How to tahitian dance fast

Learn How to Dance Ori Tahiti - Level 1 | Laura Iniesta Ruiz


1. Introduction: Hi, my name is loading means that I'm a whole landlord. He dancer. I haven't won several competitions and I'm level ones are defined by the French Polynesia console.log. In this video, I will teach you the basic women's tapes, movements, poster for art that he would their Conservatoire technique. Also, I will explain to you how you can improve your dens and De Ju, basic gory, the heat, the history, and the meaning of each dance that we are going to review and learn from the start. The racing women's dips, some real the hate the words and do yoga, heat the directions for arms or legs posture. At the end of the lesson, you will be able to dance the basic women stapes. Good, good posture. For the lesson project. We will review everything of each class. Remember, if you have doubts along the cursed, decompose them in a comment section and I will answer them. Let's begin. 2. What is Ori Tahiti?: What is the heat heating missing? The Hessian or Rio Tahiti Dance of the Haiti, which is an artistic expression and it was done through oral tradition. The region of Arlotta heat is unknown, but it is believed it came from the Miao He native people. It was a cultural, religious, and artistic important expression for demo here. But in the 18 hundreds, the first colonizers from England and France prohibited these cultural expression. Aretha HE D has been modified through time. First, the meaning of it was religious. Later it at both to be part of festivities, then it became profane and not accepted. The day has evolved and reborn to be the dance at Golder, I'll expression we know the most common dances in Aretha Hadi out there. And look, there is a fast dense that can be performed in group or soul. The APA edema is in comparison with the UK. There are Mars low dense. Also, it can be performed in group parcel. Nowadays, the French bolding Misha Conservatoire is in charge of creating and collecting guidelines for the audit diabetes depths, performance of this steps and all the Tahitian cultural traditions and expressions or into Haiti is practiced in different countries. But we can say that most dancers are from the French Polynesia, United States, depth and makes it go inference. 3. How to tie a pareu?: How did they, the party, the party who is a piece of fabric, women used to convert their buddies. Also, it is used to practice already underperforming competitions as a soloist, learning or group. The first but echoes of the ancient, the Haitians were made of the A-A-B-A, a garment tighter around the waist, made of all Bart vapor mulberry bark that usually dropped to the nice and wind Douglas. Later with the western influence, women adapted the Baraboo. So econ look more like a western dress. First, choose your party and make sure it is from a soft Don theme fabric, like Ryan fabric. At the beginning, it is easy to lift up the Burnet who was You are going forward, you can change it to a carton party. Rough your Barrio and place it around your hips. You are going to join together different by D And with the backbone, the nth. I'm doing it on my left side, but you can do it on your right side as well. Decide you feel most comfortable with grabbed the fabric near your hips, front and back them with the fabric. Like do bunny ears. One in the front, one in the back. With the bunny ears, you have to tie a knot and make sure it is dilute enough on your hip and make another to secure. The lower end of the Badiou must be at the level of your niece or one named above your niece. Remember, you are going to be dancing and the body must be in the right place. 4. Warming Up: Warming up. Before we start the lesson, you have to warm up your entire body. This is helpful to avoid. Aiming jury will be more flexible during your ends practice. Everybody works differently. So I will just give you some tips that I found very helpful to warm up my buddy. First, begin with your head and make you can continue with your shoulders, arms, and greased. As audit that he has a lot of abdominal movement. We shall continue to warm up our core. Later would proceed to warm up our hips by stretching them. If you haven't been inactive, it is possible this will hurt a little. Then we proceed to warm up our feet. Nice. Uncles and theists. They weren't well, will be more focused on every part of your links. Also, you can do is quite sign eula, everything your body meets the warm up. 5. Posture Ori Tahiti: Once our bodies warm up, we're going to begin with the dance posture. It is important to give your back straight without sloshing it. When you have a good bust your your dense movements, underrepresentation in any type of dense looks better. First, you are going to Doug your belly in by doing this bad, automatically strain it's up. Also, you need to give your shoulder blades dug. I'm squeezed allele against each other. And your chin must be parallel with the floor. Your feet must be two fingers apart from each other so that your hip moment can be more controlled. M