How to reject dance
Reject Dance Theatre
Reject Dance Theatre Presents: THE SHOW in Boston!
Reject Dance Theatre and The Dance Complex present… THE SHOW: A Celebration of Queer Voices. This production results in the culmination of a year of deep collaboration, featuring three new pieces: two from the NYC company and one from the Boston company. Each piece continues to explore the themes that are foundation to the company’s[…]
We need your help!
We need your help. RDT is committed to presenting quality work and compensating our dancers and collaborators for their time. Ticket sales help offset these costs, however they only cover a small percentage of the costs of the production. Please consider making a donation to our Indiegogo campaign. We hope to raise $5,000 by May 31,[…]
Reject Dance Theatre Presents: The Show in New York!
Thursday April 28th 9:30 PM The Tank Theatre 151 W 46th St, Fl 8th, New York, New York 10036 Tickets are $15 CLICK HERE TO RESERVE YOUR SEATS! About the Show In its fourth season of creating innovative and engaging dance theatre, RDT presents…THE SHOW. This production represents the culmination of a year of deep[…]
RDT Boston Auditions
RDT Boston is looking for one male dancer for upcoming projects in Boston and New York. While our immediate need is to cast a male dancer, we welcome all dancers at this time for consideration for future projects! Auditions to be held Friday February 5th at 10am at the Dance Complex.
RDT Boston Performing in Worcester, MA
RDT Boston will be performing at the Bancroft School in Worcester, MA this Friday January, 8th. The company will be performing at three assemblies: 8am Lower School, 9:30am Upper School, and 11:15am Middle School. Performances are free and open the to public. Visitors must sign in at the Visitor’s Desk.
Tickets on sale now for our show in Boston!
REJECT DANCE THEATRE will be performing at the Dance Complex in Central Square in Cambridge, MA on March 20-21st. Both shows will be held at 8 PM. For tickets and more information about the venue, please visit the ticketing website HERE! See you there!
New Year, New Performances!
After an overwhelmingly successful 2014, RDT is looking forward to future projects and performances! Visit our calendar to stay up to date on all East Coast shows that you will not want to miss! We are so thankful for our wonderful fans, your generous donations and never-ending support. Here’s to a great 2015!
Reject Dance Theatre featured on BroadwayWorld.com!
Reject Dance Theatre is excited to announce our upcoming performances at Green Space Studio in Long Island City, NY on November 14 and 15, 2014. We are sharing the evening with Yung Li Dance, and are pleased to be presenting our newest version of The Territory Suites! Please read more on the lineup and the[…]
Reject Dance Theatre Presents: The Territory Suites at Triskelion Arts, May 28th at 8pm
Reject Dance Theatre is proud to present its first evening length piece exploring “territory” from three different perspectives. Embark with us on this journey into human relationships, gender identity and animal interactions. Here is a sneak peak: https://www.youtube.com/watch?v=qCLEaY9MxaM Choreographed by Rebecca Hite Teicheira, Stephanie Simpson, and Stephen Urpsrung. Show is Wednesday, May 28th, 2014 at 8pm. Triskelion[…]
RDT Winter ’14 Update!
We’ve been quiet for quite some time now… but not without reason! RDT has been furiously working on a new evening length work, currently titled “The Territory Suites” We are VERY excited to share that Reject Dance Theatre has been selected to premiere “The Territory Suites” as a site-adaptive immersive AND interactive dance presentation as[…]
A list of hip hop dance moves as collected by FraGue Moser-Kindler
The list of names of hip hop dance moves below is what I learned in my journey with hip hop dance. It is not complete and will never be as our dances are still alive and growing every day. So there are potential new steps created every day.
Bold is the name of the move that I consider the correct one. Most of the time it’s the name I got taught.
(In parenthesis there are alternative names when written next to the name or general comments when in the back of the line).
In italic letters, I added additional info when I have it. The name after an s stand for source, meaning who I learned the move from. o stands for origin and is used whenever a move is from another style imported into hip hop.
Some of the names have a link. It leads you to a clip of the move.And this is me, busting some hip hop moves at Flavourama. Quite a while ago.
Before you check out the list…
If you want to find out how to make the most out of the moves you already know, grab a free copy of 7 Questions To Ask Every Move when signing up for my email list, or take a look at some of the concepts I presented here on the blog.
List of Hip Hop Steps and Moves
- The Wop. s Link
- Running Man (Link doing the Running Man).
