How to waddle dance
Easy Instructions for Beginners to Learn the Wobble Line Dance
Love watching the wobble line dance? Now you will love doing it as well! All the beginners out there, we at DancePoise bring step-by-step instructions of the wobble for you. Have fun, and do the wobble!
Burn that fat with some wobble!
Wobble line dance not only burns lots of calories, but also is a very fun group activity. If you are looking for some offbeat idea for exercising, include this dance form in your workout.
Unconventional dances are a craze nowadays. All we want is another excuse to go crazy. In the ever expanding list of these quirky dances, like the “Gangnam style” or the “Harlem shake”, comes another worthy addition―the wobble line dance.
Line dances have been very popular since the 1950s. The wobble has become famous in the last couple of years. Today, you can see people doing the wobble everywhere, right from parties to weddings to reunions. In these dances, a group of people stand in one or two lines and do similar steps. The best thing is that anybody can wobble; yes, it’s very simple and super fun. No need to worry even if you are a beginner or haven’t heard of this dance as we come to your rescue with these step-by-step instructions. So ladies and gentlemen, young and old alike, it’s time to do the wobble.
Do not immediately start the steps; get into the groove first, feel the music, loosen your body, and then begin.
Step 1: Jump Forward
Jump forward (one-step distance) in such a way that both your feet touch the ground simultaneously. This is the first step of the four-count step.
Step 2: Wobble your hips
As soon as you jump, start swaying your hips from right to left. This is called wobbling your hips. Don’t forget to cross your arms to the beat. Wobble your hips for four counts.
Step 3: Jump back
Jump back to your original position to start the four-count step again.
Step 4: Wobble them again!
Now repeat the wobble again. Sway your hips from side to side, and move your hands as well.
Step 5: Twist to the right
Now it’s time to wobble your entire body. Twist to the right in such a way that you are facing left. Now sway your shoulders and hips alternatively for a four-count step.
Step 6: Twist to the left
Twist to the left, and repeat the wobble of the shoulders and hips. You can do the hand roll at chest level or cross them as well according to the beat.
Step 7: Wobble and wobble more!
Enjoy the dance by wobbling your body like a waving flag. When your shoulders are in front, your hips should be at the back and vice versa. You can try a variety of movements with your hands.
Step 8: Do the step
Now, it’s time to “do the step.” It’s a four-count step, and your hands should sway as well. Take a step with your right leg, and then bring the left leg in front as well. Take a step with your right leg again returning to the original position followed by your left leg.
Step 9: Step forward and do the cha-cha
You can also go forward normally and come back by doing the cha-cha step. Step your right leg in front, followed by the left. Now, do the cha-cha; that is step back with your right foot, left foot, and right foot again. But this should be quicker with more swaying of the hips.
Step 10: Cha-cha step
Now do the cha-cha step in your place. Take a forward step with your right leg, followed by a backward step with the left one. Quickly step in place with your right foot, left foot, and right foot again.
Step 11: Swing to the right
Now start swaying your body from side-to-side and cross your arms to the beat. Continue wobbling your shoulders and hips alternatively.
Step 12: Swing to the left
Gradually turn your body to the left and continue the wobble. Turn very slowly and naturally, continuously swaying your body.
Now, you will be facing left. Repeat all the above steps, complete the entire circle, or continue this pattern till the song ends. The above steps are the basics; you can combine them or try out different variations as well.
Dance is about losing all your inhibitions and having fun, so just relax and let yourself loose. Don’t get too mechanical with the steps; feel the music and do the wobble!
Jaylen Waddle touchdown dance, explained: How Dolphins WR's penguin celebration became a fun NFL trend
The Dolphins have had an extremely fun start to their season.
Naturally it's been helped along by a frankly surprising 3-0 start, but the way they've gotten there has been remarkable. Just a week after stunning the Ravens in comeback fashion, the Dolphins beat the Bills in a knock-'em-down, drag-'em-out showdown.
Tua Tagovailoa is tied with Patrick Mahomes at third in the league with eight touchdowns, Miami has three receivers with multiple TDs so far this year, and it looks like it could be primed to shock the world.
Even with all of that going on, there's one reason above all it's so fun to watch the Dolphins this year:
On @D1__JW’s touchdown, he hit a top speed of 20. 8 MPH on the play, ranking him 5th in the @NFL on Sunday! 🐧#NextGenStats | @awscloud pic.twitter.com/D4dC1FEWm3— Miami Dolphins (@MiamiDolphins) September 12, 2022
Jaylen Waddle's waddle.
MORE: NFL picks, predictions for Week 4
Waddle is one of nine receivers tied for second in the league in touchdowns at three, and dating back to last year the waddle has been his signature touchdown dance while everyone else has taken over the Griddy.