bigger, and now you have to flex your nice allele a bit like this. In the future lessons, this will be referred to as body posture. All day already dances and use this posture as we move to different directions, they RE posture maintains the same. The only thing that changes are the arms and the artist tips. I will mention some arm posture. So you can be more related when I mentioned them in the future. That are, well, first, we begin with that other means to decide. So our arms must do that. We maintain our already posture. Now, our arms changed to be wide open to the sites. It is important not to stretch your arms. They must be in a relaxed position, but firm enough so that our back doesn't becomes lousy. Arms must farm a little triangle between the wrist, elbow, and shoulder. When that teacher, or in the next lessons, you'll hear the word dab. It means open your arms in this position. It is referred to put their hands on your hips. This is more iras position while teachers are giving you instructions or when waiting for your turn to dance in an exam or in a competition. Also, it is used when you are learning artists depths, and you need to focus on your hip movement first. Without there can be different enough body mass and they are in your hands must be open, like rubbing your hips. In. Your hands must be interfaced. Now, list dark with the directions of audience dips. 6. Dance Directions: There are ships. This DEP, unarmed directions we are going to learn are the following. Means front means go to the entire ward, means go forward. So when a teacher, or in these course, you hear anymore, your hands and your artist dips are going to move to different, maintaining your already posterior. Your arms must be in front of you and your palms facing to the floor. Remember to give the ORE posture and move forward. In Modi. Modi means with our previous example of anymore and the meaning of a weekend understanding tire word would go backwards. The position of your arms are now bent while your hands are a little above your chest, and your palms are facing to the floor. At tau. The next direction for moving while doing artist depths east, a tile, which means right, when you are denting Audi and teachers are giving good instructions of where you need to move. And they say a tau, you have to dance to direct. Your arms will be moving as well. They indicate which way you are moving. So if you are moving at Dow, your right-hand needs delete, which means it is facing data java on your bump phases to defer while your left arm is going to rise with your palm facing to the front. We then next direction for a moving well doing RDS depths 0s, which means left. When you are dancing already and teachers are giving you extractions of where do you need to move? And they say, You have to dance to the left. Your arms are going to move like when we do a tau. But now the left arm leads, which means your left arm now is facing data with your palm facing to the floor. At your right arm rises with your bomb facing to the front. Emea, NEA means up. But when we put an e in the beginning of it means go upwards. We will rise our arms. Would the palms to the front. And now our repost your changes. We go up on our defocus. It is difficult because you have to give your balance. But if you took your belly, it can be easily accomplished. Eat out of Plateau means down. With our previous example. You know that they eat in the beginning refers to the movement. So eat ADL means go down. For dip direction. We are going to both our arms in Java, doc, our beeline straight in our BEC, on flicks our nice to grow. This can be tricky because you will tend to raise your butt on your ankles. Try to avoid that. Instead. Tried to keep it out a little above them, like this. Also, it could be allele, difficult to keep your balance. But if human thing you're barely duct and your back straight, it will be easier to accomplish disposition. 7. Basic Ori Steps: Basics Davis. Now that we know the directions of how we can thence, we need to know the basic 4S depths and their meaning. This is tapes are fundamental to learn how to dense RD. And now we're combining posterior farms. Back, legs and feet. In most RE choreographies, solos are not body map. These steps are widely used. 8. Tamau : First, we will begin with thermo, which means learn. We are going to move our hips and feet left and right. When our heap moves through their rights are word left ankle rises. When our hips move the left. Our writes, Uncle Rice's. Also, we need to do these without moving our guard em back with our Hanson thought they F, with legs our nice to get the movement big enough so it can be executed better. Montagnier or a poster. First, we are moving to the right and then to the left is low first. So our body can get used to the movement. Now, let's do it faster. But with our hands in. Remembered, that gives your nice flakes on your RE posture, right? With our hands Indaba, let's speed up our tomato. Maintain your posture. Now, we're going to move away and let go. Remember, when we move to the right, I left the