How to usher dance
Dancing | Usher Teaches The Art of Performance
Arts & Entertainment, Music
Usher
Lesson time 07:05 min
Mastering dance is all about discovering your own style. Usher explains how interpretation and individuality are the keys to a captivating dance performance. And yes, it involves a lot of practice.
Students give MasterClass an average rating of 4.7 out of 5 stars
Topics include: Finding your style • Watching and learning • Practicing
Usher
Teaches The Art Of Performance
In his first ever online class, Usher teaches you his personal techniques to captivate audiences across 16 video lessons.
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Preview
It would be hard to believe that I wasn't a great dancer when I first started.
As a matter of fact, I almost made the biggest mistake of not making dance a very important part of who I am as a performer, because the song and dance artist, or dance man, right, really wasn't the focus from me.
Or at least that wasn't what the people who were working on my career felt would be a fair representation of what you could expect from me as an artist.
It was more cool.
And while it was great to have those things, the cool factor, right, eventually I got to a place where I wanted my brand to represent who are really was.
I was a kid who danced in the '80s and danced in the '90s.
And I wanted that to be a part of what would represent me as an artist.
I took from a lot of what I used to do as a kid, and I made that a part of who I was as an artist.
Now, you know, the perspective of it was a little bit fragmented because working with my choreographers from Los Angeles, they had a perspective of boogaloo and also to locking and popping.
And then my other choreographer, Todd Sams from Cleveland, he had a different perspective.
And we kind of pulled it all together and before you know it we began to create this new idea of an artist.
So you got Flii and Anwar Burton out on the west coast, and Todd Sams who came together with me, and we created what you know to be my style.
For me, the focus was bringing every aspect of who I was to the forefront.
So I worked with my choreographers and we went back to the '80s and we grabbed onto dance moves that were very relevant in that time and we brought them up to the '90s, which then created an entire new conversation.
It was all based in what I knew and what I was comfortable doing.
It was kind of like second nature to do certain moves because I was familiar with it.
And whenever I wasn't I just worked at it.
I just worked and worked and worked until I perfected it.
I came up with choreography.
But I think the feel, the texture is what was most important.
So I had this attitude.
I said, I want to be the baddest guy on the stage.
I wanted to be able to captivate an audience with my presence, more so than just my voice.
And voice as well, but be able to shock 'em, you know.
Yeah, there was a few pelvis thrusts in there, but it worked.
And you do what works for you, and I guarantee you, man, you will that entertainer.
You can go online and look and study dancers from all over the world to create a style of your own.
You can take dance classes now if you want to, but you have to physically put your eyes on it.
You have to go in and investigate, do a little bit of study to find it.
And then you've got to work at it to perfect it.
I think in some ways you can get classical lessons and be taught dance.
You can learn it from either direction.
If you've learned how to move because you see what's going on i...
About the Instructor
Usher, winner of 8 Grammy Awards, reveals the technical skills, career lessons and breakthrough advice that he has used to captivate audiences for over 25 years.
For the first time ever, learn how Usher approaches performance and wins over audiences from the studio to the stage. There has never been a class like this before.
Featured Masterclass Instructor
Usher
In his first ever online class, Usher teaches you his personal techniques to captivate audiences across 16 video lessons.
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Usher Bucks Make Total Sense After Residency Dancer Steals the Show
Usher took major heat earlier this year after being accused of throwing fake money at real strippers -- but when you see this ... his so-called "bucks" are A-OK in context.
Check out these videos taken from one of Usher's Vegas residency shows from this past weekend -- during which an exotic dancer took the stage (and the entire building) by storm after performing a pole routine during Mr.
Raymond's "Bad Girl" ... with a club-like set in tow.
this is her show. period. pic.twitter.com/V5981uN2Vv
— Savor Spice Co. Rep (@kailahdee) August 15, 2021 @kailahdee
The woman's name is Isis (the Goddess) ... and she's half naked on the pole, doing all sorts of flips and tricks in the air, while also twerking and knocking her boots ON BEAT at the same time -- this while Usher and the rest of his fellow performers look on and throw some kinda green her way. Some have speculated that, yes, they might be Ush bucks.