Waddle, now in his second NFL season, had six touchdowns last year and is already halfway to that total in just three games this season. He's emerged as one of most potent threats on the Dolphins offense, and he has his teammates dancing with him in the end zone.
Do your dance, @D1__JW 😤
Jaylen Waddle finds the end zone!@MiamiDolphins | via @NFL pic.twitter.com/grMsGTW9ZP— FOX Sports: NFL (@NFLonFOX) September 18, 2022
Even the fans are in on it.
It's the fans doing the Waddle for us 😂@D1__JW 🐧 #BudLightCelly pic.twitter.com/jebFCPh46S— Miami Dolphins (@MiamiDolphins) September 11, 2022
There is beauty in simplicity. Ask Waddle's teammate Mike Gesicki.
Mike Gesicki should never griddy againpic.twitter.com/p7E3dZpI55— DraftKings Sportsbook (@DKSportsbook) September 18, 2022
What are the origins of the waddle?
As far as can be discerned, Waddle started doing the waddle after a touchdown against the Panthers in Week 13 of last year. After that, it started to stick.
Jaylen Waddle scored a TD and proceeded to waddle in the end zone. pic.twitter.com/n0Gy0LWOgt— Field Yates (@FieldYates) November 28, 2021
MORE: Michael Irvin hypes up Cowboys' 'finger-lickin'' pass rush
Something kind of wild: The earliest instance online of someone doing this dance to celebrate a Waddle touchdown actually is Jan. 1, 2020. Someone who one can reasonably infer is an Alabama fan named Seth Goodson tagged Alabama football's Twitter account and shared a video of his kids doing the dance to celebrate. The tweet had no engagement at the time of writing, lost in the void of the internet.
@AlabamaFTBL my kids have a new touchdown dance for waddle. They call it “The Waddle” pic.twitter.com/5ssfTAQ06w— Seth Goodson (@seth_goodson) January 1, 2020
Controversy around the waddle
Nothing good can only be good.
There is some "controversy" if you can call it that about who "owns" the waddle.
MORE: Eli Manning roasts Russell Wilson on 'ManningCast'
Bills tackle Tim Settle, who played for the Commanders last year, said on a podcast Waddle was biting his style.
"I feel like he tried to add his little, own swag in there but you can't take [it] from me," Settle said on a podcast last year, per NBC Sports. "Come on now."
Mississippi State's Caleb Ducking has also gone on the record as saying he did the dance before Waddle.
After scoring a touchdown to ice the game Caleb Ducking and the Mississippi State offense hit Arizona with the Duck Waddle Touchdown Celebration! #CollegeFootball #HailState
pic.twitter.com/Cc0bFw8rMq— The College Football & Basketball Experience (@TCEonSGPN) September 11, 2022
“I did it first,” Ducking said this week, per the Clarion-Ledger. “One of my friends back home, he gave me the idea because of my name, so I started doing it. I’d never seen Jaylen Waddle do it until after.”
Let's go ahead and put this to bed: Seth Goodson is the creator. But the waddle is for the people. Ducking and Waddle should waddle to their hearts' content. Keep the most pure dance in football pure.
Dancing is the soul of the people | Dagpravda.ru
About entering the dance. It usually happens in the city like this: a young man took off from his seat, started dancing, and, as they say, the wheel spun. They don't do that in the villages. There are many who want to dance there. But one of them (usually a respected person) should start the dance, and the rest patiently wait for their turn. Even when it is his turn, he waits until his friends remind him of it. It does not happen that young men wedged into the circle of dancers at the moment when the elders are dancing. In some auls, they follow the order: first the elders dance, then the young men and children.
It used to matter who you danced with. The choice of a man in this was decisive. Now women and girls themselves decide who and with whom they should go to the dance. The villagers, watching from the side, vigilantly follow everything that happens. In this environment, not every woman dares to go out to dance with a man of bad reputation. Yes, and parents are offended if their daughter goes to the dance with such a person. At the same time, girls are looking for an excuse to dance with the person they like.
How to dance is also essential in dance. Dances are different, and you can dance them in different ways. It all depends on the character and age of the person and even on the place where the dances are organized. It is considered very indecent when a person dances cheekily, waddling, grimacing. Strictness and gravity, accompanied by beauty and grace of movements, are considered good features of a dancer. Of course, not all people in the village dance well. But if they went out into the circle, they try to give their mediocre dance more expressiveness and diligence. This does not go unnoticed by those present.
It is interesting to watch the competition between the dancers from the outside. Usually this begins at the final stage of dancing. Compete among themselves adults, youth and schoolchildren. The most distinguished are immediately awarded prizes. During the competition, along with the dances of one's own village, dances of the neighboring village and other peoples are performed. During the dance, unnecessary cries or any actions that from any side cast a shadow on the dancing woman or girl are not allowed. There are no hugging dances, as individual comrades usually exaggerate.