arms change. Meaning if we are moving to the left, our left arm stays Indaba under right arm rises. It works the same when we are going to the right. First, we are moving out though. Maintaining your OD poster. It's easy when you just drag your feet. The movement looks more neat. Continue moving your hips right and lift. Your arms are the only thing that changes when we are dancing in different directions. And now we are moving how we remember to change your left arm, the data over and raise your right hand. A group. Let's proceed now with an embodied. We'd get there early posterior. But again, the arms change when we go to the front with blood farmers to different as they are leading us to now for could've front with their arms extended. Good. Returned to your original place. Follow the same instructions to embodied. Work backwards and change your arms and put them in there just with the palms facing down. Excellent. Now you know how to make a demo. 9. Tamau Piti: And the amount we now that we note them out, them out BD or dhamma Tama would be easy to learn. Beat the means do times. So the amount b Div means learn to at times. We are going to move our shapes did times, each site as we did with demo. With their hands felt there with flex our nice to get the movement make enough so it can be executed but maintain your posture. First, we're moving DID times to the right and then to the left as lowly first. So our buddy can get used to the movement. Now, let's do it faster, whether with our hands in data. Remember to give your nice flags on your artery posterior right? With our hands him that our led to speed up our demo BD. Mundane, you're already posterior. Now we are going to move our UI and adult. Remember, we move to the right or to the left. The arms change, meaning we are moving to the left, our left arm spacing data on the right arm rises. It works the same one. We are going to the right. First. We are moving out though. Maintaining your posterior. It's easy when you just drag their feet. Their movement looks more neat. Continue moving your heaps. Ride the lift. Your arms are the only thing that changes the way we are dancing in different directions. Now, we are moving. I always remembered that changed her left arm to a riser right down. But let's proceed now with anymore and we could get already foster the arms page. When we'd go to the front. As we put our arms to the frog, as they are leading us. Now close to their front. Will your arms extended? The good? Return to your original place? Lets your arms in front of you. Now move your hips to the right and to the less. Follow the same instructions. Still, Imodium works backwards and change your arms and put them in your chest with advanced facing down. Excellent. Now you know how to make them out to people. 10. Tumami: Umami. Umami doesn't have a meaning per se, but it represents the fertility movement of the woman. Then movement of the Higgs change these die instead of going site to site. Now it moves like a circle. Focus on your hips in the Bible, like trying to read your head with them. Do mommy must be executed this lowly amino circular movement. Imaging no circle around your hips, every part of your heaps must Dutch that imaginary circle without moving your core shoulders. Then move may has to be consciously done. It became sing your back heap. Imagine you are driving to reach your head with your hips. Then when your hips move to the right, you need to squeeze your right Waste. Later when you are moving this circle to the front, dug your belief and imaging, you are trying to reach your phase with your hip. And finally, when the circle moves to the left, you have to squeeze your left the waste in every part of the circle, remember to use your waste. Full obliques and maps is strength. That movement has to be done both ways, left and right. Also maintaining your already bust you allow these divs will help you achieve better results in the execution of RDA steps. Now, we are moving at tau. Would this is Leon boaster changes. When we are moving to the right, the right arm arises and the left arm stays in data. The movement of the circle has to because that, and remember, it begins, eat your buck. Return to your original place. Now we move to the left, taking what we gave them without style. As an example, we are going to lift up our left arm and the right arm spacing there. But they're mostly in of the circle has to be constant. And remember, it begins in their back. Return to your original place. Now we have to move inland and everybody has to be constant while we walk into the front to the vacuum. Also, the arms wanting the same posture in these directions. So we'll lift up both of our work doing Timothy. First, it will return to your urban development. Now, when most of Imodium. Excellent. Now you know how to do it too, Mommy. 