How to not be stiff when dancing

How To Not Look AWKWARD When You Dance

Do you feel awkward when you dance??

It’s pretty normal to feel insecure about your dancing.

I mean, it’s your body. Your literal SELF that's being put out there!If you’re that person at the club swaying awkwardly or hanging out by the wall at a school dance…

We’re here to help make you feel more comfortable in your body.

Ready to stop being a wallflower?? Wanna get movin’ and groovin’??!?!

Let’s go!

1. Own your style

If you feel awkward when you dance, then you will look awkward when you dance. And if you keep telling yourself you're awkward, then you will stay awkward.

The first step to overcoming awkwardness is to stop that self-deprecating narrative.

You don’t have two left feet.

You do have rhythm.

You can be a good dancer.

Re-defining your view of yourself is the only way you allow yourself to grow.

And if you're truly convinced that you can't follow a beat or stop tripping over yourself... just take some time to practice those basic foundations!

STEEZY's online "Intro to Dance" program walks you through all of the fundamentals step-by-step, so it's the perfect place to start.

Click here to start the program for free!

2. Find your body’s natural groove

No two people in the world have the exact same bodies, music tastes, dance training, or life experiences. This means that no two people really dance the same.

Everyone dances like themselves. You, included! So find that groove that feels right to you.

When you take class, modify the choreography to fit your body. And when you freestyle, just start with a basic two-step.

That simple left-right, right-left skeleton leaves SO much room for you to build off of.

Feel the way your body reacts to the music...

Let yourself groove out...

3. And COMMIT to it

A lot of the time, dancers will look awkward because they PLAY THEMSELVES!!

That slight hesitation, that SMIDGEN of under-delivery, that look of “oh sh*t” on their faces…


Knowing and committing to yourself is the only way you won’t look awkward when you dance.

4. Loosen up!

Really, an instant fix. Most people look awkward when they dance because they are stiff. And they’re stiff because they aren’t moving.

Don’t lock your knees.

Free your neck to let your head bob.

Shake out your arms.

Relax your core.

You can even do some stretching or pilates to help your muscles get used to that relaxed, loose state!

This pilates class on STEEZY is perfect as it's literally designed to loosen the muscles you use when you dance.

So get LOOSE. No excuses.

5. LISTEN to the music

Maybe you look awkward when you dance because your body isn’t matching the tempo of the music.

Simply aligning the rhythm of your movements to the beat will make your dancing look a lot more put together.

Or, your vibe isn't matching the vibe of the song, making your dancing look off.

Follow Melvin Timtim's advice on this:

6. Have fun

I’ve never watched someone genuinely love what they’re doing and judged them.

Pure fun never looks or feels awkward.

So stop overthinking! Put on a soundtrack to a musical you love and lip sync it all the way through. Blast some dirty rap music in your car and go awff.

Play some sexy bedroom music and serenade your lover. At the end of the day, dance is something that lets you play.

You can be anyone you want, do anything you want, and escape from whatever stresses are plaguing your mind.

Dance is an escape, not another stressor.

So have fun with it :) and looking dope will happen on its own. Being a good dancer or a bad dancer, a dope one or an awkward one...

It depends on what you practice – both mentally and physically. Use these tips to make dancing look and feel like second nature.

You’ll be tearin’ it up on the dance floor in no time.

What are some things that helped you overcome looking awkward when you dance? Comment below and leave a tip!

Classes on STEEZY Studio help you loosen up to move more comfortably.

Take our beginner program to learn the essential grooves to start with!

Is Your Dancing Too Tense? 3 Ways To Loosen Up

When a dancer’s body has excess tension, their movement can lose its luster and flow. “What we see when we watch a spectacular performer is the precise application of effort,” says Peggy Gould, an associate professor at Sarah Lawrence College who teaches dance conditioning and kinesiology. “Not too much, not too little, but just the right amount.”

Yet even a dancer in top condition with strong technique can’t disguise the tension that builds up from overworking and imbalances. The solution does not lie simply in trying to “relax,” but in getting a better idea of where where the tension comes from.

Why We Need Some Tension

Tension refers to the action of muscles contracting. Dancing would be impossible without a certain amount of it. “We would be a puddle on the floor,” says Tom Welch, a professor of dance kinesiology at Florida State University. Gould defines it further. “Tension is muscle work that does not produce motion, but rather helps to maintain a stable or static situation. There is no change in muscle length, no change in relationship between the bones the muscle attaches to, no joint motion, no movement.