It's all part of the performance for that track, it seems, with the stage design made to be part of a larger set piece highlighting the "Bad Girl" narrative Usher's singing about. So, in this setting -- where the dancing isn't "real," per se -- it's NBD to throw his phony cash. Right???
@isisthe_goddesss / Instagram
WRONG!!! Or so it seems, anyway, based on some Twitter users' reaction to the clip -- which has since gone viral -- who *seem* to actually be upset that this gal might've been getting funny money thrown at her instead of real bills .-Step-18.jpg/aid1640374-v4-728px-Shuffle-(Dance-Move)-Step-18.jpg)
.. even though she's in on the show.
Whether the so-called outrage over this is sincere or not -- we can easily weigh in and say, the idea of being mad that this dancer wasn't collecting real greenbacks during the show is utterly outrageous. Because, frankly, she's probably collecting way more for her role BTS.
Of course, it's quite possible people are simply giving Usher a hard time (in jest) because of the brief controversy from a few months ago, where a stripper who wasn't part of his show claimed he'd thrown Ush bucks her way instead of real dough ... which he refuted.
Anyway, the dude's residency continues to be a smashing success -- the place is looking packed just about every time he goes on, and celebs have been making a point to come by and catch this one in person. And, with show-stopping numbers like this ... you can see why!
- Usher You Might Want to Rethink Money Strippers Viral Music
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September 9, 2020 Reno5 Life
Dancing is a great way to make friends with your body and gain self-confidence. And yes, they can be mastered at any age.
1. Choose your style
The idea here is the same as for sports: if you secretly hate yoga or iron exercises, you are unlikely to go to workouts week after week. To achieve noticeable progress in dancing, a beginner will have to practice a lot and regularly, so it’s better not to torture yourself and choose a direction that really ignites.
You can focus on the music that you like - you need to catch the drive from movements to it.
It is music that forms the style of dance and its energy, so decide what is closer to you: for example, funk lovers should try popping or locking, folk fans may like Irish dancing, and if you respect jazz, swing and everything like that, take a closer look at lindy hop.
Another criterion is the nature of the movements. Some are closer to dynamic, as in hip-hop, others are smooth and sensual - for this in tango. There are also health restrictions to consider. So, twerk is not suitable if there are problems with the lumbar spine, with sore knees it is better not to get involved in shuffle, and it will be difficult for an aged person to master house.
2. Set a goal
Photo: Iakov Filimonov / Shutterstock You can start dancing at any age, but it's important to keep in mind why you started it in the first place. It is perhaps too bold to expect that in half a year of classes it will be possible to reach the level of international dance championships from scratch. But if you want to try dancing in order to develop plasticity and learn to feel the body better, great, go ahead.
Don't expect everything to work out the first time. When you learn from scratch, difficulties are absolutely normal, the main thing is not to score in classes. Over time, both the correct posture and a beautiful gait will be developed, and as a bonus you will also get self-confidence - with freedom of movement, freedom from complexes will come.
3. Don't give up on sports
Some dances in themselves make for a good workout. A vigorous shuffle will replace cardio, and a break can give a load to almost all muscle groups. And yet, without preparation, it will not be easy. A more or less good stretch is needed in any type of dance, and, for example, strong arms and strong abdominal and back muscles are also useful for pole dancing. You can combine dancing with strength exercises, but you need to give the body time to recover and not plan classes in a row, but allocate at least a day of rest between them.
And don't forget to warm up before dancing. So that the training does not end with an injury, the muscles and joints need to be prepared for the load.
You can allocate 10–15 minutes for a warm-up, it should include simple articular gymnastics (at least elementary rotational movements of the shoulders and knees), tilts and dynamic stretching.
4. Take some lessons from a trainer
Especially if you have never danced before. Those with experience can learn new styles at home with video tutorials, but that's because they already know how to control their bodies. Beginners are unlikely to succeed, but disappointment in themselves and demotivation are guaranteed - if you can’t repeat elementary movements, then there’s no point in doing it.