Genuine folk dances in the mountain villages of Dagestan are not accompanied by monetary offerings either during weddings or on holidays. The beginning of cash handouts goes back to ancient times, when the feudal lord, in order to emphasize his nobility and superiority, danced and gave the girl a coin.
Unfortunately, the traces of this vestige, degrading the dignity of the dancers, are often still alive.
THE DANCE TURNS... | Petersburg Theater Journal (Official site)
Program of one-act ballets.
"Made in Bolshoi". A. Korolev.
Conductor Anton Grishanin, choreographer Anton Pimonov.
"Seasons". A. Glazunov.
Choreographer Artemy Belyakov, production designer Anna Kostrikova
"Dancemania". Y. Krasavin.
Choreographer Vyacheslav Samodurov, costume designer Anastasia Nefedova.
The Bolshoi Theater summed up the 2021/2022 season in the full sense of the word with a long-suffering premiere. The program of one-act ballets was supposed to see the light of day on March 26, 2020. On March 17, Moscow theaters stopped working due to the threat of the spread of COVID-19. The performances went on pause. They were postponed to December 2020 and May 2021, then postponed for another year. It can be said that the fact that "Made in Bolshoi / The Seasons / Dancemania" is out now is a small miracle. An even greater miracle is that at such times the evening is rather the Bolshoi's luck. The one-act performances have survived a lot, including a significant change in context and the departure of some of the theater's soloists, and have remained accurate from a choreographic and human point of view.
Scene from the ballet Made in Bolshoi.
Photo — Elena Fetisova.
It is not known to the general public how much the ideas of the ballets have changed over the course of their work. If what “Made in Bolshoi” looks like now is about the same as what was supposed to be released in 2020, choreographer Anton Pimonov and composer Anatoly Korolev have a good flair. The three-part composition can be called "from machine to machine", from ballet to factory.
"Made" begins with a scene that resembles a very cheerful ballet class. Six lines of dancers, men on the left, women on the right. All at once perform small combinations. The performance is not going quite smoothly yet, the mood is different in different casts. At the premiere, the troupe looked collected, fresh and well-coordinated. The moment when the dancers and dancers start moving at the same time looked stunning. All are taut (blue leotards, swimsuits and transparent black leggings, successfully matched by Tatyana Noginova in proportion), with bodies lined up vertically, peppy. Pimonov combines ballet movements, for example, slightly bent “horse” legs thrown forward, placed obliquely on the toe, and poses reminiscent of aerobics.
The second part is slow, dark and given over to duets and sad, picturesque entrances of the corps de ballet. This is the part where the artists are left face to face with the stage. Ekaterina Krysanova and Vladislav Lantratov, the central couple in the first team, are especially good here. They slowly dance against the backdrop of haze in orange tones, illuminated by Konstantin Binkin. In their duet there is also a feeling of a constantly held vertical, a body-string (the refined and aplomb-holding Krysanova is more visible, Anastasia Stashkevich, who participates in the second line-up, leads the game softer, relies on lyrics, and the feeling dissipates), and a share of humor ( at some point, in the support of Krysanova, she bends a little more in the body, it seems that she lost her balance, then the ballerina smiles, "bought").
In the same part, Pimonov sets up several scenes that can be called a frozen dance. The central duet ends with the ballerina sharply and gracefully leaning back with her whole body, standing on her “compass” legs - a ready-made shot for the publication of “Icon-Poses”. For the corps de ballet, Pimonov came up with a similar “especially for the eyes” moment: the dancers one by one cross the stage from backstage to backstage, stepping lightly on their fingers. From time to time, men appear in the procession, carrying "lifeless", with their heads and shoulders limply thrown back, partners - against the backdrop of Binkin's light that looks like an alarming glow, the effect is amazing.
The third segment is bravura in every sense. There are rows of dancers again on the stage - but not students, but a marching formation. The choreographer repeats the techniques from the first part: well-coordinated mass movements, large geometric constructions. However, the atmosphere is changing radically. Dance turns from a piece into an instrument. The music of Anatoly Korolyov, a brass march with periodically “falling out” of individual instruments (everyone goes together, but suddenly someone becomes limp), and the way conductor Anton Grishanin clearly separates the voices in the orchestra, makes it possible to hear both “system” and "lagging behind", enhances the feeling. The ballet ends anxiously: a mass of people move dispassionately and synchronously, gradually completing the already slightly frightening "class".
The ballet is called "Made in Bolshoi" - but Pimonov's thinking, eye and ideas are made at the Mariinsky, where Anton danced and began his career as a director, hardened in Yekaterinburg (assistant to Vyacheslav Samodurov) and revealed in Perm (artistic director of the ballet). The Bolshoi got a ready-made independent sample - and Muscovites will have to look for tickets to where Anton now puts more often.