Excess tension, which can make you look stiff, derives from the relationship between muscles and bones. “When we don’t make good use of our bony support structures, it’s often our muscles that wind up playing key roles in holding us up against gravity,” Gould says. “Treating a muscle like a bone generally leads to that muscle behaving more like bone, becoming stiffer and more resistant.”

Here’s the good news: There are numerous ways to relieve excess tension.

Work you do outside of technique class can help balance your body and build strength to help you dance with less tension. Photo via Unsplash

Start by Building Strong, Long Muscles

For Welch, the way you prepare your body for the job of dance can help release excess tension. “Muscles have to be strong and long,” he says. He teaches a special Pilates class devoted to reducing tension. “It’s a two-stage process involving activation and strengthening, then releasing and stretching,” he says.

Rub and Roll It Out

Jennifer Williams, of Chaddick Dance Company in Austin, Texas, has struggled with excess tension all her dancing life due to structural imbalances from scoliosis. “I’m a firm believer in rolling out muscles, whether it’s a tennis ball or a foam roller,” says Williams. These provide feedback to the neuromuscular system—a dancer can sense her body against it, and become more aware of where she is holding extra tension. Massage can also play a vital role in releasing tightness. “I see a massage therapist every other week,” Williams says. Heat and proper stretching can also help muscles relax.

Understand The Root of the Problem

Somatics training can help dancers get to the bottom of the tension cycle. “We must understand the origins of a tension pattern in order to let go of it,” says Gould. “I encourage students to think of this work as refinement in order to advance their technical capabilities.

Many somatic systems aim at freer movement. Methods like Feldenkrais, Alexander Technique and Ideokinesis allow students to slow down, make small changes and dis­cover the differences in their posture without from the demands of dancing. Feldenkrais focuses on skeletal balance; Alexander, on the position of the skull; Ideokinesis enlists visualization and imagery to foster physical change.

The ease, length, balance and efficiency that these systems help dancers develop all lead to a reduction of unnecessary tension. Welch finds a multifaceted approach works best, one where a dancer can spend time exploring tension in a separate class. Then it can be useful to have the concepts reinforced in dance class through the verbal cues explored in somatic classes.

7 ways to improve your connection while dancing: zoukability — LiveJournal

7 ways to improve your connection while dancing
Posted by Gaëlle Céline Le Vu, France
Original: https://zouksidedown. 7-ways-to-improve-your-connection-while-dancing/
The article is a logical continuation of the previous one: What does your very first movement in a dance with a girl say about ...

"Connection" - connection, connection, clutch.

Connection in a dance context - such mutual understanding in a pair, when the partners seem to be connected with each other, are completely synchronized , they clearly feel the leading-following of each other and represent a single whole. I cannot find the same capacious and harmonious analogue of the word connection in Russian, so I will use the English version. The concepts of "contact" and "relationship" are closest, but they are not quite the same thing.

A dance without a connection is not a complete dance. One or both partners are immersed in themselves, focused on the mechanical execution of movements, do not feel their partner, use him as a simulator for working out ligaments. The dancers hold hands but they not together with . The ability to make many complex connections, even if they are technically perfect and you are a teacher in general (and suddenly) - does not affect the quality of the connection in your dance in any way;)

The topic is especially relevant, painful and suffered by me as a partner. You can live in peace and enjoy your role as a simulator and a moving mass, if you have never met this connection. But one day you will come across a partner with whom you will feel like you are somewhere in space, you want to dissolve in this dance. And your world will never be the same again. You'll understand what I'm talking about when it happens.

There is a lot of text ahead, but if you read everything carefully, think it over and start using it, then there will be a lot more happy smiles on the dance floor, believe me! I encourage affiliates to bookmark this article and re-read it periodically.

Ready? Go!

"The best thing about a hug is the charm of eternity in a couple of seconds. It's magic that allows two people to ascend to heaven in an instant."
(Anna Giacomo)

The first article talked about the benefits of hugging, building and maintaining contact in dance. But it's not always so easy: you may not quite understand how to achieve this, even if you really want to. In this article, we will look at several ways to improve the connection.

