How to stab dance
Halloween Dance Turns Chaotic After False Stabbing Rumor In Beachwood
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Authorities are investigating whether the rumor at the Toms River Intermediate School South dance was spread maliciously, an official said.
Karen Wall, Patch StaffAuthorities are investigating whether a false rumor of a stabbing at the Toms River Intermediate School South Halloween dance on Friday was spread maliciously, an official said. (Google Maps)
BEACHWOOD, NJ — The source of a false rumor about a stabbing at the Halloween dance the Toms River Intermediate School South is under investigation after the dance came to a chaotic ending on Friday night, officials said Saturday.
Beachwood police said its officers were present at the school on Pinewald Road for the dance "and can confirm no such incident occurred," the department said.
There were two medical emergencies that were tended to, Beachwood police said, "neither of wich was related to any physical altercation."
Find out what's happening in Toms Riverwith free, real-time updates from Patch.
Toms River Regional Schools Superintendent Michael Citta said the medical emergencies involved two separate situations where children had panic attacks. The panic attacks happened before the rumors began circulating, he said.
"Nobody was hurt, nobody was bleeding," Citta said by phone Saturday.
Find out what's happening in Toms Riverwith free, real-time updates from Patch.
Citta said the district and authorities are investigating the source of the rumor and whether it was spread maliciously or not.
While authorities told the students several times that there was no stabbing and no weapon, the rumors spread more quickly, causing panicked students to leave the dance, Citta said.
Parents whose children called them described the situation as "very scary" even as the district and police department were trying to address the fact that the rumor was a lie.
"An email went out to parents right away," Citta said, and that along with a Facebook post by the Beachwood Police Department attempted to dispel the rumors.
"Tonight, at our Halloween dance rumors were spread about possible violence at Intermediate South," Principal Paul T. Gluck wrote in the email to parents. "Unfortunately, false rumors spread quickly and caused students to exit the building. There were a few students who did have health concerns therefore requiring medical attention."
"The Beachwood police were present at the dance and found no credible threat. Our staff worked to ensure students all went home safely," Gluck said. "It was an unfortunate end to one of our most attended dances. Please know we will work to ensure this does not occur in the future events."
Beachwood police said they heard from numerous parents with concerns and their investigation found the rumor was false.
"We continue to work with the Intermediate School faculty and staff to quickly and accurately dispel any unfounded allegations," police said.
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Watch: Kalani David's Last Dance
On September 17, 2022, Hawaiian surf and skate prodigy Kalani David passed away while visiting his family in Costa Rica.
Kalani suffered a seizure while surfing in Playa Hermosa and was unable to be resuscitated. He was 24 years old.
To the surfing world, Kalani was an extraordinary talent, a child star, and a former Stab High finalist.
But of course, he was so much more than that — a son, a brother, and a loyal friend to so, so many.Rest in peace, Kalani.
We’re working on a long-form written piece that explores Kalani’s life — from the triumphs to the many hardships he endured — but in the meantime, we wanted to share Kalani’s final surf edit with the world.
His last dance, if you will.
This edit is called ‘Iwa Bird’, because it was filmed in Kalani’s hometown on the North Shore of Oahu (Hale’iwa translates to: Home of the ‘Iwa (bird)). Kalani identified with this place so much, he had an ‘Iwa Bird tattooed across his ribs.
The clips were filmed primarily by Heath Thompson and Peter King and edited by Kalani’s friend and fellow Dark Seas team-rider Schuyler Allen, who decided to integrate a narrative of Kalani’s life alongside his A+ surf clips.Kalani pays homage to two of his best friends, who also lost their lives too soon.
Here’s where it gets weird.
Most of Stab’s staff (myself included) is currently in Indonesia, filming for Vans Stab High presented by Monster Energy at Lakey Peak.
On the morning of September 18th, we awoke to a strange and saddening flurry of texts from Schuyler.
2:30 am: Hey guys, I have a new version of the Kalani David edit here [link]. Let us know if it’s something you’d want to run.
5:22 am: I can’t even fucking believe it. Kalani just passed away.
Shocked and confused, we took a moment to process and verify the news. Then we hit play on the video. Our eyes welled up and quickly spilled over. The poignancy of the piece — which, to be abundantly clear, was made prior to Kalani’s death — is almost too much to bear.
So with that, we present to you ‘Iwa Bird’ — Kalani David’s final part, with five minutes of never-before-seen surf clips and interviews. You can watch it above.Gone but not forgotten.
Now a word from Schuyler Allen, who edited ‘Iwa Bird’.
Last winter, I was fortunate enough to share the lineup with Kalani during many of the sessions in this clip.
Heath would call us up to film and we would rendezvous at the beach. Kalani was usually out there by the time I arrived and had already put down a couple big airs or got a crazy tube. His all gas/no brakes approach made you reimagine the possibilities on a wave. He lived and surfed with raw energy and his heart on his sleeve.
Kalani was on a heater last winter. After a semi-final finish in the HIC Pipe Pro, he qualified for the Challenger Series and was set to compete at Snapper. It was a couple months later when Kalani suffered two seizures and had to pull out of the Challenger Series events. Kalani had overcome so much in his life, surely, he would persevere through this as well.
I’m humbled to have worked with him on this part. His surfing, and Heath and PK’s filming, made it a pleasure to edit. The more I watched his surfing and listened to his story, the more I was inspired. He lived more in his 24 years than most will in 100.
This winter is for you, Kalani. We love you.
There is currently a petition to return Kalani’s ashes back to Hawaii, where his closest friends and family are waiting to give him a proper send-off in the sea. You can sign it here.
How to learn to dance in clubs for a guy
How to move on the dance floor in such a way that it does not look ridiculous and awkward - this question has probably worried the representatives of the stronger sex ever since the synchronized movements of couples in a waltz or mazurka. For at least a century now, men have had to guess what a profitable disco dance should be like. Unfortunately, even professional choreographers will not answer this question. But we will try to highlight the basic rules.
Hop and R'n'B
Rules to follow
Let's tell you a secret: most guys on the dance floor don't look stupid because they haven't taken lessons in dance studios and can't tell tectonics from r'n'b , but because they do not catch the rhythm of the music and cannot relax. And if no one usually pays attention to the first, then the second immediately catches the eye of others.
Hence the first rule: listen to music and let your body dance freely.
Choose a style
If you are a frequent discotheque visitor, you should choose a certain dance direction in which you will move on the dance floor. Of course, it will depend on the music that the DJ will put on, but for ten years now hip-hop and electronic music have not left the clubs. Therefore, you can master the basic movements of either one or the other. The "electronics" elements are a bit simpler, so it might be worth starting with them. Video tutorials to help you!
Sign up for a trial class
Try to vary your movements
If after watching the videos you still can't feel comfortable on the dance floor, you should consider signing up for a dance studio. An experienced teacher, a company of like-minded people and regular classes will quickly do their job, and you will finally be able to relax and stop having complexes while dancing. Plus, to the envy of your peers, you will no longer dance like a “newbie”.
Remember that everything is for fun
If you do somersaults on the court for ten minutes with a tense face, and then return to the table sweaty, your friends are unlikely to appreciate it. Understand that dancing is not a competition, but a completely cultural form of recreation. As they say, relax and have fun!
Let it all flow
Let go of your body and emotions, surrender to the music and move without paying attention to others. The tension in the dance is the main obstacle. Stop thinking about movements, no one will notice them in the crowd and darkness anyway.
How girls will evaluate movements on the dance floor
Perhaps the results of a study by scientists from Northumbria University will help answer the question of how to learn to dance in clubs for a guy. Experts studied which dance moves performed by a representative of the stronger sex attract women. The places were distributed as follows:
- Head turns;
- Pelvic twist;
- Vigorous leg movements;
- Large amplitude elements;
- Uninhibited movements.
No matter how strange the rating may look, it is scientifically confirmed. However, many gain self-confidence on the dance floor only after attending a few lessons in a dance studio. By the way, in the Labosa club, there is a chance not only to learn how to move effectively, but also to meet your partner so as not to be alone at the disco.
12 life hacks to quickly learn how to dance from Mamita Dance
Author: Pavel Collect
psychologist, salsa and tango teacher
Author: Pavel Sobiray
psychologist, salsa and tango teacher
At the start, you always want to get a quick result. When it doesn't happen, the hypothesis arises that everything takes time. After a conditionally acceptable time, humility comes to mastering pair dances, which, perhaps, is not given, and I will just do what I learned somehow.
This is the most common story of those who believe that the fact of attending pair dance classes is enough to learn how to dance.
Absolutely not. If you want to really dance well, you have to make an effort outside of the dance class. A good teacher will definitely be needed, but the initiative should be on your side.
1. Listen to music
The most common and accessible advice that is given already in the first lessons. And it definitely works. Music creates a certain atmosphere of the dance and intuitively you want to move to it. It doesn't matter where you listen to music - in the car, on headphones while walking or doing household chores.
An addition that will help you dance better is your active participation in the music. Sing along, dance or simply beat musical accents with any free parts of the body. In the subway, for example, it is enough to tap out bright moments with your fingers, in the car to sing along with sounds, and at home you can jump for pleasure.
2. Watch videos of good dancers
It's complicated, but also obvious. It’s more difficult, because without recommendations from more experienced dancers, unfortunately, it’s not so easy to find a good quality video on the net (I mean not the resolution quality, but the content itself).
Meaningful video viewing is about building an understanding of HOW dancers make a particular impression on a partner or viewer. Technology is at the heart of everything. Understanding how the pros do it is a big step forward.
It is important to distinguish a show from a disco dance, a staged performance from an improvisation, a stylized dance from an authentic one, etc. Ask for recommendations and dance teachers will always throw off a couple of videos of worthy landmarks.
Tango Z. Showreel.
Online modern tango courses
Tango nuevo is the most advanced version of tango. We can quickly learn to dance from zero to a steep level.
3. Dance in salsatecas/milongas/discotheques
A very delicate moment when it is worth coming to the first party. From a technical point of view, most students in 1-3 months have a sufficient set of figures and techniques to come and dance calmly. Psychologically, the same moment can be stretched out for an indefinite time. After all, it is imperative to “not lose face”, “learn more figures” and be sure what to do in case “there is an unfamiliar movement”.
In fact, the partygoers don't really care (except for a small layer of non-professional teachers who want to help inexperienced dancers by treating them as customers in the future). It is important to come and try dancing after a month of classes. You can only with friends or guys from your group. This will be enough to feel the adrenaline and inspiration from the dance.
4. Dance with partners or partners not of your level
The conventional wisdom that you need to practice in groups of your level does not stand up to the test of experience. Perhaps now your eyes widened in surprise, and you want to meaningfully read the phrase again. Yes, you saw everything correctly: when you dance with a partner of your level, you don’t grow anywhere.
It's important to understand that not only does it work one way and you have to dance with cooler dancers, but it works even more effectively the other way. It is no coincidence that teaching pair dances dramatically raises the level of the teacher himself. You have an endless stream of very beginner dancers.
How it works. A more experienced partner needs to be "stretched". It's easy and obvious. With beginners, you need to take more initiative on yourself, see the general pattern of the dance more widely, turn on and insure more, try to be an example and be more careful. The quality of interaction begins to grow significantly. And wonderful partners too.
Dancing with partners of your level doesn't make you grow. Dance with beginners and more advanced dancers
Dominican Bachata Women's Style Online Course
Want to learn how to hypnotize those around you with the most appetizing part of your body? On the course we will tell you all the secrets.
5. Learn to dance for a partner and for a partner
Turks and Argentines are one of the best partners in the world. In Russia, partners are highly valued. Why? The answer is simple. In Argentina and Turkey, it is not questionable for men to ask another man to lead in one piece or another and give feedback on the quality of the lead. For them, it will be a great shame to hear moralizing from a partner, or even more so to be known in the community as an insecure partner.
In Russia, due to the constant, often far-fetched, opinion that there are more women in pair dances, partners calmly get up and study their partner's part. Such partners then grow into very cool dancers and teachers. In no case do this at parties, only in class. Here we are talking only about the learning strategy. At parties, be yourself.