- Mike Tyson. s Tarek
- Gucci. s Buddha Stretch
- Smurf. s Buddha Stretch & Mr. Wiggles (2 different versions)
- Steve Martin (Link doing it). s Marcio Ratinho
- Robocop. s Suga Pop
- Stomp. s Link
- BK Bounce (Brooklyn Bounce, Criss Cross). s Buddha Stretch
- ATL/A-Town Stomp. s Buddha Stretch
- Harlem Shake. s Link
- Dice Game. s Marcio Ratinho
- Roger Rabbit (Reject). s Budda Stretch
- Bart Simpson. s Buddha Stretch
- The Prep. s Link
- Wu-Tang. s Buddha Stretch
- Bankhead Bounce. s Link
- Monastery. s Yuljah (It is spelled differently in the clip, but I believe that is a typo)
- The Snake.
- Janet Jackson (Janet, Barbie). s Marcio Ratinho
- Kick Ball Change (Flintstone). s Storm
- The Guess.
- Party Machine/Spongebob/Criss Cross. s Buddha Stretch
- Leo Walk. s Flomaster o Locking
- Shamrock. s Niako
- C-Walk. s Buddha Stretch o Gang Ritual
- Fila/Rambo. s Buddha Stretch
- Walk it out. s Buddha Stretch
- Tone Whop. s Buddha Stretch
- Pepper Seed. s Link o Dancehall
- Penguin. s V-cell
- Upstairs Downstairs (Up & Down).
- Funky Penguin.
- Happy Feet. s Link
- Crazy Legs. s Peppi Meilinger
- Toss it up. s Buddha Stretch
- The Freak. s da Bürgermasta
- Patty Duke. s Mister Wiggles
- Brooklyn Stomp.
- Pacman (Crab).
- Lite Feet.
- Bizmarkie. s El Fonky Juice
- James Brown (Good Foot). s Storm
- Baseball Bat.
- Bad One.
- Chicken Noodle Soup.
- Old Man. s Storm o Popping
- Chicken Neck. s Brian Green
- Cat Daddy (Tina Turner).
- Ney Ney (Nae Nae). s Link
- Alf. s Suga Pop
- Bobby Brown (Cold Duck). s Suga Pop
- Sophisticated Sissy. s Suga Pop
- Cabbage Patch. s Suga Pop
- Camel Walk. (Kamel Walk) s Suga Pop
- Holly Pill. s Mister Wiggles
- Walking Backwards. s Mister Wiggles
- Spanish Freak. s Mister Wiggles
- Reebok. s Link
- Gigolo. s Link
- Butterfly. s Buddha Stretch o Dancehall
- Run It. s Buddha Stretch
I also have a list of moves and steps from house dance, and another one for breakdance/breaking.
And if you are ready to dig deeper into the possibilities that your moves offer, check out my book Dance Smart, which covers 36 concepts to work with your moves.
How to refuse a guy to dance?))
How to refuse a guy to ...
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Quarrel with mother
Relationship with mother.Mom constantly forces something to do
Girl without a mood
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Popular topics per day:
I regret that I was born a girl
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Relations with mother. Mom constantly makes you do something
And how to react to this?
At 14 I fell in love with a guy who is 160176
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Etiquette MOLOLONGY: Invitation to a dance and refusal to invite
I have been preparing for writing this article for a long time, encountering many funny and not so funny episodes in the milongas. Many of us, immersed in the study of tango steps, attend milongas without realizing that there are certain unwritten rules for inviting to dance, giving consent or declining. Although cabeceo, or the invitation to dance with a look and a nod of the head, flourishes in Buenos Aires, we do not live in Buenos Aires and must develop our own customs. (Of course, it will be great if we use the cabeceo, because thanks to it, both men and especially women get the opportunity to dance with the partners they want to dance with. However, the problem is that the cabeceo only works if everyone knows about it). So I've compiled a list of "rules" that, if followed, will make the milonga an enjoyable experience for both genders.
