of the figure eight. We try to bring the hips forward no less than back. We do not turn our shoulders. They must always look ahead. If you are still not very good at “separating” the top from the bottom, try doing the figure eight with your whole body first. I managed to catch the trajectory - you can move on to fixing the body and start moving only the hips.

Try to bring your hips forward no less than back, then the movement will be smooth and symmetrical. Keep an eye on the upper body: it should remain motionless, but not enslaved, keep the line of the shoulders parallel to the floor line.

When performing the figure eight, the legs should be placed parallel to one another and on the same line, not just for stability or beauty: if you put them in eversion positions (heels together, toes apart), then, involuntarily pinching the buttocks, limit the amplitude of their movement.

Another version of the eights with the hips - vertical eights, or, as they are also figuratively called, "pendulums". The second name of this dance component was not born by chance: remember how the pendulum of the clock moves, describing the lower semicircle of an imaginary circle, like a young crescent turned upside down with “horns”. The oriental dancer reproduces the described trajectory with the help of hip movements in a strictly vertical plane. Vertical eights can be performed, like horizontal ones, in two directions opposite to each other: “away from you” (from top to bottom) and “into yourself” (from bottom to top).

We still stand on a full foot (legs are on the same line and parallel to one another), the body is slightly tilted back, the back is straight, the buttocks are tucked up. But now, to perform the "pendulum", put your feet together. Body weight on the left leg. We tear off the right heel from the floor and raise the thigh as high as possible.

The weight of the body is gradually transferred to the right leg. Further, drawing a quarter of a circle to the right and down, we begin to lower the right thigh, at the same time pushing it as far as possible to the side, that is, to the right. From this extreme side point, we continue to lower the thigh to the lowest point of the circle thanks to the “soft” knee. Body weight on the right leg. We put the heel of the right foot on the floor and lower the right thigh down.

Now tear off the left heel (knee is relaxed), lift (due to lifting the heel off the floor) the left thigh up (as if leading to the armpit) and push it to the side as far as possible, without deflecting the body in the opposite direction and outlining a rather steep semicircle of the imaginary eights.

Pull the thigh towards you, returning to the starting position. We continue to draw symmetrical circles in a vertical plane. The body should remain motionless, and the line of the shoulders should be parallel to the floor line. Add hand movement to this dance element.

Hands in oriental dance move depending on the nature of the music, and therefore often their movements do not coincide with the movement of the hips: the hands work at least twice as slowly as the hips. If the hips are the rhythm, then the arms are the melody.

From the previous starting position, smoothly proceed to the next movement - step Suher Zaki, or "stilts".

We stand on straight lines, located on the same line parallel to one another on toes, the body is slightly tilted back, the back is straight, arms to the sides. We begin to alternately lower the heels to the floor in three counts. We lower the heel of the left leg - the left thigh goes down, then we raise the heel of the left leg, returning to its original position (on the toes), and lower the heel of the right leg.

Left - right - left - paused for a moment. Right - left - right - lingered for a moment. And so several times in a row in the rhythm of the sounding melody. We do not bend our knees - we only raise our hips. The head is on the same level: the movement occurs mainly only due to the hips. Continuing to perform the movement, alternately tear off the legs from the floor.

And now we “walk” on the spot without delays and stops, but still in time with the melody.

If this movement is performed correctly, you will feel the movement of the oblique muscles of the abdomen.

Performing the following exercise − hip dumps (otherwise - hip-down strikes). Starting position: standing in a half-squat and half-turned to the viewer. The body looks forward, the hips and legs are turned to the side at an angle of 45 °. We put the leg closest to the viewer (mirror) (working in this movement) in front of the one behind, on the toe, and expose its thigh and turn it forward (toward the viewer), as far as the body allows. The back is straight and slightly tilted back, arms are spread apart.

Try to keep your knees together while moving.

So, keep your chest and shoulders straight. We start the movement with the left foot, so we put it on the toe in front of the right, raise the right hand up, take the left hand to the side. Raise the thigh of the working leg up by straightening the knee, then sharply lower (throw) the thigh, again bending the working leg at the knee.

Do not lower the heel to the floor. We do the emphasis while moving down (at its maximum lower point). At the same time, the hands make smooth circular rotational movements. We repeat the movement a few more times, and then change the leg - we become half-turned to the viewer (mirror) with the right hip forward, respectively raise the left hand up, take the right hand to the side and work with the right hip.