11. Fa'arapu: Baraboo means blend or steer. It's the principal and faster variation of the umami. In the soloist competitions, this step often determines which dancer is better and if she's in a good or East Under the shape of the Baraboo is like when the coin is about the heat, the flow. And this has to be performed wide and fast. They are apple begins in the belly, knots like that, umami, which begins in the buck. You can make them her ARPU to the right or to the left, whichever is easier for you. But always begin it in your belly. Let's do it slowly at first. And after that, we're going to proceed doing it faster. For beginners, it could be a little difficult doing it quite fast and with the correct shape. But as we proceed with the course, it will be easier for you. Let me know in the comments. If you want an exclusive for Arab, Of course. Let's begin practicing their movements slowly. As you can see, when the movement is located in the belly, goes up like you want the Dutcher phase with their beliefs. Then go to the left side and the waste is squeezes. When it moves to the back of the hip, goes up Australian to dodge your head with their buttocks. And finally, when it goes to the right, the waste is squeezes. Now let's try this circular movement adding work we'd just have learned. Imagine a circle around your hip. First, the belly is quiz. Then with your happiness, your color movement and move it to the left and squeezed her left waste. After these, make this circular movement with your hip am facet on the back trying to reach your head with your hip. Finally, we proceed the make the circular movement on bus it to their right is squeezing the right side of your waste. Now that we are more conscious about the movement, we are going to make it slow and continues. Now, we are going to make it faster. Remember, you have to maintain your posture. Very good. Now, you know how to make fire. 12. Ue Ue: This step is only executed on your buttocks. And it also can be confused with Ferrara UW because the Ferrara underway are circular movements. But the difference is there for Adafruit is done with the abdomen, hips. And there were when it's done with only your hips and buttocks. I'm only going to mention this movement for now because it is more important than your learn how to do that for arable and not get confused with the way in other courses. Or we'll teach you how to execute it. 13. Fa'aruru: Means shake. I'm, as they may mentioned, the execution of this step is just that to shape. Also, it is the easiest step I'm going to teach you in this course. First, you are going to stamps and then you are going to shake your niece as your Garfield. Your buttocks are going to shake with this movement. Don't worry. That is the correct execution of the step. Great. Now, you know how to For R22. 14. Tei Tamau: They eat means distinct, and you have to perform it on your tiptoes. Like when we'll learn how to do. This step must be done with other basic steps, like the Mau, Mau PD for what we are going to learn first, that eat them up. In the next course, I will teach you how to eat for. First, you stand on both of your tip dose. Tried to keep your balance by taking your belly and restricting your buttocks and Mender, nice Alito, EVE achieved these. It will be easier to achieve the width for UX and demo without falling down. We're going to begin by keeping the position of the heat. Ten seconds without mobile our hips. Great. And another ten seconds. When you're practicing on your own, do this exercise to instrumenting your tos. Now, we proceed with the IEP demo. First is timing the techie position. Hold it for five seconds and start moving your hips like doing TM out. The position of the arms is Indaba. This help us maintain our balance. First would be moving our hips to the right and then to the left as lowly first so we don't lose our balance. Keep in mind to maintain the already posture. Now we speed up our technique them up. But then you're already posterior. Great. Let's speed up our debt. Ida, mom, maintain your body posture. Perfect. Now you know how to keep them up. 15. Afata: Alpha. Alpha means books. And as the name says, the movement of our hips has to be like a box. First we must bring our books, our own, our hips, so we can perform this step easier. Then with our hands out there and maintaining our RA posture, we begin to move our heaps to their friend right corner of our imaginary books. Then we move our heaps to the back right corner of our imaginary bucks. Later, we move our have's through the back left corner of our imaginary bucks. Come finally, we move our heaps, do the front left corner of our imaginary bucks. As you can see, our heaps and move only to the corners of the box. This is because the movement could be more appreciated these way. This can be done with your arms into Java and with a dao, we more Morte, Dido and NEA directions. However, DCS for more experienced dancers, don't worry, we will get there. 16. Final Thoughts: Final thoughts. Remember, brac does escape in every skill you're learning. More practice equals better results in the future. I will leave it evolve the course does songs and also I Spotify lists. So you come back these with the songs on your own. Thanks for giving me the chance to teach you how to dance party and keep Nancy.