6. Do not memorize the links
Always try to look deeper and understand the through principle and idea of movement. Understanding what and how is done will make it possible to independently generate any sequences and chips.
Human memory is limited and there will always be a moment when something will escape and your repertoire will be limited by the size of RAM.
In Argentine tango, for example, there are seven levels of movement construction that, when mastered, will allow you to make millions of combinations. And how many dance sequences can you really remember? In rueda, more than 150 figures dance in a rare circle. It's hard to keep more in mind.
7. Develop your body
Many years of experience in teaching pair dance shows that as soon as everyone pairs up in a class, any progress in individual style ends. But it is the individual style that distinguishes everyone at the disco: partners change, and style is always with you.
The body as the main instrument of dance must be very plastic, responsive and emotional. Surprisingly, not all pair dance schools have a general physical warm-up. It is vital to tune the body and understand how it works.
You can always train extra and concentrate more on the basic steps, as their true value is as body work. The sequence of steps is, in fact, the simplest thing that can be in pair dancing. The quality of individual performance determines the craftsmanship.
8. Try on the images of inspiring dancers
A psychological life hack for those who have already mastered the steps, but still feel that there is not enough brightness and drive. Most are terribly afraid of being someone else's "clone". Here the action is the same as under the influence of hypnosis - the more you resist, the more you plunge into an altered state of consciousness.
With a high degree of probability, you are already dancing like someone else's "clone". A meaningful fitting of someone else's image is that you mentally take the image of the one who inspires you (inspiration is critical in this case) and "put on" yourself. Then you start dancing and trying to feel in general how it is to be able, for example, to be the best partner or the sexiest partner in a disco. This is much more difficult than it seems. But it works extremely efficiently.
9. Dance to offbeat music
Habitual rhythms keep you tight. Tango salon or speedy timba leave little room for experimentation and fantasy. Pattern dancing is always noticeable and is reserved for beginners.
The truly new is born outside of the usual. Look for places to experiment. If there is no place, organize self-training. The main thing is not to get carried away, because music determines the style. We bring something new to pair dances, rather than trying to change them.
Search, improvise, do not be afraid to go beyond, develop in different directions, be inspired by music atypical for style
10. Try your hand at basic dance directions
dances exist according to their own non-choreographic laws.
This is the deepest delusion, which has turned into a ceiling for the qualitative development of partner dances. After all, all professional dancers, for example, in salsa or bachata, build their ideas on the basic choreographic principles.
Do not think that choreography is only applicable on stage. Any meaningful movement of the body can be choreographic. In general, try classical or modern choreography. Basically, hip-hop can work too.
11. Look for battle sensations
Pair dances return us to an active position of manifestation of our body. As in the days of our ancient ancestors, we impress the members of the opposite sex by how dexterous, hardy, sexy, etc. we are. Modern laws of the jungle in the entourage of large cities.
If you look around the dance floor, it becomes clear that the majority are clearly herbivores (not in the sense of vegetarians, but in relation to those around them). I am sure that predators are always more interesting in terms of the attractiveness of the image - try to find a counterbalance among herbivores, for example, a cat woman or a lion man.
The conversation is about an internal position, not about aggressiveness. Lability and lack of control are inherent in adolescents, and not in adult self-sufficient people.
Accordingly, even a training or friendly battle gives, on the one hand, practical skills - to make a bright sequence of movements, bring an idea to a climax, show a spectacular feature, on the other hand, develops the psychological basis of the dance - self-confidence, resistance to extraneous attention, self-control and self-control in complex elements.
12. Communicate with professionals
The environment shapes the internal position. Basically, real passionaries of the dance community are ready to openly talk, discuss and support the development of dance in every possible way. Universal principles and the ideas they articulate have a much longer and more practical perspective than meets the eye.
Accept that, for example, behind the words "listen to your partner" is not only a beautiful metaphor, but also a practical skill to literally listen to your partner. At the same time, always treat every thought, even the most respected teacher, as a private opinion.
Your skill will lie in finding the scope of the idea even in conflicting opinions. Most often, the contradiction is speculative and the truth lies in the angle of perception or situationality.
Your dancing growth will stop sooner or later. This can happen at the level of three basic steps or years of experience in teaching and show performances.