Nothing really strange here. Without preparation, it is difficult to just take it and start moving freely. At least the basic elements are better to master under the guidance of a pro, and when you feel that you are coping, supplement these lessons with home workouts.
5. Learn something new in every class
When you repeat the same set of exercises and movements over and over again, classes turn into a good way to pass your free time, only you can forget about progress.
Acquaintance with new elements is the same mandatory part of any workout as a warm-up. It doesn't matter if you work with a mentor or on your own.
Do not immediately try to copy cool dancers. First, study the basic movements, then try to combine them into bundles until you hone them to automatism, and then experiment and improvise, creating something new based on familiar elements.
6. Record yourself on video
It is not necessary to record the entire workout from the warm-up, it is enough to record only those moments with which you have problems. These can be separate movements or bundles that are not given in any way. Review the video and, if possible, objectively assess what is wrong: perhaps there are technical problems that are difficult to notice in the process. When you understand what's wrong, try to repeat the movement and record it on video again - and so on until you achieve a good result.
This approach will help you find errors and track progress.
You can not even limit yourself to memorized ligaments, but improvise - then see how it looks from the outside.
7. Find like-minded people
Photo: Iakov Filimonov / ShutterstockIf you need an extra reason not to miss classes, then meeting new people can be a good motivation. It is easier here for those who train in a group. Often the dance school becomes the center of a close-knit community, where people come not only for the sake of classes, but also just to spend time together at dance parties.
Finally, the more partners around, the more experience. Do not limit yourself to dancers of your level of training and practice with those who are stronger or weaker than you. In the first case, you will be able to improve your skills, and in the second, you will try yourself as a coach - this, by the way, is a good way to learn to take more initiative and understand the very principle of movement in dance, and not just memorize the alternation of chords.
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Show smart watch and headphones!Read also 🧐
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I want to dance. 10 misconceptions about dancing
The desire to learn to dance is natural and natural in the modern world.
You can list the reasons, starting with obvious and popular pragmatic desires, for example, to start moving or losing weight, ending with unconscious and even existential ones.
This is due to the fact that dancing is at the subtle intersection of the inner and outer worlds, physical and spiritual. Above this, music becomes a driver that cannot leave anyone indifferent.
In dancing there is magic inside a person, which is not always noticeable when viewed from the side. At the initial stage, it is the external picture that attracts to dances, and sometimes repels, as it seems too frivolous and superficial.
But there are even stronger obstacles that stop many people from starting dancing. These illusions and delusions roam the minds of the majority, and are often afraid to ask about them directly, or they ask the question about it so often that they are no longer ready to hear an honest direct answer. I will try to do it in this article.
There are many examples of contemporary dance instructors sharing their thoughts about not expecting to be in the dance industry.
Once upon a time there was a man and was engaged in adult, serious business. Sometimes even very serious. A person could have children and even grandchildren. I saw dances only on stage or on TV. For reasons unknown to himself, he ended up in dances. At first, everything seemed like entertainment and a useful pastime. But time has passed, and a person catches himself thinking that he thinks about dancing not just every day, but really all the time. A couple of years pass, and he already becomes a teacher or organizer of some event.
A similar path can start at 15 or 55 years old. The only difference will be in the self-perception of the starting stage, that it’s too late to dance. In fact, for each age there is its own dance direction, which can reveal it to the greatest extent at this stage. Hip-hop or breaking is closer to children and teenagers, and Argentine tango is closer to adults. It's never too late to start dancing. You need to make the right choice of dance style based on several parameters: age, gender, music, goal.
There is a dance direction for any arrangement.
Misconception 2: Men don't dance
Our culture has a number of restrictions related to dancing. Most of these causes are psychological and lie outside the realm of rational reasoning.
First, in our culture, in principle, dancing for pleasure or self-expression appeared relatively recently. 20-30 years ago dance clubs were only for children. To start dancing even in adolescence was considered exotic.