Tahitian Dance - Authentic Dance — London School of Hula and 'Ori

What Is The Difference Between Tahitian Dance And Hula?

Tahitian dance is called ‘Ori Tahiti and Hawaiian dance is called Hula.

Many people mistake the Tahitian dance, ‘Ori Tahiti, for Hawaiian dance, Hula, or assume they are both the same style, but each of these dances are from different Polynesian islands and have their own identities.

Both 'Ori Tahiti and Hula were a vital part of life in ancient times and were present in religious ceremonies and rituals, social gatherings and celebrations, and everyday life. Prior to the arrival of written word, song and dance were used by the people to pass down information about their history and traditions. Every dance contains knowledge and information presented as story.

There are many different types of dances within 'Ori Tahiti and Hula. At LSHO, we focus on the Tahitian styles of 'ōte'a and 'aparima and the Hawaiian styles of Hula Kahiko and Hula 'auana.

At the London School of Hula and ‘Ori, we provide authentic Tahitian dance, or ‘Ori Tahiti as well as Hawaiian Hula classes to students who are interested in and passionate about these traditional and contemporary Polynesian dances and with our teachers and guest teachers guiding you during dance classes and workshops, you will quickly learn the differences between the two dances and how to perform each of them correctly.

The Types Of Tahitian Dance

There are different types of dances in Tahitian culture. These dances have different movements and presentations, but each one has a rich history behind it and is an important aspect of Tahitian culture. At LSHO we mainly focus on the ‘ōte’a and the ‘aparima.

‘Ōte’a: A Tahitian Traditional Dance

This is the most recognisable dance with male and female dancers powerful movement to the beating of the drums.

The 'Aparima: Where the Hands Tell the Story

The 'aparima tends to be slower more graceful movements, set to stringed instruments with the performers’ hands telling a story.

The recognisable Tahitian dance, the ʻōteʻa, is fast-paced and accompanied by the lively beating of drums– typically the tariparau, the fa’atete , and the to’ere drums– and the female movements incorporate the unmistakable fa'arapu, which is the quick rotation of the hips. Because it is energetic by nature, people see this dance as a great way to boost their physical fitness.
If you want to stay in shape by doing an exciting and aerobic exercise, we at the London School of Hula and ‘Ori highly recommend taking up our Tahitian dance classes!

On the other hand, the Hula dance can be more graceful and gentle. While engaging the use of hips, the focus is on the arm gestures, each with their own meaning, reflecting the chants and songs that accompany the dance. Hula can either be slow or fast, depending on the accompanying music, but even the faster Hula are not typically as fast as the Tahitian ʻōteʻa. However, this does not mean that you won’t get a great workout by dancing the Hula! The exercise style of the Hula is a deep workout. In our Hula dance classes, you will experience a meditative and soulful experience that focuses on maintaining physical, mental, and emotional health.

The Types Of Hawaiian Dance

Hula 'Auana

Hula 'Auana is the contemporary style of Hula and is often graceful, soothing, and emotive.

Hula Kahiko

Hula Kahiko is the ancient style of dance. It can be very dynamic and powerful.

The History Of Tahitian And Hula Dance

Here at London School of Hula and ‘Ori, we will teach you some of the important events that happened in Polynesian history. Knowing a dance’s history is important as it deepens your connection to the dance’s culture and makes for a more connected presentation.

