How to stick dance

Dance Stick -

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ride the stick dances | TikTok Search



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Vicky 🍒

New dance challenge 😍 @ralphcummings @oyababyy #ridethestickchallenge full video on my ig

171 Likes, 14 Comments. TikTok video from Vicky 🍒 (@vickyyc__): "New dance challenge 😍 @ralphcummings @oyababyy #ridethestickchallenge full video on my ig". Ride The Stick (feat. Trina).


Ride The Stick (feat. Trina) - Oya Baby



Day 1 doing my fancy dance #dyd #ridethestickchallenge #challenege #duetwithme #mutuals #lgbt #straptok #PlutoTVDecades

294 Likes, 8 Comments. TikTok video from Jelly (@ammmber_k): "Day 1 doing my fancy dance #dyd #ridethestickchallenge #challenege #duetwithme #mutuals #lgbt #straptok #PlutoTVDecades". Finna make this sound mine. original sound.


original sound - Wvchickenmama



#greenscreenvideo I can make so many of these I’m always dancing 😭😭😭😭😭@AjahJae🤎✨ #ridethestick #ridethestickchallenge

TikTok video from Keo💜 (@itssskeo_): "#greenscreenvideo I can make so many of these I’m always dancing 😭😭😭😭😭@AjahJae🤎✨ #ridethestick#ridethestickchallenge". It’s something about “ride the stick” … 🥵. original sound.


original sound - paige



AYEEEEEEEE AND ANOTHER ONE #fyp #FORYOU #FORYoupage #actlikeyouridingthestick #actlikeyouridingthestick #dance

TikTok video from CORDELLTHEDOLL (@hoodtoons.1): "AYEEEEEEEE AND ANOTHER ONE #fyp #FORYOU #FORYoupage #actlikeyouridingthestick #actlikeyouridingthestick #dance". A.L.Y.R.T.S.


A.L.Y.R.T.S - Djjam305


Monica Anderson

How low can i go? 😂🤣😂 #ridingthestickchallenge #havingfun #dancing #weekendvibes #fyp #foryoupage

356 Likes, 66 Comments. TikTok video from Monica Anderson (@preciouslyblessed1): "How low can i go? 😂🤣😂 #ridingthestickchallenge #havingfun #dancing #weekendvibes #fyp #foryoupage". 55 Years Young 💃🏽💃🏽💃🏽. A.L.Y.R.T.S.


A.L.Y.R.T.S - Djjam305


Mean Queen Marie

🤣🤣 #My #friend #dance #better #than #me! #and #you ! #Get #it #bih ! #ridethestickchallenge #laugh #humor #comedy #fyp #foryou #foryourpage #skeleton #dancemoves #dancechallenge #duet #challenge #afterlife #havefun

235 Likes, 6 Comments. TikTok video from Mean Queen Marie (@sarcasms_ladiie): "🤣🤣 #My #friend #dance #better #than #me! #and #you ! #Get #it #bih ! #ridethestickchallenge #laugh #humor #comedy #fyp #foryou #foryourpage #skeleton #dancemoves #dancechallenge #duet #challenge #afterlife #havefun". original sound.


original sound - Mean Queen Marie


Jasss The Brat

#fyp #twerktwerktwerk😍😍 #ridethestick #dance #ReadyForHell #MINDORDERING ITS HOT ASF OUTSIDEEEE

TikTok video from Jasss The Brat (@_itsmousee): "#fyp #twerktwerktwerk😍😍 #ridethestick #dance #ReadyForHell #MINDORDERING ITS HOT ASF OUTSIDEEEE". Okay gimme sec let me do this ova I have to go make drinks 😒😫 | PrideMonth 🏳️‍🌈‼️. A.L.Y.R.T.S.