Secondly, the aesthetics of the body in our country for men is not in the focus of attention. In general, this can be attributed to the fact that Russian men try hard not to draw attention to their appearance and clothing. Men in our country use other tools for this.
Third, dancing is associated with entertainment and alcohol. If a man feels serious and respectable, then he either does not have time or desire for this.
Nowadays the general cultural background has changed and the result is that men are learning to dance.
It becomes as much a sign of masculinity as clothing, hair or beard.
Unfortunately, many misconceptions remain even among those who have already started dancing. Dance teachers do not always pay attention to this, as it seems to them that this is a matter of course.
Fallacy 3: special training is needed
For an outside observer, there is always a cognitive dissonance about what dance is. What he sees on the big stage in the form of a show with sweeping movements and splits is obviously dancing. Breakers doing unimaginable elements in the air and on their hands, competing with each other, also seem to be dancing. Pensioners in the park waltz. Dancing again, but for some reason everyone is so different. How to understand that this is a dance, and what physical criteria should be in the body.
In fact, any self-expression through the body to music can be attributed to dance. There are a number of reservations, but they are not essential.
For self-expression, a person uses the set of plastics that he has. Subtlety and technique do not depend on extreme ways of self-expression, and it often happens that splits and somersaults interfere with a meaningful dance. The development of plasticity and the expansion of the body's capabilities are part of the preparation of the dancer, but not an end in itself.
Misconception 4: You must learn to dance in pairs
In couple dancing, the final learning outcome is that the couple dances at a party. It would seem that you should always train together to get the desired result. This is not true. Let's take an example from boxing. An indicator of a boxer's skill is a fight with an opponent, but this does not mean that he constantly has to fight. Also, the ability to dance is built on the possession of one's own body and the ability to interact.
The skill of the teacher is the correct selection of methods so that the student masters the skill.
Based on the skill, you can engage in creativity and self-expression in dance. Not everyone knows, but it is no coincidence that almost all social dance dancers have a serious dance background, which is based on the development of individual techniques.
The same can be attributed to the interaction in a pair. The ability to separate in oneself the one who leads and the one who follows the lead is impossible within the framework of studying the sequence of movements in pairs. For this, there are special exercises that make the skill more versatile. For this, the presence of a permanent couple is not necessary, as well as the regular presence of a partner in general.
IMPORTANT! You can’t experiment at a party, and everything should be in its place there: men dance with women.
Getting rid of illusions is a complex internal process. If you leave them to yourself, you can even get the opposite result.
Misconception 5: plastique and stretching are mandatory attributes of dance
Much depends on the genre of dance that you want to master.
In previous articles, I have already mentioned that different dance styles are suitable for different ages. It is appropriate to dance hip-hop in adolescence or youth, Argentine tango is a more adult dance, it is important to enter classical choreography at a young age.
The degree of necessary plasticity and sensitivity to the dance direction also correlates. For example, breaking requires great physical effort and dexterity. Elements are built on acrobatics and high speed of execution. Who are they more suitable for? Obviously young people.
There is a lot of interaction in salsa. It is necessary to feel the partner subtly, to be able to show a variety of figures and elements. Twine or acrobatics are completely inappropriate here. However, a variety of ways to show oneself are required. Accordingly, the dance is youthful, but not at all childish.
The older the dance, the less stretching or acrobatics is required. The main emphasis is on the quality of technology, the variety of ideas and the ability to show plasticity.
Misconception 6: Mirrors are necessary for learning
There is a set of instruments that dancers use to learn how to dance. The fact is that the dancer needs to receive feedback on how his movements look from the side. It is impossible to dance and see yourself from the side at the same time. The most common tool is a mirror. But not the only one.
Like any auxiliary tool, mirrors have positive and negative effects. The positive is that they can receive feedback in real time and technically it is not very difficult. The downside can be dependence on mirrors. A situation where a dancer cannot capture the feeling of dancing, such as on stage or at a party. For these purposes, you can use, among other things, video filming or proper preparation.