Scene from the ballet The Four Seasons.
Photo — Elena Fetisova.
The Four Seasons stand in the middle of the evening — and in some ways this is luck. From the second act, as from a submarine, there is nowhere to go. The ballet by Alexander Glazunov was staged by the troupe's premier Artemy Belyakov. Critic Nikolai Efros wrote that the performances of the Moscow Artistic and Public Theater had two heroes, mise-en-scene and Mr. Moskvin. At The Seasons, the heroes are the legs of the troupe's artists under a crooked scarlet curtain, Anastasia Volochkova's splits and Anna Kostrikova's costumes. Describing the problems with the latter would require a separate article listing all the overly layered robes, talking about the choice of fabrics and their combination with the movement and a resume that good theater artists (Anna Kostrikova is a good artist, for example, she designed "Oh. Late love » Dmitry Krymov in ShDI, where multiple layers worked on the ideas of the director) do not always accurately understand the needs of the ballet.
The very first points refer to the diocese of Artemy Belyakov, the stage director. He certainly danced a lot in his career, classical and modern. You can see it in the performance. Elements referring to phenomena of different scale sometimes fly into the choreographic text of "Times". The first picture, "Winter", begins with legs sticking up, clearly standing out against the background of a luminous blue ball, as if frozen in a painful cramp (due to the balance of light, it is hardly possible to know what the body is doing at this time): a curious interpretation of love modern ballet to "ugly" movements.
Scene from the ballet The Four Seasons.
Photo — Elena Fetisova.
The character Zim, who is alternately danced by the experienced Vladislav Lantratov and Yegor Gerashchenko, who has just become prime minister, repeatedly repeats the “jump-fall into the pose of a dying swan” combination and starts spinning just like that. His duet with Spring (Anastasia Stashkevich, then Anna Nikulina) includes support with horizontal splits (the same ones named after Volochkova on yachts), in which the partner “brings” the ballerina’s legs with force, holding her by the inner thigh muscles, and support with vertical splits , in which the ballerina's groin becomes the point of application of male power.
Also in the performance there are on equal terms a jump with bent knees from Fokine's "Petrushka", a circus support version that Kenneth MacMillan liked to use - the ballerina arches in a ring on her partner's arms (the combination is supplemented by the risk of falling from the height of a man's height), scratching her right ankle left pointe, fervent foot waving and duet wallowing on the floor. This is varnished with a long episode, during which a scarlet curtain descends on the stage and the audience watches only the feet of the artists. However, the circular plot of The Four Seasons, in which Winter opens the play and ends it, gives hope. Everything goes and it is also.
Scene from the ballet "Dancemania".
Photo — Elena Fetisova.
In many productions by Vyacheslav Samodurov there are reflections on the essence of ballet and its place in the life of artists and in the world. Once we looked at the "broken" princes and primes in the first edition of "Salieri Variations" (2013) and the loneliness of the ballerina in "The Curtain" (2015). Then there was a time of rebellion - and in the third act of the revealing "Paquita" (2018), the artists of the Ural Ballet took the stage in rehearsal "sportswear", turned out to be Eburg girls and guys who can do these steps of yours. The next big step was taken in The Little Humpbacked Horse (2021): pointe dance was mixed with street culture, and the main character Ivan became a boy from the back door.
The new ballet combines motifs from different periods of Samodurov. "Dancemania" begins with a homage to the device and the idea of "West Side Story" by Jerome Robbins, which combined the "ordinary" plasticity of New York gopniks and ballet steps. Dirty guys in black t-shirts and trousers pour onto the stage (original Anastasia Nefedova also comes up with such non-suits) and then roll over each other, then give out hip-hop, then soar into the air. Everything seems to be random. So sometimes an ordinary person can do something outstanding: out of ignorance and unrestricted by the canon. The most characteristic finding of Samodurov in this part is the soloist, who simply walks, not even with a beautiful “ballet” step, but with a human one, from the back to the ramp, arches his whole body back approximately in the middle and starts from this solo position. The dancers of the Bolshoi, the classics, hide their skills intensively: they dance a little waddling, soften and control their hands less to create the effect of amateur movement.
Scene from the ballet "Dancemania".
Photo — Pavel Rychkov.
The second part of the ballet is dedicated to the "entry into Art" (a case for a pretentious capital letter). Ballerinas looking like unearthly creatures descend on the galloping guys, and each of them helps to “settle down” in their own way. The first girl shows what dance is. The second "puts sticks in the wheels", pokes a pointe-pointer in the collarbones, puts his foot on his back and resists in every possible way. The third cannot choose whether she suffers, dripping from her partner’s back and sadly, limply shaking her legs in the air (an excellent support in which the ballerina finds herself with her back to the audience, torn off the ground, and resembles a dying metronome needle), or wants independence.