Nowadays, anyone in the United Kingdom and beyond can learn how to perform Polynesian dances online just by registering for Hula and Tahitian dance classes London you can sign up for a foundation course in our Tahitian dance school.

Our comprehensive classes and workshops can provide you with an in-depth understanding of Tahitian and Hawaiian history, tradition, and culture, as well as improve your storytelling, performance, technique and fitness as a dancer.

If you want to learn how to dance Tahitian (‘Ori Tahiti) and Hawaiian (Hula) dances, get in touch with us and join our exciting and fun classes!

If you are interested in taking up Tahitian dance lessons, we are a group of enthusiastic and experienced Tahitian dance practitioners who can teach you everything from basic to complex dances.

If you’re interested in learning these dances, you can call us via 02080580450. For written enquiries, you may send us an email at [email protected]. One of our friendly representatives will be happy to accommodate you!

FAQ: 'Ori Tahiti & Hula

What is Polynesian dancing?

Polynesia is a subregion of Oceania, made up of more than 1,000 islands scattered over the central and southern Pacific Ocean. The indigenous people who inhabit the islands of Polynesia are termed Polynesians, sharing many similar traits including language family, culture, and beliefs. Within Polynesia and its many islands, there are many different styles of dance and, though they are loosely related, they all have their own identities. Here at London School of Hula and 'Ori, we practice dances from Hawai'i (Hula) and Tahiti ('Ori).

Though a commonly used term, 'Polynesian dance' is a bit of a misnomer as the dances of Polynesia are incredibly varied. Polynesia is a subregion of Oceania, made up of more than 1,000 islands scattered over the central and southern Pacific Ocean. Within Polynesia and its many islands, there are many different styles of dance. Though they are loosely related, they are all very different with their own identities. Here at London School of Hula and 'Ori, we practice dances from Hawai'i (Hula) and Tahiti ('Ori).

What is the purpose of Tahitian dance?

Song and dance were a vital part of religious ceremonies and rituals, warrior training, social celebrations, and everyday life.
'Singing and dancing were synonymous with festivities, as in modern times, and joyous performances were given during heiva. Traditionally dance was performed as a group and it’s interesting to note that in western society dance is more often performed in couples. Dance was a part of any type of social event that brought people together: welcomings, send offs, marking a particular honor, or just for fun.'
Words by Manouche Lehartel 
Read more HERE 

This is a unique dance that has become important to the people of Tahiti and symbolised their way of life. If you want to attend Tahitian dance courses or are interested in traditional presentations, feel free to get in touch with us.

What is Tahitian dance called?

The modern name for Tahitian dance is 'Ori Tahiti. It comes from the islands of Tahiti but is commonly mistaken for Hula, which originates from the Hawaiian islands.

Both dances are performed by men and women alike and represent activities and emotions of everyday life.

During our video classes, you can learn Tahitian dance online as well as Hula dance online.

What do Tahitian dancers wear?

When performing the Tahitian dance, 'Ori Tahiti, costumes are an essential part of the storytelling. Each part of the costume contains meaning and relates to the overall story and performance. Costumes are often made with shredded purau bark and include a long more skirt or fabric pāreu. The female top can be made of leaves and flowers, coconut shells, or cloth, while the men are typically bare-chested with a loincloth maro.

Why do Hawaiians dance the Hula?

Ancient Hawaiians performed Hula dance for religious purposes, warrior training, honoring monarchs, and at social events. Today, the dance is more commonly performed by Polynesian show experts to entertain and educate.

What do you wear to a Hula class?

Students who attend Hula classes and cultural presentation lessons usually wear a close-fitting tank top or T-shirt with pa'u skirt. You can purchase a pa'u skirt through our website, or make your own– there are many tutorials online. It is also acceptable to wear a pāreu or a sarong, or anything comfortable to move in, if you do not own a pa'u skirt.

Is Hula dancing good exercise?

Hula has a slow and relaxing nature that resonates with many dancer's souls. It is a deep, meditative exercise and it can ease the strain on the joints.

Hula dance at a recreational level is considered a low to medium impact exercise. It is great for strengthening your back, hips, abs, and legs.

Our classes are great for all ages, all fitness levels, all abilities and all who want to dance!

What are the important elements of Hula?

Hula dance was a way to document the Polynesians’ historical events and lifestyle before written language. Through the Hula, various stories and themes about mythology, creation, everyday life, and more were conveyed.

We could write so much about this, but join us in class to learn more!

O'te'a - sweet Tahitian obsession Online edition "Elements of Dance"

Imagine: unspoiled lands of tropical greenery, white sand beaches and crystal blue water, mountains overgrown with lush forests. Wherever you go in Tahiti, you are bound to meet the barefoot O'te'a dancers, who are the very embodiment of this spirit of the ocean that surrounds the island.

The dance and musical forms of the island have not changed over the centuries and continue to be passed down from generation to generation. The basis of Polynesian dances (and most of the inhabitants of Tahiti are Polynesians) is the emphasized beauty of the body, combined with the rhythms of nature itself.

O'te'a - fast movements of the hips and arms, but very plastic and sensual. It is typical for the dance that the movements of the hips are performed with precision for each beat of the drum, the beating of which is fast enough. The bass drum, covered with leather and ornamented in gold tones, is called the "Heartbeat of Tahiti", the smaller drums set higher tones, and this music is enough to make the dance come alive.

At first it seems that O'te'a is quite simple: legs slightly bent at the knees allow the hips to move freely in a fast rhythm, and all the viewer's attention is riveted on these parts of the dancers' bodies - the hips and buttocks. But the apparent lightness is deceptive: it is very difficult to achieve such plasticity and sensuality of movements, synchronization with the work of the hands and maintain for at least 3 minutes the clarity of hip beats, accurate hitting the rhythm of the drum and, at the same time, looseness of movements - it is very difficult. You notice that O'te'a performed by the Tahitians looks incendiary and natural, and all the attempts of European tourists to repeat a simple dance look, pardon me, a pathetic likeness.

Costumes are only gifts of nature
It seems that cheerful Polynesians simply cannot sit still, because they dance O'te'a so often that it is just right to envy us with our physical inactivity. In everyday life, this is a very popular entertainment, the dance is performed in wide skirts, bright pareos, light loose shorts of different lengths.

But the festive O'te'a is a real spectacle with costumes emphasizing the alluring movement of the hips. The tradition of creating these costumes is unchanged, just like the dance form, it is preserved and passed on from parents to children.

It is interesting that only natural materials from land and sea are used: fresh herbs, shells, natural fibers (which are brightly colored in red, yellow and other tones), bamboo leaves, flowers, skillfully crafted feathers.

In all its glory, O'te'a appears before the audience in July. At this time, Tahiti annually hosts Heiva - a festival of Polynesian dances. For 2 whole weeks, the best Thai dancers present this rare dance style and compete in their skills. Gorgeous costumes and a hot dance captivate the audience so much that the dancers have no end of those who want to immediately take an express master class.

The spectacle is colorful, playful, cheerful and very relaxed. Both men and women participate at the same time, but the dance is not paired. It is said to represent the celebration of love between spouses. And indeed music and sexuality go hand in hand here. While glossy magazines vying with each other come up with recommendations for us "How to refresh the experience in sex?" or “How to diversify married life?” – Tahitians just dance. From the fluids that come from women and men, the air simply rings. We suspect that the word "boredom" in family life...

12 life hacks, to quickly learn how to dance from Mamita Dance


Author: Pavel Collect
Psychologist, Lecturer Salsa and Tango


Author: Pavel Pavel Pavel Pavel Psychologist, Lecturer Salce and Tango

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 mere act of attending a pair dance class 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.

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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

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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 couple 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, don’t be afraid to go beyond, develop in different directions, be inspired by music atypical for the 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 big 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.

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