1. First and last tango rule
The first and last tango of the milonga has a special meaning in the mind of the milonguero or milonguera. Ideally, one wants to start the milonga safely, dancing with a capable, adequate partner to prepare oneself for a long evening of dancing. A good partner will give you unconditional pleasure, but a bad partner is able to completely discourage dancing for the whole evening. Milonguero they say: to make up for the impression of a bad partner, you need two good ones, moreover, in a row. Therefore, the choice of the first partner in the milonga should be carefully considered. The last tanda (a series of tango songs) is also significant. In Buenos Aires, they say that the tanda should be danced with a lover (sweetheart) or a contender for your heart. I have a more frivolous approach: I believe that the last tanda should be danced with your partner, unless you agree on a different option. If you don’t have a soulmate, you can dance with anyone. However, if you are dancing with a person who you know has a milonga partner and the last tanda is announced, you should kindly ask if your partner should dance it with their significant other.
2. No babysitting
A typical scenario: a woman is sitting at a table in a milonga, a man comes up to her and invites her to dance. Instead of refusing him for good, she says “no, not now”, refers to fatigue, the need for a break, waiting for a friend, etc. The guy does not leave, but SIT NEXT TO HER and waits for her to agree to dance with him. There is what I call babysitting. The man turns into a babysitter. Moreover, both men and women indulge in this cruel act. When someone tells you "no", it means that for a while you have to back off. Hence the next rule.
3. Duration "No"
After discussing this issue with many milongueros and milongueras, I have come to the following conclusion. "No" means "No for a while". However, if you are denied, you cannot make a second attempt at the beginning of the next tanda! Only when 2, 5, maybe 7 tandas have passed, do you have the right to invite this person to dance again. Don't play hunter or huntress. It may well be that the person who refused you, if he had a good reason not to dance with you then, will come up to you and offer you a dance.
4. Penalty box
When you refuse someone, it imposes certain obligations on you. When you refuse, you forfeit the right to dance the same tango with someone who dances better than the person you refused. You must at least wait for the next song, or preferably the next tanda, to begin. You can regard this time spent without dancing as a penalty. Sometimes the rejection you make hurts you. Suppose you are in the "penalty box" and suddenly you are invited to dance by a person who, as you know, dances absolutely amazingly! You know that if you refuse him, he will most likely never invite you again, but if you agree, the person you refused will think badly of you (and then he may never invite you again). In some situations, it is impossible to gain without losing.
5. Dance interference
I've seen old black-and-white films in which a youngster a la Clark Gable or Errol Flynn wedged into the dance of some star and her "unsuccessful" partner, about whom the viewer forgets the very next minute. Good thing this only happens in the movies. I am sure that it is forbidden to wedge into the dance in all milongas in all countries of the world. When I was a beginner dancer, someone came up to me one day and asked if I could join your dance. Inwardly, I good-naturedly scolded the man and his entire family. You can invite to dance during the cortina (minutes of quiet music playing between tandas), and not during the breaks between tanda songs, when two people are standing and talking! WAIT.
After a minute cortina, the DJ usually plays three or four songs of the same orchestra or style. This series of songs is called "tanda". The words "thank you" or the word "thank you" mean that you intend to stop dancing with your partner. Don't make the mistake of thanking the person for every tango. Wait for the end of the tanda, then give thanks. If we don't wait for the end of the tanda and give thanks, we are passing on a certain message to the partner.
We danced four songs: It was great / I liked it / Let's dance some more.
Three songs were danced: It was not bad/Sorry, my leg hurts/Oh! My bus is in five minutes, I have to go!
Two songs danced: How long did you last, ha!/You should take more lessons/I thought the first bad tango was my fault, but now I see it's yours.
Danced one song: Hmm, it didn't work out/Can you sit down and just watch?/Please don't invite me to this milonga again.
I strongly believe that if women begin to use their power of rejection and unspoken communication, leaders will begin to work seriously to improve the quality of dancing. If we let mediocre leaders dance with great followers and vice versa, why would they develop? I remember an old argument with a friend of mine. She was upset because during the whole tanda, one terrible leader almost beat her, as a result of which she began to look bad and feel bad. I witnessed all this, and I really did not like the way the leader behaved, but I also did not like the fact that my friend did not bother to stop this abuse in time. Ladies, please use the power given to you to say "no" during bad dances! It's better to sit out all evening listening to music and chatting with friends than having someone drag you around the dance floor like Achilles dragged Hector in the movie Troy. When I was a beginner, I was often rejected by good wingmen. But I never took it as an insult. I just learned to dance better.
I'm not saying you shouldn't dance with beginners. Everyone should give one or two milonga dances to a newcomer as a kind of “community service” so that they feel welcome here. But there is a definite difference between a beginner and a bad dancer who, sorry, doesn't get it. At every milonga there are a few guys who, even though they dance for quite a long time, literally rape their partners. These people have no incentive to get better, because in any case they achieve their dances.