A.L.Y.R.T.S - Djjam305


Hecati Minaj

I realized everytime something go awry or not my way I go make a TikTok to calm my nerves and it works! I quick ##ride for the people 🤭 ##tiktok ##viral ##dancer ##reels ##tiktoker ##explorepage ##dancechallenge ##trendingnow ##FlexEveryAngle ##ridethestickchallenge ##cakey ##glutes ##peach

435 Likes, 12 Comments. TikTok video from Hecati Minaj (@4everhecati): "I realized everytime something go awry or not my way I go make a TikTok to calm my nerves and it works! I quick ##ridefor the people 🤭 ##tiktok##viral##dancer##reels##tiktoker##explorepage##dancechallenge##trendingnow##FlexEveryAngle##ridethestickchallenge##cakey##glutes##peach". original sound.


original sound - Hecati Minaj


Kena Barnes in person and virtual option #fyp #ridethestickchallenge #dance #gainconfidence #exercise

TikTok video from Kena Barnes (@kbthetwerker): " in person and virtual option #fyp #ridethestickchallenge #dance #gainconfidence #exercise". original sound.


original sound - samaya 🧚🏾‍♀️


Oriental dance styles.Saidi.Music.Costume.



Saidi is a folk dance style with a cane. The dance came from Southern Egypt, a region called Said or Upper Egypt, between Gizeh and Edfu. Usually dance Saidi is lively, energetic.

Traditionally in this area, men carried long sticks of bamboo, which they used as weapons. Gradually, a special folklore cane dance .

Music. Rhythm 4/4, known as Saidi rhythm.

Saidi the music is usually played on traditional instruments such as Rababa, Mizmar (a horn that emits long, drawn-out sounds) and various percussion instruments such as dumbek and tabla beledi.

Description of the dance :

The performer can dance with one or two sticks, originally made of bamboo. There are two types of Saidi with sticks: Raks al Assaya (literally " cane dance ") and Tahtib. Tahtib is performed by two men and depicts a battle dance with a demonstration of the skill of wielding weapons. Raks al Assaya is performed by both men and women and boasts a large number of tricks that show skill with a cane. The female version of dance is of course much more feminine and graceful, dance is lighter and more playful. The most spectacular moments are, of course, balancing the cane on the chest, head or hip during the dance.

Saidi style can be danced without a cane. The main thing is the use of the characteristic rhythm , music and movements. The movements are energetic, there are many jumps, various penetrations. The characteristic movement of the hands - one near the head, the second - is extended in front of him at the level of the head.

Suit . The traditional men's suit consists of long trousers, two galabyas with wide sleeves and a round neckline and a long scarf around the head. Women wear a Beledi dress with a belt or scarf around the hips and a headscarf.

From the article: "You can't control art" - Mahmoud Reda, July 31, 2006


Traditionally, a Said man carries a large stick with him. Its length is equal to the height of a man. When he goes out to work in the field, the stick is used as a weapon of self-defense against wolves and other predators. And if you need to fight with another person, you can even kill with a blow of this stick.

Over time, the martial art tahtib (takhtib) arose, which is based on the techniques and skills of using this stick. This martial art has evolved into a game in which men compete against each other according to certain rules. Traditional music sounds like a backdrop for the exercises in this martial art. Over time, the men's folklore dance began to use a lighter and smaller stick, and the choreography of the dance is based on the movements of the martial art.


Women's stick dance originates from the male dance. Women in the dance imitated the movements of men, but in a more feminine manner characteristic of them.

Reda's troupe has never performed a female cane dance in their productions. Reda explained it this way: "The female dance is an imitation of the male dance. There are enough men in the Reda troupe to perform this dance, so why not use them?" Recently, Reda's troupe nevertheless began to perform the female version of cane dance , but only when required by the story. For example, Reda choreographed a choreography that begins with a group of men dancing with canes . Then women appear on the stage and take the canes from the men. The women flirt by dancing with canes so that the owners try to take them back.


For a man's cane dance
- Said man with a cane does not dance with a woman.
- Treat the stick like a dance partner. Don't hit the floor with a stick.
- Move slowly, leisurely.
-Some men dance with two canes and even four. Reda warns against this: "This is not a dance, this is acrobatics and juggling. This is another art, not a dance. The cane is not a partner here"

For men and women
-The performance should talk about the dance, not about the cane.
- Don't make the dance look like a circus.