1. Feel. Enjoy the moment.

Don't let the hug be purely mechanical: don't automatically put your hands on your partner while you look around and think about the next move. Enjoy this moment, close your eyes (while you are standing still, it is not necessary to check what is happening around). Relax, open up to your partner, let her relax with you. Be attentive to her. Maybe she smells like sweet perfume, or maybe she's sweating a little. Or she gets nervous and thanks god just for that0008 , you have time to be with her before the dance begins. Maybe she's excited and looking forward to having a great time. Maybe you can hear how fast her heart is beating. Perhaps she is too tense: she is tired, which means that your dance should be easy, or is she just nervous and you will help her relax? Pay attention to these details, they can be seen. Be here and now. Your partner will know if you are not with her .

2. Relax.

Guys... I often hear some of you say things like "but she doesn't want to cuddle" or "she doesn't want to wait." Who is leading here? I thought it was you?..

This is the first moment. YOU are leading. This means that most of the decisions here are made by you. This does not mean that you should try to get your partner to do what she cannot do, or lead to something unnatural with her body movements, or try to perform with her the very movement that you so badly want to work out. This means that you must be attentive to her, see what is needed, and based on this, you begin to lead and show that you are here now for her.

If you feel that your partner is walking without guidance, which is typical of many beginners, think about it: why is that? I'm sure it's often because she's nervous. An experienced partner knows how to wait for the lead, but it takes time to learn this, it's not as easy as it seems.

If you feel that your partner is not waiting for you, gently make her wait . If you see her in a hurry, slow her down . Create gentle tension in your hands, and if you really need to stop her now, you can gently press your palms or thumbs into her hands. In most cases, there is no need to use them, and therefore, when you do, your partner will feel it and will be more attentive to you. Don't follow her lead! I'm serious.

Second moment. Whatever you do, your partner will try to mirror you . If you see that she is nervous and in a hurry, and you begin to hurry along with her (because sometimes you start mirroring us too), what good will come of it? On the contrary, why not force her to be attentive to you in the same way that you are attentive to her. Give her undivided attention, and then she will begin to relax and trust you => and be better behaved. Do not think that the partner does not want to lead. Once again, in order for her to feel led and patiently follow, she first needs to relax. So, if you are unable to help her relax, she will not melt in your hands and will not behave as well as she could. If you don't show that you are there for her, she will go "somewhere else" and it will show up in your dance. The dance will look and feel disjointed.

But before you can help your partner relax, you must also relax yourself. Relax your shoulders, remove tension from your neck, the girl will feel it, and then both of you will be able to feel the connection better. (Eventually, she wraps her left arm around you as you dance into a close embrace, she feels ALL of your tension.)

To recap. Relax yourself first. The partner will feel it and will also relax.

3. Touch heads.

This is optional, but a very good tool. Some partners may not want this kind of closeness with you, some of you may be too sweaty, or your shyness gets in the way. But let's assume the conditions are ideal. Use it as much as you like!

The simplest position is the close hug, but other variations can be used. For example, if you turned your partner and stand behind her, then it can be very pleasant for her to feel the touch of your head. You will feel more attentive to her, and she ... Believe me, she will be very good! But don't forget to feel it. Don't do these things because you have to. Relax and enjoy them.

In general, think about when you can use it and use it whenever possible.

4. Look at her. Or her movements.

Vision is a very important sense for a person. Let's use it!
From both a practical and an artistic point of view, it will be very good and beautiful if you look at the movements that you create. You can look directly at your partner, but if you stare completely intently, then this is somehow not very good. Not looking at her at all is also unpleasant and strange. But you definitely can't go wrong if you look at the moves you're leading. Why? Because you are constantly following her with your eyes, but at the same time you are not trying to aggressively look into her soul, if you know what I mean. Are you doing a simple laterao? Engage your chest and head, let them follow your arms. Do you lead to headwork? Follow these movements with your eyes and head, then you can connect your shoulders. Add more life to your body, accompany your partner's movements with your body. The girl will see it, at least feel it. This will greatly enrich your dance and add depth to it. Just think about what you are focusing on.

If you look somewhere else and at other couples, it looks like your insecurity (and this will negatively affect the connection, you are the host), or even as rudeness if things are really bad. Most likely, the partner will think that you are too shy and will try to understand you. Be careful with the image you create. Just focusing on the right things will already give you a huge advantage and make you feel better.