If you relax your hips well and bend your leg at the knee, the hip will "fall" by itself.

Let's complicate the main movement "hip drop" with a leg extension, and we get a new movement - "classic key" (thigh drop with leg extension).

Starting position - as in the previous exercise: standing in a half-squat and half-turned to the viewer. The body looks forward, the hips and legs are turned to the side at an angle of 45 °. We put the leg closest to the viewer (working in this movement) in front of the one behind (supporting), on the toe, and expose its thigh and turn it forward (towards the viewer). The back is straight and slightly tilted back, the arms are spread apart (option - the arm of the same name as the supporting leg is raised up).

We perform one reset with the right hip, the emphasis is while moving down (at its lowest point). Raise the right thigh again, and then lower it, while throwing the right leg forward, the toe of the foot stretches forward and down.

Raising the hip up each time, we continue to alternate the impact with the hip down (hip drop) with the hip drop with leg extension. We perform this movement several times, and then change the leg - we work with the left thigh.

"Key" can be performed on weight. In this case, when the leg lunges forward, its toe does not touch the floor, that is, we keep the leg in the air.

We continue to develop the spine and back muscles.

We change the starting position: we stand on a full foot, legs slightly apart (about the width of the foot) and located on the same line parallel to each other. The body is slightly tilted back, the back is straight, the stomach is relaxed, the knees are “soft”, the arms are at the sides, the weight of the body is on the left leg (as in a pull).

Execute semicircle hips.

We take the hips forward - the body deviates back, but the head does not throw back in any case (!) - and take it to the right, outlining (with maximum amplitude) an imaginary semicircle.

Now let's do a full circle.

Hip circle is a movement familiar to each of us since school or even kindergarten times. He was certainly included and is still included in a variety of gymnastic complexes called "hip rotation".

At first, to help you check if your shoulders and upper chest are moving horizontally or vertically during the exercise, you can put your hands on your shoulders.

Combine the semicircle with the hips forward with the semicircle back and perform a full circle with the hips to the left on straight legs. The hips move along all four points: we take them forward (the body leans back, but the head does not throw back), we take them to the left, wrapping the hips, we take them back, transferring the body weight to the right leg, we take them to the right, etc.

While the hips make a circle, the head, shoulders and arms remain at the same level. We repeat the rotation of the hips to the left again, and then we perform a circle in the other direction: right - forward - left - back, trying not to move the upper body and keep the line of the shoulders parallel to the floor line.

This text is an introductory fragment.

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Breast movements Check your posture. Stand up straight, pull in your stomach, push your chest slightly forward, both feet are stable and firmly on the floor, arms are spread apart. We start chest movements. Without moving the lower part of the body, we raise (push out) the chest with a short movement

Tilt motion

Tilt movements Let's move on to the movements in the pull. Starting position: stand straight on the full foot (legs are on the same line), the body is slightly tilted back, the back is straight, the legs are shoulder-width apart, the knees are “soft”, the arms are at the sides. Pull the hips to the right and shift the weight

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Charging for a mistress. Stervology. Beauty, image and self-confidence lessons for a bitch

Charging for a mistress

Darling, did I hurt you by any chance?

- No, why did you decide that?

You just moved.


Sex is not only relaxation, but also hard work that requires tension of all the muscles of the body. Prostitutes, for example, do not do any exercises, but there are few fat women among them. And all because active sex is better than any exercise. Have you had nights after which in the morning you felt pain in all your muscles, as if after two hours of active training in the gym? If not, I'm really sorry for you, you've never had real sex. Of course, if a woman does not "work" during sex, it is hard for a man to endure all night trying for two. A woman should be able not only to somehow move and periodically try to raise her legs or arch her back, a good lover plays with her whole body during sex, as if dancing with a man. A woman during sex should be beautiful from nails on her hands to seductively curved legs. Let's analyze all the parts of the body in order and try to understand what men like. Take, for example, legs. It would seem that if you shaved them neatly, did a pedicure, what else does a man need? And he needs only one thing - to find ten differences for the better of your legs from the rest and for this to love them, as a part of you. How can you love something that is not unique? Other women also get pedicures and shave their legs after watching ads. Of course, if you compare your well-groomed legs with those that have not been touched by the hand of civilization, you will certainly appear in a winning light. But are there so many women, your potential rivals, who allow themselves to walk with cracked heels and unkempt nails? The thing is that a man remembers not the color of the varnish and the absence of corns. If everything is in order, he believes that it should be so, and pays attention to the soft bend of the instep when you stretch your leg, to the elastic muscles of the lower leg, which tense up in certain poses, to the spread fingers that spread as if by themselves when you experience an orgasm. A man's gaze catches an almost bestial grace that wakes up in a woman during sex. The back arches, the chest protrudes, the head leans back, the hand crumples the sheet, the whole body is directed towards him, trying to clear the way for him to the most intimate and absorb the beloved man deeper. Sex should be beautiful, and in the first place it is the woman who makes it beautiful. Even if your love games are more like wild orgies, they still have to be beautiful, as mating different animals is beautiful in its own way. Where there is beauty, there is no place for vulgarity, and a man with a beautiful woman behaves more gently and tries his best, feeling that he has touched the beautiful.

Sexual and outer beauty are a little different things. Sex is good because it turns flaws in appearance into piquant and exciting virtues for a man. Let's go back to our legs. Men like firm but not skinny buttocks and thighs. It is definitely not necessary to swing these parts of the body in order to emphasize the muscles, and to lose weight so that the thigh is compared with the lower leg, and the butt is inferior in size to the male fist, it is definitely not necessary, not a single man will like it. They are more likely to like curvy girls with a thin waist, lush hips and breasts than "herrings". By the way, if you didn’t know about it yet, in advertisements for “very effective” anti-cellulite drugs, women who haven’t tried their effect on themselves, even flat-chested models, are filmed, but twelve-year-old girls who don’t have a hint of cellulite, because they have not yet formed, did not become women. Adipose tissue in a woman's body is needed, of course, in reasonable quantities, but it is necessary for the normal functioning of the female reproductive system, which is why thin women have problems with the regularity of the menstrual cycle and pregnancy.

Determining whether your thighs and buttocks muscles are in good physical shape is very simple. To do this, when you make love, it is enough to climb up, but not sit in the position of a rider, wrapping your legs around the man’s hips, but squat down, spread your legs wider and try in this position, moving rhythmically, to withstand 2–3 minutes. If after several movements the legs ached and refused to move on, this is no good. You need training, and you can spend them during the same sex sessions. Men really like to look at a woman who “saddles” him with pleasure, and all positions in which a woman is on top perfectly strengthen the muscles of the legs, back and buttocks. The position that I have already talked about is the most effective, but tiring, but it has several advantages: firstly, everything is clearly visible to a man - this is already a big plus, and secondly, you can adjust the depth of penis insertion and speed, which is also Nice. Thirdly, by standing on your whole foot or on your toes, spreading or bringing your knees apart, tilting your torso forward or backward, you can adjust the angle at which the penis enters the vagina, increasing or decreasing stimulation, and also training certain muscle groups that need a "pump".

I learned by chance that sex can be used as exercise when my classmate at the institute told how she had to make love to her husband for a whole month when he broke his leg. Naturally, sex boiled down to the fact that the patient called his wife with plaintive moans, and then drove her to himself with caresses and persuasion, since there was no other way to make love. At first, the unfortunate lover did not really like this alignment: everything hurts, there was no pleasure, but then the wife of a preoccupied disabled person realized that she was in command of the parade, and not a man, and learned, within the framework of one position “a woman from above”, to enjoy herself, bring a man to ecstasy , then exciting him almost to orgasm with a quick jump, then slowing down the pace. For a month of such intensive classes with a “sensitive instructor”, the girl lost three kilograms, pumped up the muscles of her thighs and buttocks and realized how a real lover should behave in bed: not just a woman from above or below, but each time differently, like in a dance , which cannot be the same, as in a game that has more exceptions than rules.