In many countries in Latin America, dance classrooms are not equipped with mirrors. Classes are held in bars or large halls. The dancers initially form the skill of focusing on the inner sensation, and not the habit of looking for their reflection in the mirror with their eyes.
Misconception 7: there is a lot of obsceneness in dancing
A common question from novice dancers who are taking their first steps in more contact couple dances is “in order to dance cool, there must be passion inside the couple?”. I immediately answer that no, not necessarily. Kizomba, bachata and Argentine tango attract many with their close contact. Like any other contact in our everyday life, in dances, contact can be different. We hug friends, parents, children. These hugs can wear many different shades. Sexual overtones are one of many.
The culture of dance also includes the boundaries of what is acceptable. A compliment from a well-mannered person is different from a statement about female sexuality by a gopnik. Usually, those who study at a dance school already have an idea of what boundaries should not be crossed. A good dance from a technical point of view will never look vulgar or vulgar.
Dancers always have a choice about the boundaries of contact.
Most prefer to leave a good impression of themselves, as word spreads just as fast in the dance world.
Misconception 8: the best dancers are the bearers of culture
Even the very question of the origin of a particular dance can be paradoxical and ambiguous, especially when it comes to its development and performance.
For example, the Viennese waltz did not originate in Vienna, but in Germany. Salsa has its main roots in the USA, not in Cuba. The famous Greek folk dance sirtaki was invented for the film "Zorba the Greek" and appeared only in 1964.
The same can be attributed to the development of modern dance styles. Korea is known for its world-leading break dancers. People go to Turkey for Argentine tango, Spain is strong with excellent salsa and bachata dancers, in Egypt, Russians are considered the best belly-dance performers.
A good dance is based on quality training and diligence. Skin color, place of birth and age are secondary.
Exotic appearance, unfortunately, is often a reason to be more superficial about one's own professional development. This becomes the reason for the low level of teaching among the bearers of culture. I am sure that few readers of this post will be ready to conduct a master class in Russian folk dance outside of Russia.
The mastery of mastering and teaching a particular style does not depend on the dancer's homeland. And "they absorbed the dance with their mother's milk" is nothing more than a common misconception.
Misconception 9: You have to know a lot of moves to learn how to dance
Focusing on learning a lot of moves often detracts from the essence of dance. Of course, the sequence of figures is important. Especially at the start. Over time, the dancer should have an understanding of how movements can be generated independently. Accordingly, instead of memorizing millions of figures, you can understand how to create them.
From every system of improvisation that a dancer can use as an instrument, dozens, hundreds or thousands of variations are derived.
This frees the head from trying to reproduce the exact sequence and definitely adds freedom in the performance of the dance.
The huge theme of musicality can be attributed to the same question. Not every pre-conceived or learned sequence will fit specific music. The dance should give freedom, and not drive the dancer into the shell of the ropes.
Misconception 10: dancing is homosexual
The unusually high attention to the body and flair from stories about professional ballet led to the spread of this myth, among other things. Unfortunately, such an idea still exists in the minds of our fellow citizens.
The dance industry is now very broad and is represented by many dance styles. Some of them can even be called homophobic. Dances reflect the general attitude to the world and it is different depending on the life position and worldview of a person.
In many dances there is contact between the dancers. In Russia, dance contact between men has always been perceived very intensely.
In most other countries it is different. An example of the fact that this tension is associated only with the dance theme and does not apply to other areas is, for example, wrestling. When practicing techniques, men are in much closer contact with each other. Sometimes lying on the floor and holding each other tightly. The historical roots of Greco-Roman wrestling are also ambiguous from a sexual point of view. But in our country, unlike dance, they are perceived as acceptable and brutal.
Dance, like the culture of speech, makes a modern person more successful and self-confident. The ability to control one's body, tune in to another person and the ability to be aesthetic in the plasticity of movement is valuable in the modern world. If we add here the pleasure of the process and the availability of dance as such, then the possibilities of this activity can hardly be overestimated.
It's sad when interested people are stopped by prejudices and myths that have nothing to do with dancing.