!!! This does not mean that you should not watch where you are going.
If you want to lead to a movement that involves moving in space or amplitude work with the partner's body, first look, WHERE you will lead her, and then lead . This way you will avoid clashes with other couples and add some style to your dance, because. your gaze will predict the next move.

Remark: very often the partners do not take into account the amplitude of the lady's head movement on headwork, different rotations, etc. Even if the partner stands with her feet in one place, the amplitude of movement of the upper part of her body can be greater! It is very unpleasant in rotation to crash your head into another pair.

5. Vary the tempo.

Yes, girls are sometimes too demanding, and learning to lead can be difficult. But if you practice, it will get better and easier.

One of the things girls go crazy over is musicality, or let's call it changes in speed for now. From simple, you can lead to some movement and in the process change its speed. It works with anything, anywhere, anytime.

The easiest way to use it is when driving. It doesn't matter if you are opposite, or to the side of your partner, or behind - imagine that you are taking her for a walk. Listen to music. If you hear a fast succession of accents or a melody build up in speed, why not speed up your walk? If the speed of the music is the same, then you can go at a steady pace, or play around and change the speed as you like. Why not? If the music slows down and you are walking at a normal speed, don't get hung up on the 1-2-3 count, you can use slow and the second quick, and skip the first one (tum chik chik). Or you can slow down even more and use only the slow beat (tum chik chik) Everything is possible.

Just add variety to your movements, don't dance at the same pace all the time, play with the music. Play with your partner. With great probability, this will increase her attentiveness, she will have to become more attentive to you, and the connection will become better.

6. Keep in touch.

One of the main rules of a good connection is to keep in touch. Have you ever had a professional massage? Have you noticed that the massage therapist constantly keeps in touch with you? Even if he needs to take oil or something else, he tries to keep contact with you with one hand.

If you lose contact, you need to rebuild it. And if the connection was not very good, then you run the risk of destroying everything that you have just achieved. One of the easiest ways to maintain contact is to place your right hand on your partner's back as she makes a simple turn and now has her back to you. This is not just a rule of "good technique", it allows the partner to feel you and understand where you are. She will know that you are still here.

If you follow this simple rule well, your partner will be more comfortable and trust you more. Naturally, she will not be able to explain why she felt this way, she will remember the dance as "it was very nice. " But you know ;)

It's the little things that make for a great connection, and therefore a great dance.

7. Waves and other bodywork .

Last but not least. In a conversation on this topic, I cannot but mention the waves.
There are very, very many options for the execution of waves, you can write a separate article about this. But within the topic of connection, distance and tone are of key importance.

Pay close attention to your partner's hand on your back. Do not arch your back, do not try to walk towards your partner if he is not leading. He will lead, not you. Be sure to pay attention to this moment. Most likely you think that this does not apply to you, but my experience of conducting for a partner shows that 80% of girls do not feel and do not understand my hand on their back. Every time I have to explain that I need to lightly press my back into my hand , and then I can feel the connection. Focus on your back, feel your partner's hand. If the hand moves away, then you follow it! Once you work on this, you will be much better behaved. Just give light pressure to your partner's hand and let him decide when to start and end the movement, when to slow it down, etc.

For partners:
Keep a good frame, put your right shoulder and arm in place. Don't twitch violently, it won't help. Stand straight, your chest is the basis on which the girl will make a wave. You can also make a small wave with her, but don't make it stronger than your partner, it looks very strange.

What is the meaning of the wave? For me personally, a good wave represents good contact and tone. By tone in this case, I mean contraction (abdominal contraction) and the work of the back muscles. When you start the wave, bring your chest and ribs forward and up a little, then your belly, then your hips. When your movement takes the form of a serpentine, the energy decreases and you return to the starting position.

If the dancers do it right, I guarantee you a very pleasant wave)

Quick reminder

Feel and have fun. Relax. Feel free to touch heads while dancing, it's a useful tool. Give your partner all your attention, look at her and at the movements that you create. Change the pace to keep the her attention. Keep almost constant contact with her. Use waves and body work.

And at the end of this article is a demo of Freddy and Andressa, in which they use a wide range of possibilities of close embrace in dance. If, after all that has been written, you still do not quite understand what a connection is, then here it is in front of you.

You can follow the announcements of new articles through the VK group:

Ambiguous dance movements: zoukability — LiveJournal

Love 'em or Hate 'em: 6 Polarizing Dance Moves
Author: Laura Riva
Italics: translator's notes ;)

The original article is certainly useful, but the advice in it seems to me quite obvious to a more or less experienced partner. Therefore, I supplemented it with my extended comments.