Moving on: with breasts in sex games, everything is quite simple: you have to stick out more of it and rub it against your partner, even if the bra size tends to zero - men are delighted with this. The most effective exercises to strengthen the muscles of the chest (the chest itself cannot be strengthened in any way, only muscles and skin) are push-ups and clenching of the hands at chest level. You need to squeeze your hands like this: you stand in front of the mirror, fold your hands with your palms to each other so that the palms are vertical to the ground, and the forearms are horizontal, and then with effort you press one palm on the other (both at the same time) so that the muscles of the chest tense, and the breasts themselves raised a little. If you do this exercise thirty to fifty times every day, "spaniel ears" will not threaten you even in old age. Strengthens the chest and the whole body by pouring cold water. Make a habit of washing your chest with cold water after taking a bath or shower. From time immemorial, a contrast shower has been considered a rejuvenating remedy, which could only be compared with sauna baths and rubbing with oils.

Now let's move on to the most problematic part of the female body - the tummy. If everything is more or less clear with a big booty - in sex this is more of an advantage than a disadvantage, then with a tummy everything is more complicated. The thing is that a man perceives a woman with a tummy as a female fertilized by some male, and does not show sexual interest in her. One way or another, but the stomach must be fought. A good mistress may have a couple of mouth-watering folds at the waist, but not a nasty "mommy" hanging from the navel and below. Getting rid of the tummy is much more difficult than not getting it at all. As soon as you notice that in profile the figure has become rounded not only at chest level, urgently take action - the tummy is coming. I'll tell you another secret: the presence of a tummy suggests that a woman does not make love very often and leads a sedentary lifestyle in an embrace with a box of cakes. Even if a bitch has a bulge in place of her belly, this is not an ugly roller, but a spicy “kissing place”, reinforced from below by muscles and not creeping out to the waist on the sides. This is the tummy that many men like.

Do you remember the oriental beauties who seduce men with belly dancing? Learning to dance like them is not so difficult, for this you need to feel the abdominal muscles and adapt to control them, but shouldn’t a woman born for love be able to do the same? Belly dancing is not only beautiful, but also very useful. The movement of the muscles causes blood flow to the internal organs, resulting in an internal massage, comparable in effectiveness to all methods of cleansing the body. The work of the muscles warms up all the internal organs well, preparing the woman for sex, and along the way, it also develops the muscles of the vagina. I suggest you try to learn the basics of oriental dance, which, by the way, is very similar to the movements of a woman during intercourse.

Belly dancing is built on alternating tension of the muscles of the pelvis, abs and diaphragm (I advise you to repeat the course of anatomy and see where they are), so the first thing we will learn is to tense and relax the muscles. Put on a cassette with oriental music, stand in front of a mirror, put your feet shoulder-width apart, spread your arms to the sides. Dressing in something oriental is very good for doing exercises, even if it is a T-shirt cut off under the bust and sweatpants gathered at the ankles and lowered at the waist. Start swinging to the beat of the music with your eyes closed until you feel the rhythm, then concentrate on the abdominal muscles and try to completely relax them, “letting go” of the stomach and not trying to look more slender and toned. You don’t need to slouch either, just, wriggling rhythmically, alternately relax and tighten, as far as possible, the abdominal muscles. Try to keep your stomach pulled in for as long as you can, it develops muscles well and is much less tiring than leg and torso raises, although if your muscles are frankly weak, you can’t do without standard exercises - how to manage what is almost non-existent? Try to breathe evenly while doing the exercises. At first, it is difficult to even out the breath, as you are used to the muscles moving when you breathe. You have to separate these processes so as not to suffocate during the dance.