It is always unpleasant to hear rejection. Rejection can easily hurt feelings. Please keep this in mind when you refuse. Refuse the way you would refuse to continue a relationship if you didn’t want to hurt a person and at the same time give him any hope. For example:
“Sorry, the reason is not in you, but in me”
“I don’t feel very well, I need to be alone for a while”
"You Deserve More"
“I know we danced then, but that was then, not now.”
If you get rejected, accept it and move on. Phrases like the following will not help you:
"Tell me why!"
"Name at least one good reason"
"I can change"
“Look, I'll be here. Tell me if you change your mind"
“But everything was going well…”
This is when the leaders or followers stop dancing with a partner ahead of time and complete the tanda with another person. Bad business. What could be worse than in a dance with one person, unambiguously looking towards the other! Quite often I notice how this happens in the milongas, and all I can say about this is “bad, bad, bad!” In rule 5, I already wrote: Invite to dance should be during the cortina (minutes of quiet music that sounds between tandas).
Quite often a lady asking me to dance is rejected because at that moment I am doing something that excludes dancing with her (drinking, relaxing, going to change my shirt, etc.) But this lady does not retire, and gives out her main trump card: "But I'm leaving in five minutes!", which puts me in an awkward position, because I begin to feel obliged to dance with her here and now, despite all my studies. And - even worse - when I succumb to her onslaught and dance with her, it turns out that this lady was not going to leave in five minutes at all! I think many people will agree with my words that if a person says that he is going to leave, then let him make sure that I do not see his outerwear on a hanger at the very end of the milonga. And it would be better for all such characters to refrain from the desire to use excessive force at the moment of the dance invitation and, for example, not to drag their unwilling partner by the hand to the dance floor, shouting "Let's dance!" You must always give the other person the choice to dance with you or not, adhere to the rules of etiquette and not turn into a beast. To summarize: The dance will not bring pleasure if the inviter applies violence to the invitee. People want to dance for fun, not because of obligation.
10. Heels in stockings
Since rejection always hurts, the ladies came up with an original way to convey to men the fact that they do not accept invitations. They take off their shoes. Heels in stockings serve as proof that the ladies are not dancing yet and that at this moment they should not be invited. When the ladies are in this position, potential partners do not pester them. (On the other hand, a lady can always give a man a wonderful compliment by agreeing to put on shoes for him if he dares to approach her and invite her during the rest).
When you are going to invite a lady to dance, pay attention to her body language, her behavior. There are non-verbal cues to consider when inviting. Gentlemen, if you're walking towards a lady and you see her turn away quickly, bend down to adjust her shoe strap, start rummaging through her purse, it means SHE DOES NOT WANT TO DANCE. If she suddenly gets up and goes to the bathroom, do not follow her, do not stop her by the shoulder with the thought that she may not have noticed you. If she notices you and does not look away, or smiles, or raises her hand in greeting, or just looks very pleased that you are going to her, then feel free to invite her! If you are not sure if a lady wants to dance with you or not, just walk up and say hello, and then watch her reaction.
You can also just look around to see who is ready to dance at the moment. If people are standing or sitting near the dance floor, following the dancers, or looking around for potential partners, they are more likely to accept an invitation. If they are completely engrossed in the interlocutor, something to eat, drink and look like they are not going to dance, be careful. Try to catch their eye. If the person you want to invite is immersed in an active conversation, don't wander around, don't tap your toe on the floor or your finger on the table, don't wait for the conversation to break off for a second. Don't get involved. Invite someone else.
12. Dance license
Some may think it's old-fashioned, but I think it's pretty sweet: when addressing a couple of dancers who are married or dating and asking either of them to dance, ask permission from the other. So you show courtesy and express recognition of the second half. It seems rude to me to invite one of the couple without saying a word to the other. This rule also applies to women who must ask a woman for permission to dance with her man. Ladies, if a gentleman is standing embracing his significant other, and you come up and ask him to dance, instead of taking one and dragging him away, greet both first. Unfortunately, rudeness is common in milongas.
It may seem that most of these rules should not be described, but they are not. Anyone who violates the above rules violates them because he gives vent to his egoism. But we are all human. We all love tango music, we love to dance, and we have to learn to be together in the milongas.