In any pair dance there are several movements that inevitably divide the partners into two groups: some love these movements, while others hate them. So what should a partner do? How can you tell if you've got a partner who loves cambrai or one who wants you to never, never, NEVER do it? What signs indicate a lover of rotations or their opponent?

What are these couple dance moves that girls either love very much or hate deeply?

1. Cambrai

Some partners love them - fast, deep, many times in a row. Others feel a looming fear as soon as they are led to prepare for Cambrai.

Cambrai is a beautiful and controversial dance move. Cambrai is very scary for girls who are afraid of injury, as well as for those who have already had a negative experience. Especially frightening fast, deep or sudden Cambrai.

If you are a cambrai partner, start slowly. See how your partner responds to gentle preparation and gentle tilt. If she answers well, try to go deeper. If she still responds well, and you have control and technique, you can lead to a faster cambra.

However, you must be careful and stop cambrai immediately if your partner...

  • says she doesn't want to do cambrai0223 grabs your shoulders

  • not led

You should stop the cambrai as soon as you feel that the partner has reached her "maximum" ability to lean. The "maximum" opportunity is when the partner stops bending over. This is the point where the partner goes from "that's cool" to "no way."

There can be many reasons for a partner not to do a cambrai: fear, injury, lack of confidence in technique or surroundings, the quality of your lead or connection. If she "doesn't go" further or doesn't do it at all - respect her abilities and don't try to force her to do it.

2. Lots and lots of spins

Oh, spins are my old favorite. Many partners, like me, love multiple spins (correctly executed).

But there is another side - those who get dizzy or who just don't like to spin a lot. And sometimes a bad floor makes even fans of rotations suffer.

You have gone too far if you...

  • you feel that the partner is pushing the dribbling on the spins

  • notice that she is losing her balance

  • see her smile disappear

When in doubt, use the normal amount of rotation in a dance: no more than one sequence of rotations in a row in a relatively short amount of time. A fan of spins will not mind if there are not so many of them, but their opponent will be very outraged if there are more of them.

Be especially careful with spins with a tilted frame or with an off axis - the partner may not be able to do them correctly and come out of them competently. This is a complex coordinating movement. Who does not believe - forward to rotate in an inclination of 10 revolutions in each direction! And yet, many partners do not know how to properly lead to this and disstabilize the partner themselves.

3. Lifts

Any movement in which you support the lady's weight while her feet are on the floor is a lift. Combinations of supports and cambrai can be very good, but it all depends on how much weight of the partner you take on.

If you are a strong, reliable partner, some partners may like to support you. And others - no.

If you lead to support and the lady doesn't go down, it means that she doesn't like the move, or the way/where you do it doesn't seem safe to her. If the partner's smile disappears at the exit of the movement, this also means that she does not like supports. If this happens, don't do it again. A good dance does not require supports.

Lifts require good technique and can be dangerous. If you love supports, it's important to start simple, slowly, and only with the right partners. No matter how much a novice partner loves supports, you can't do them with her. The partner may be injured - and she will blame you for this.

You also need to be sure that if something goes wrong, you have enough physical strength to safely pull your partner out of the movement.

A partner can love support and at the same time be completely unable to do it. For example, she may not know that in some lifts she must hold the press, hold a rigid frame, she may not understand her zone of control and responsibility in movement. Both of you could get hurt.

Here I also want to highlight counterbalances . because the principle is similar. Recently, counterbalances have become very fashionable, partners insert them here and there, completely not focusing on their technique of execution and the level of the girl, and many girls sin by suddenly jumping into counterbalances themselves. For which, however, they themselves rake, because. not always the partner has time to react.

Stop. There is a lead on the counterbalance! A lead that allows you to clearly understand whether this is a counterbalance or something else. The partner must first be put on the half-fingers, lift her frame and only then lead to the counterbalance. The girl understands, prepares and then gives you her weight at the right time. If you don't do this, then you don't know how to counterbalance. Throwing a girl into counterbalance immediately without preparation is a gross mistake. If the partner does not understand, does not give you her weight when you asked, then you do not need to lead her by force or say: "This is a counterbalance, baby, give me the weight!"