The inner muscles are a little harder to feel and train. For example, the diaphragm, which is also involved in the "rolling of the stomach", is easiest to feel by breathing with your mouth open "dog" - quickly, quickly. Can you feel your inner muscles move? Another way is to bend hard and try to move the internal muscles. With the correct exercise, the muscles of the press and back practically do not strain. As soon as you feel exactly where the diaphragm is, and you can draw it in at least a little, let me congratulate you - you have passed the most difficult stage in learning to roll your stomach. Train your diaphragm further, the more often the better. For example, at work or sitting in the car. Don't forget about normal breathing. The next stage is the ability to separately control the muscles of the upper and lower press, so that, by alternately tensing and relaxing them, create the impression of rolling the abdomen. To the same slow music, warm up the abdominal muscles, pulling them in as much as you can and relaxing, and then try, relaxing the diaphragm, tighten the muscles of the lower press, and then, on the contrary, tighten the diaphragm and relax the muscles of the lower press. I warn you right away that nothing will work the first time - it's difficult, but after you can perform this exercise, you can try to dance with your belly, rolling your muscles, as real dancers do. Try to help yourself with your hands, as if feeling for the muscles that need to be relaxed and tightened, but without pressing on them. Stand in front of a mirror and alternately relax and tense your muscles so that a wave runs through your stomach. A few weeks of training, and it will not be difficult for you to roll your abdominal muscles, “wobbling” your booty in different directions, moving your arms beautifully and breathing evenly. If it is not possible to individually cause tension in different muscle groups and relax them in time, try doing the exercises lying down, making sure that the back muscles do not tense up. Another way is to train in a bath filled with warm water, in a sauna, swimming pool, in the morning in bed, that is, in any place where it is easier for you to relax your muscles and feel them separately. And now the most important thing. Do you think you need to learn to roll your stomach in order to arrange incendiary oriental dances? Nothing of the kind, discos are in the tenth place, and our task is to seduce men. Now, try doing a belly roll when you're making love. Yes, yes, you heard right, the thought came to my mind long ago that belly dancing is nothing but a means of seduction and self-promotion of beautiful concubines, yearning without male affection in a harem. The dance was supposed to show how good a woman is in bed, how she can play with her whole body, squirm, give a man pleasure. Now imagine the sensations of a man who enjoys not only the reciprocating movements of the penis, but also from the sweet waves that come from nowhere, rolling when the penis is in the woman.

Now two words about hands. After all, we agreed that everything should be beautiful and harmonious, but what kind of harmony can we talk about if a woman does not know where to put her hands? To begin with, you have to get rid of the worker-peasant setting of fingers. To do this, constantly make sure that your fingers do not “hook”, folding in a ladle, as if you are constantly in full readiness to pick up bags or rakes. Your hands, like the hands of a pianist, should be beautiful, lively, mobile. I'll show you some exercises that will help you get a man turned on just by the sight of your hands, not to mention touch.

1. Try to bend your palm with your fingers straight so that you get an obtuse angle on the back of your hand. If that doesn't work, help your hand "open" by arching it, resting it against the table, or helping your other hand to bend your fingers as far as you can.

2. Put your fingers together and straighten them, and now try, holding your little finger and ring finger together, tear them away from the others, then bring them closer and tear them off again, the sooner the better. Do the same with the little finger and index finger separately.

3. Put your elbow on the table, limply drop your hand so that it hangs, and now with the help of your other hand try to pull your thumb up, pressing it from the inside, to your forearm.

4. Put your hand on the table, as in school, as if you are raising it, asking for the blackboard. Tighten all the muscles of the hand, even the fingers should be tense. Now try to bend your fingers (all together), but not in the way we used to bend them, but only the upper phalanx. Do not relax the brush, otherwise nothing will work. Practice doing this exercise so that your fingers bend and unbend quickly and without titanic effort.

5. Learn to type quickly with all your fingers on a computer keyboard.

In addition, you have a little job of observing your own hands in front of a mirror. Here they are fixing their hair - very much nothing, but they are holding the cup somehow awkwardly, they should have practiced, and for some reason they are pulling at their clothes - they need to be rid of this bad habit. Thus, you will teach your hands to do everything beautifully. Do you know, for example, that they drink cognac by passing the stem of the glass between the index and middle fingers, as if holding the glass in the palm of your hand, and if you decide to drink beer directly from the bottle at a picnic, then you need to keep it closer to the neck so as not to be similar to alcoholic aunts? Your hands have a lot to learn. Try to stroke your thigh, moving from top to bottom, spreading your fingers, now bring them together again, moving from bottom to top. In the same way, you will caress a man, stroking him with your fingertips, slightly scratching. Imagine that a man is a complex musical instrument with keys and strings that you have to find and learn how to play. As in the science of playing any musical instrument, at first it will be difficult for you, but then enchanting music will flow - the music of love that you will give yourself and him, in which you will bathe like in warm milk, moving in the same rhythm. Imagine that the man who sets the rhythm is the drums or bass instruments of your small orchestra, and you have to fill the rhythm with a beautiful melody, playing with your body and including the man in the game. Now you understand what real sex is, from which a man becomes not his own? Only in this way can you cause sexual addiction in a partner, which will develop into love, throw all rivals back three bodies, make you a real priestess of love, drawing her strength in a love dance. I will teach you some exercises that will help you dance in bed so that after the first night a man realizes that he has only dealt with pale copies of a Real Woman before.

The first thing you have to learn is to feel the rhythm and even fall into a kind of trance during lovemaking. And in dancing, and in sex, the sense of rhythm plays a huge role. If nature has not endowed you with suitable grace and the ability to move easily and plastically, I can only advise you to take up dancing and liberate your body, because most women are terribly clamped not only in sex and dance, this can be seen from their gait, movements, facial expressions. Someone manages to relax a little after a glass or two of strong drink, but is that right? So you can become an alcoholic. For example, when I want to relax, I just dance if I'm at home, or for ten to fifteen minutes I "spread like a jellyfish" in an armchair at work, first tensing all the muscles, and then giving them the order to relax. Learn to listen to your body. He wants to stretch - stretch, he wants to dance - dance, run and jump on the grass, not being afraid to look like a fool, put your feet on the table if you are sure that no one will disturb you. The human body is a complex system that works perfectly on its own. And we only interfere with her, put psychological blocks, forcing her to eat according to the schedule, when she doesn’t feel like it at all, stuffing her with “healthy” products, tormenting her with excessive exercises and extracurricular work. As a result, the body goes wrong, gets clogged, gets sick and is not friendly with the head, therefore, when you go to bed with a man and want to relax, he does not want to relax, and as a result, a man sees not a beautiful lover, liberated in body and soul, but a complex and a squeezed woman with hooked arms and no better legs.

Dancing is a great way to get in touch with your body, lose extra pounds without much effort, become graceful and plastic, feel strong and young. Dance is a whole language that will tell a man more than any words and feigned coquetry. He distracts a man from everyday worries, attracting attention only to you, reveals a woman to a man. Remember, everything that a woman does must be filled with beauty, otherwise she ceases to be a woman, and therefore, desirable for a man. If you can’t dance, don’t dance, if you can’t sing, don’t sing, and even better, learn to sing and dance, because each acquired skill leaves behind a crowd of sweet-voiced and gracefully moving potential rivals, lights up a woman’s eyes with awareness of power over a man. If your figure is far from model ideals, this is not a minus, but a big plus that will make you stand out at any party. A graceful plump woman exudes sexual energy. If she does not bounce like a ball, shaking her folds, but gracefully moves, using her hands, exposing her full breasts and hips, this is an amazingly sexy sight. I have seen dancers with full but firm bodies doing belly dance and Indian style dances in such a way that men went crazy with desire, and yet these women did not show striptease, did not throw bras into the hall, did not shake their breasts and did not hang on the poles. This only confirms that a man is attracted by the inner and outer beauty of a woman, and only if it is not there - vulgarity and rough physiology, beautifully and from all angles presented in "porn". I advise you to learn how to dance and control your body in bed. I think it's almost the same. I offer my set of universal exercises that will help you to be at your best both on the dance floor and in the arms of your beloved man.

1. Put on a cassette with music that makes everything inside you dance. It doesn't matter at all whether it will be oriental slow music or the tunes of Verka Serduchka - the main thing is that you like it. Dance in front of a mirror, analyzing your movements. As soon as you notice an unsuccessful move, remember it and do not repeat it again, and vice versa, by experimenting, calculate the most winning moves and use them more often.

2. Train yourself to get ready for work and clean the apartment, dancing a little to the music.

3. While watching TV, watch singers and professional dancers dance, learn from them the simplest but most effective movements and immediately try to repeat them in front of a mirror.

4. When going to a dance party, do not wear a tight skirt and stilettos, I have not yet seen a woman who would dance gracefully in such an outfit.

5. Imagine that each song is a mini-performance with you in the lead role. Here you are openly seducing someone, but you are a modest girl, coquettishly throwing glances at some kind of man you like, in the next song you are a gangster stalker or a cowboy's girlfriend. As part of the game, you can afford a lot of movements, maybe not quite danceable, but against the general background, they look very harmonious. Include facial expressions in the dance, play with other dancers.

6. In the evening, in the light of candles, try to dance alone with yourself, completely naked, some very ancient and very sexy dance. Our distant ancestors did not learn to dance. Under the battle of tom-toms, they surrendered to the power of their body, freeing it from tension and negative energy. For better getting used to the image of an ancient shaman, buy a cassette with rhythmic ethnic music, put on necklaces and bracelets, draw yourself "Indian eyes", smear your body with oil.

7. A lover of any size should be as flexible as a cat. The simplest and most effective exercise is the “drawing” of the figure eight with the hips. In a horizontal plane, you draw a figure eight with your hips, trying to maximize the range of motion (shoulders are motionless), the figure eight can be lateral or frontal. With the frontal, the hips move forward and outward, and then back, and with the lateral - to the sides. You can try moving your hips up and down, squeezing and releasing your stomach. The next exercise is lunges with the hips forward, backward and to the sides, as well as circular movements of the hips, in which the legs do not bend and the shoulders do not move. These movements can be included in the dance.

8. Learn to dance without moving your feet while standing still. The most spectacular movement that can be included in slow oriental dances is the wave. You can make a wave with your hands, if you spread them to the sides with your palms down. The principle of the wave is very simple. Draw a wave on paper and hang it on the mirror in front of which you will perform the exercise. If one shoulder is down, the other should be up. Imagine an athlete who rolls the ball over his shoulders, and it will become clear to you what the movement should be. You can accelerate the pace only after the movement begins to turn out.

9. Be sure to buy a hoop, preferably aluminum, and train with it as often as possible - it will replace you with a bunch of exercises that are usually recommended to keep your waist slim, strengthen your back muscles and abs. When you feel that it has become easy to twist the hoop, ask someone to drill a hole in it, pour sand inside and fill the hole with plasticine. The weighted hoop increases the effectiveness of the exercises. A skipping rope is perfect for training legs and arms; 200-300 jumps every morning and you're in great physical shape - fast and not tiring at all.

10. To make the chest and shoulders move during the dance, learn to make a wave. To do this, stand sideways to the mirror, and now imagine that you have a crossbar at the level of your forehead, under which you need to “dive” without moving. We begin to “dive” - first with the head, then the chest, stomach, hips protrude in turn, the knees slightly bend, the heels come off the floor. Another exercise is the protrusion of the chest. First, you bend forward as much as possible, and then slowly make a circle with your chest, filling it back and returning it to its place. Do you feel the bones crunch?

11. Do you want to feel like a real priestess of an ancient Indian temple? It's very simple. Stand in front of a mirror with your legs wide apart, bend them at the knees, spread your toes apart. Turn your hands palms up and bend at the elbows. Without changing position, do several lunges with your head forward, and then to the sides, without turning or tilting your head. In the same position, lift one leg off the ground and bring it closer, holding it in weight, to the second leg, return to the starting position. After ten such exercises, your muscles will ache, as after a half-hour session of gymnastics. Now do you understand why Indian women were curvy, downed and strong? Another element of Indian dance is the swallow. You probably know how to do a swallow, but after you have taken your leg back and straightened your body, try to bend the leg on which you are standing slightly (or strongly, if possible), bend the leg laid back too, bend the body back, as far as it Maybe. Repeat the same with the second leg. Hands - in any position convenient for you. You can come up with other "Indian" movements yourself if you follow simple rules:

- legs in Indian dance are almost always slightly bent and separated;

- legs and arms should move synchronously, and not in turn;

- after each movement the dancer freezes for a second, as if letting everyone admire the beauty of this moment of the dance;

- many movements are based on the dancer's crouching on one or the other leg, as well as on a beautiful raising of her legs with outstretched or raised toes;

- the transition of hands from one position to another is carried out more abruptly than in Arabic dances, without characteristic wave-like movements of the body and hands.

In order to describe all these exercises, so that you understand: a woman is not made by morning exercises and shaping (although they will not interfere), but gymnastics of the whole body, aimed at developing sensuality, flexibility, such gymnastics affects not only the muscle layer, but also internal organs. Believe me, doing it is much more fun than jumping in front of the screen, repeating the movements of some model or actress. A woman dancing in the rays of the morning sun looks more attractive to a man than a “girl with dumbbells”, puffing from unbearable weight and angry at the whole world for keeping herself in shape, torturing her body with unbearable workouts. My secret to a slim figure is simple: walk more, forget about elevators, dance more and make love!

This text is an introductory fragment.

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