For women
- Women's dance is an imitation of men.
- Women use a smaller stick.
-If women use a cane in Oriental, they must change the costume to be more folkloric before taking the stick.
- For women, the rotation of the cane is an integral part of the dance.
- Balancing the cane on the chest is not acceptable. It's humiliating.

A characteristic musical rhythm is used in accordance with the saidi dance and culture. On the tabla it sounds like dum tek, dum dum, tek. The traditional musical instruments for Saidi music are the mizmar (similar to an oboe), the rebaba (stringed instrument played with a bow), and a large heavy drum worn in a sling around the neck and played with sticks.

Explanation of Mahmoud Redda at the MC in Moscow in February 2008:

All cane balances - on the shoulder, head, hand - are not historically established elements of folklore saidi. They, according to Reda, were already invented by pop dancers, so he refers these elements to raks al asaya. In the production of the purely traditional saidi , they are undesirable, since they introduce a stylization moment. In the same way, he attributes the dance of men with two canes to a variety show, and not to folklore.
In addition, men in the dance jump high, always demonstrating their shoes to competitors - after all, shoes in Egyptian folk culture were - and remain - a source of pride. But women, according to Reda, in saidi should not take their socks off the ground and make powerful jumps - they traditionally perform this dance in a more relaxed and heavy manner than men. In other words, they are lazy to jump, so they use heel accents instead of jumping.
Manner of female performance saidi is playful and cheerful, male - belligerent and collected.

Madame Farida Fahmi paid more attention to the handling of the cane. According to her, any "crawl" with a cane on the stomach, chest, sides is perceived by the Arabs as obscenity - in this case, the acaya turns into a phallic symbol, and the entire dance of the dancer - in fact, "imitation of sexual intercourse" (words by Madame Fahmi). In folklore, this is unacceptable. In principle, on the stage too, but Farida stated that, unfortunately, now the dancers of raks al asaya forget about decency more and more often. Therefore, in folklore saidi, no balances on the chest, on the thigh, on the stomach, between the breasts (as can also be seen) should not be allowed. The cane should be at a decent distance from the body.
Farida Fahmy also said that in duets you should not use the popular "belly to stomach" balance, when the cane rests on the bellies of the dancers standing opposite each other - this is perceived in Arab culture as pornography, and not at all as a successful trick. ..
And Mahmoud Reda and Farida Fahmi also said that the worst thing about dancing is dropping a cane: it's like panties falling off a dancer, so they advised to rehearse a lot before going on stage with acaya.
If a woman takes not acaya for dancing, but takhtib - this is certainly a stage show and has nothing to do with folklore.
In the folklore saidi there are almost no shaking. "Shimmi", as Farida Fahmi calls shaking, is generally not traditionally used in Egyptian folklore - after all, folklore dances are public dances of folk holidays, and in public a decent woman from the people will never shake her hips. Even chest shaking is performed not with the chest, but with the shoulders, measuredly and without "swaying".
True, in the production given by Mahmoud Reda, there was shaking, but very short, only two counts.
Diaphragm shaking is not used at all in saidi.
In general, Farida Fahmi says that in folklore, the synthesis of different movements in one should be avoided. in other words, be simple both in technique and in choreography, without stage bells and whistles - then it will be folklore. all movements are wider and more measured than in the classic raks sharki, more on the foot than on the toes.

Mo Geddawi at a master class in saidi (Oasis, 2008) said that the manner of a female saidi is the manner of a cheerful young girl, even if the performer is over 50.



90,000 National dancing China-china. 9000 9014L

The majority of Uighurs live in the northwest of China, in the Xinjiang Uyghur Autonomous Region. The Uighurs are excellent singers and dancers, they created a huge variety of folk dances.


This is an old folk dance, the most popular among the Uighurs.

Uighurs love to have fun parties on holidays, weddings or friendly gatherings. Usually, all the villagers gather in the house of the host of the party, and during the feast they dance Senem.

The dance is distinguished by freedom and lightness, movements are not limited, they dance as they like, as long as they fall into the rhythm of the music. The dance can be performed by one or a couple of dancers or by several people. Beautiful and smooth movements of the head, shoulders, arms, waist and legs, lightness and dexterity of the dancers make the dance extraordinarily interesting. Most of the dance steps are taken from life, such as removing the hat, rolling up the sleeves, crossing the arms, etc. The dance, which starts at a medium pace, turns to a fast one, at the very height of the fun people shout “Kai-na!” (which means approximately, come on, fry!) Loud shouts, fast musical rhythms warm up the mood and the fun reaches its climax.

Since Xinjiang is spread over a vast territory, the Senem dance has acquired its own characteristics in different regions. For example, in Kashgar in the south of Xinjiang, the dance is more relaxed, the movements are quick and easy, the movements of the hands and pas are more graceful and varied. In the north of Xinjiang, represented by Ili, the dance absorbed elements of other peoples, in which the movements are more sweeping, fast, sometimes the dancer suddenly freezes for a moment and makes comic movements. In eastern Xinjiang, represented by the Hami region, the rhythm of the dance is slower, the movements in it are calmer, the hands are half-clasped, the hands make wave-like movements above the head.

The dance music, based on folk melodies from different regions of Xinjiang, is very melodic and has a pronounced rhythm.


This is an ancient dance of the Uighur people with complete forms and vigorous movements. The dance depicts the process of the ancient Uyghurs hunting for a wild beast. The dance includes the following stages: a call to hunt, searching for animals with torches, fighting a wild animal, chasing an animal, rounding up and the joy of a successful hunt.

In the evening after the hunt, people sit in a circle to celebrate. The music enters, the singers begin the song, then the hand drums beat out the rhythm. Everyone stands up and breaks into pairs, usually male and female. The drums speed up the pace, the dance also turns from smooth to swift, the partners begin to spin, competing in speed, finally one person remains in the center of the circle, he rapidly spins in one direction or the other until he stops under exclamations and applause.

The music that accompanies the dance is called “dolan mukam”, it is distinguished by a strict concept and the traditional color of the steppe people. Currently, nine melodies have been preserved, each with a separate name.


This collective dance is performed on holidays or celebrations and is common throughout Xinjiang, especially in the south of this region. Sadyaneh means "fun" in the Uighur language.

Sadyane is a relaxed, cheerful dance, the number of participants is not limited, there is no single form of dance, everyone dances to the best of their abilities and imagination. The dancers make light jumps, alternately raising their legs and rotating their hands over their heads.

Dance music also has no rigid limits, the length of verses and rehashes often vary depending on the situation.

The number of musical instruments also varies, and the composition of the orchestra is also interesting: these can be “son” pipes of different lengths, iron drums or hand drums of different sizes, or string instruments accompanied by hand drums.


Originating in Turpan, this dance is very popular in Shanshan, Toksun, Hami and is performed at weddings, festivals or parties.

Nazyrkum is a male dance performed by two partners. Performers dance to orchestral music and song. The content of the song has nothing to do with the dance, it only sets the tone. First, the dancers dance on their own, then, with an increase in rhythm, a gambling competition begins. The audience around to the beat of the music loudly cheers the dancers.

Dance movements are characterized by freedom, energy, optimism and humor.


This dance is one of the oldest folk dances of the Uighurs. This is a female dance, very lyrical and plastic.

The performer holds a bowl on her head, and in both hands a saucer and a stick. Following the rhythm of the music, the dancer dances, hitting the saucers with her sticks. Some dancers perform circus tricks, such as pouring tea into a bowl on their heads, or holding a spoon in their mouth while hitting the bowl on their heads with the handle.

The dance is usually accompanied by a lyrical folk song, exuberant and beautiful.


Sabai is a percussion instrument of the Uighurs, which is a wooden stick half a meter long, on one iron end of which two rings are embedded. During the performance, the musician, holding a stick in his right hand, strikes the iron end on his right shoulder and shakes it, while the iron rings make a melodic sound. Dance with this instrument is called Sabai. It is performed by men and is quite popular in the south of Xinjiang, and in the Kashgar region.

Uyghurs perform this dance at merry gatherings in honor of the holiday. In the midst of the fun, the dancer comes to the middle, begins to dance, shaking the sabai rings and beating the rhythm to the enthusiastic screams of the audience.

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