4. Very sensual moves

With the rise of zouk, sensual bachata and kizomba, many dancers have come to love this very sensual trend. But some are absolutely not. For them, it feels like harassment.

Sensuality should be mutual on both sides. This includes such manifestations as taking the partner's hand and running it over your chest or a sweaty, too close hug.

I personally hate it when my hand is run over my chest and any variations when my hand needs to touch something. I feel like I'm in a strip club. (Totally agree, it's disgusting. Sometimes they even try to run my hand over their hair or face).

If your partner's body becomes rigid or immobile when you do something sensual, then she does not like it. Never drag your partner into a close hug. You open your arms and invite the girl, and she herself comes as close as she feels comfortable.

If your partner does not reciprocate a close hug, then she does not want it. The same applies to head-to-head contact: if you notice that a girl is trying to avoid head-to-head contact and moves away, STOP! She doesn't want this!

And vice versa, if the partner responds to the invitation to close contact, then most likely she likes everything.

Manual from Bruno Gallardo:
"Enter as if you are going to kiss a girl for the first time, but are not yet sure of her readiness. Reduce the distance, but not to zero, but by 80-90 percent. If the girl wants - the rest she will make a move towards you. If not, a slight backward movement will tell you that this time is not."

5. Athletic movements

I have a friend who is very fit and loves all kinds of physically demanding movements. But at the same time, she is pinned by the most difficult fitness workouts and crazy tricks on the pole.

When partners make physically difficult movements with her on the dance floor, she is happy. She likes fizuha, it turns her on.

Very many, on the contrary, do not like this kind of movement. If anyone else likes them at all.

If a person dances at his physical limit, then it is useless to try to take him beyond the limits, and this can cause injury. Well, many simply do not want a dance that looks like physical education, they want a soft, neat connection.

One can easily determine which category a partner belongs to by how she reacts to complex movements. If she does not complete the movement, interrupts it, or looks tense during the movement, she clearly does not like what is happening. Reduce the level of physical activity in the dance.

Often the partner can still lose connection if you put too much energy into the dance. You may notice that they slow down or slip out of your hands.

And those who like it harder will enjoy the dance, move comfortably and enjoy the moment with you.

What are physically complex movements?

First, you need to consider the level of the partner. If she is a beginner or intermediate, then Cambrai can be difficult for her. Deep cambrai or too harsh. Off-axis rotations, etc. If the partner has been dancing confidently and for a long time, then the complexity is added by the speed and sharpness of any movements.

Physically complex movements that need to be trained for a long time and have good physical training for them: rotations in plie on one leg, acrobatics in the air, deep cambra, where you need to keep yourself well with the abs and buttocks.

Any acrobatics where you lift a partner into the air is inappropriate: 1. without proper training both dancers; 2. at a party.

Acrobatics requires knowledge of safety and performance rules from both! But for some reason, there is always a category of self-confident partners who believe that if they know how to do support, but the girl does not, then this is normal, nothing is required of her there. This is a stupid and dangerous delusion. There are especially many such partners in the hustle...

Acrobatics is mainly used in the show, after careful training, and on an empty dance floor where you definitely won't hit anyone. A social party is a bad place to perform acrobatics, the risk of injuring the partner and the people around is too great. And we are still not very good at looking around.

6. Optional: endurance test

This is not a specific movement, but rather a general dance style.

Some partners enjoy a complex dance that tests their technique from start to finish. However, these are in the minority.

Most girls enjoy a well-balanced dance that doesn't wear them out. There must be room for relaxation, musicality and some play in the dance.

If you feel your partner is lagging behind, making a harder connection, or breathing heavily, slow down. Give her a break and change her set of movements. It will most likely make her happier.

An endurance test is to take the movements from points 1, 2, 3 and 5 and fill the whole dance with them, without pauses.

Pinball partner - related article.

For those who are unsure

If you are a partner and have trouble reading body language, there are a few "safe" options for you. First, you can ask ahead of time about things like cambra and supports. This will give you an open answer about whether your partner likes what you are doing or not.

Second, be careful. If you are not sure what their reaction means, if they do not like something, do not make this movement. It certainly won't hurt anyone. Or, if you need confirmation, try again to do this thing, but more carefully and more slowly.

If after two attempts you are still unsure, I would refrain from trying again until you know for sure whether your partner likes it or not.

There are a few more things that a partner should not do in the dance: