How to walk in slow motion dance
7 TikTok Dance Moves You Can Learn At Home
TikTok is filled with short, fun dance routines that you can watch for endless hours (trust me, I've done it), share with friends, and learn at home with STEEZY.
But, let's face it.
If you don't have a dance background, the short, hard to follow tutorials on TikTok can be a frustrating roadblock to joining in on the fun.
Here are simple, easy ways you can learn the 7 most popular moves on TikTok.
1. The CitiRokk
The CitiRokk is that one SUPER POPULAR TikTok dance move where you rock your body from side to side and cross your arms in front of your chest.
Watch this video with the move’s creator, CitiBoyRio, to see how the move took over TikTok!
*BONUS*
While the CitiRokk was popularized on TikTok by the Renegade dance routine, CitiBoyRio just dropped a new routine of his own!
Learn the CitiRokk Shuffle routine just in time before it goes viral. 😎
Hit this link to learn both the CitiRokk and the CitiRokk shuffle step-by-step on STEEZY Studio.
2. The Woah
Just WATCHING people hit the Woah gets me excited.
It's simple, hype, and easy to apply to any song with a dope bass beat.
If you've been lurking on TikTok for any time at all, you've probably already seen it yourself and understand how it's supposed to look.
How you create the reverb motion, where to position your arms, and when to move your body to hit the beat on time is all you need to learn. 👇
3. The Swagg Bouncee
Do your hips naturally sway from side to side when a good song comes on?
Think of the Swagg Bouncee as your natural hip-sway's cooler, trendier sibling.
Lil Rich Swagg, who created the Swagg Bouncee, says to “Stay on your tippy toes to get a full range of motion,” in his STEEZY Studio class.
By committing to the move and making it bigger, you'll look more confident!
4. The Kangsta Wok
In the video below, this TikTok dance move's creator, Zaya Sosho, explains how he based the Kangsta Wok on a "dip" move he saw during a cypher.
When you do the Kangsta Wok, make sure not to over- or under-exert your energy.
Attack each level drop with a little intensity to make the move look extra hype, but don't go so hard that your body tenses up!
You want to make it look effortlessly cool. 😎
Still not totally sure how to make that happen?
Don't worry... Zaya Sosho will teach you in the tutorial below!
Use this guide to help to you practice too!
5. The Smeeze
This move first entered the dance scene in 2009, but at the time, it was mainly used during battles and parties.
When TikTok arrived in 2018, the move's creator, Chonkie, knew this was the perfect platform to bring the Smeeze to the next level.
With hashtags like #SMEEZEEVERYWHERE, and dance crews like the Jabbawockeez picking it up, the Smeeze quickly became a TikTok favorite.
You can learn more about it from Chonkie himself in this video!
While millions of people are, in fact, Smeezin' everywhere, the move can be a little tricky due to the alternating movements of the arms and legs.
Use this step-by-step tutorial to get the timing jussssst right!
6. The Bust Down
As far as TikTok dance moves go, the Bust Down is definitely on the sexier end of the spectrum.
Characterized by a scoop/thrust motion of the hips, the move is great for raunchy club jams like "Thotiana" by Blueface – the song that popularized the move!
If adding a lil sexy swagger to your movement feels like climbing Mt.
Everest, know that practice and repetition will be your best friend!
STEEZY's tutorial breaks the move down simply and efficiently, so you can learn it in just 9 minutes and repeat sections LITERALLY AS MANY TIMES AS YOU WANT.
Trust us, you'll have swag down to a science.👨🔬
7. The Cosby Walk
Yes, when executed the right way, the simple act of marching can become a dope dance move!
Watch our video with Rated R, creator of the Cosby Walk, to see exactly what we mean:
As you're learning this move, make sure you're placing your feet firmly on the floor and evenly distributing your weight!
If your bottom half is weak and wobbly, you'll look more bambi than bad@$$.
Related article: Why Staying Light On Your Feet Is Actually Bad Advice
As much as we love watching the mesmerizing 15-second dance tutorials that already live on TikTok.
..
It's LIFE-CHANGING to have legit dancers break moves down and make them easy to learn.
Now, you have everything you need to master the hottest dance moves and join fun challenges on TikTok.
Start learning now for free!
My Walking Is My Dancing
introduction_video introduction_videoSlow Walk
Join the dancers of Rosas and P.A.R.T.S. and experience time in a whole new way. Transform the everyday movement of walking into a mindful and unique experience; walking is dancing too!
On the occasion of SLOW, the Concertgebouw, Cultuurcentrum Brugge and Rosas are organising an ultra long flashmob; walking from three points to the Grand Place at a very slow pace. Upon arrival, you can participate in the workshop My Walking Is My Dancing led by Anne Teresa De Keersmaeker herself. Keep an eye on our website for details.
Join the Facebook event here.
Interactive map
More info
In honour of SLOW, Anne Teresa De Keersmaeker, Rosas and P.
A.R.T.S. are issuing an open call to anyone interested in participating in a performance whose stage is the entire city centre of Bruges.
Over the course of four hours, starting at 11:00 from three separate points; (Gentpoort, Smedenpoort, Ezelpoort), three groups will perform a slow walk towards the centre of the city with the aim of converging simultaneously on the Market Square.
When we say slow walk, we mean a very slow walk; the average pace of each group will be less than 5 meters a minute which means that it will take approximately 4 hours for each group to complete its trajectory.
At 15:00, the three groups will arrive simultaneously on the Grand Place and will be invited to participate in a 30-minute workshop followed by a dance jam led by Anne Teresa De Keersmaeker herself with the help of dancers of Rosas and students of P.A.R.T.S.
Open to any and all who want to participate, My Walking Is My Dancing will highlight the hectic and high pace of the city by consciously slowing the speed at which we travel from one place to another.
It is a meditation and an invitation to slow your body and mind and experience the city and its inhabitants from a new perspective. Rosas wants to pause and reflect on the city and attempt to make it part of us again through the most basic form of movement conceivable: walking.
Participants are welcome to join the performance for as long or as short as they wish and at any point along any of the predetermined routes including the final dance on the Market Square.
FAQ
01
How slow is a slow walk?
Very slow! Approximately 5 meters per minute. Each group will follow a leader who will set the pace for the walk.
02
How long is each route?
Each route is approximately 1.1 km long.
03
How long will it take to walk from beginning to end?
Each group will take four hours to walk the 1.1 km.
04
Where can I join?
You can join any group at any point along any trajectory. The trajectories are described below.
Click here to check our interactive map.
05
When does it start?
Each group will depart simultaneously at 11:00 from the following points:
- Gentpoort
- Smedenpoort
- Ezelpoort
06
Can I join once the group has started?
Yes, the groups will be passing the following points at the following times. All timings are approximate.
Gentpoort
- 11h00 Entrance Gentpoort, corner Gentpoort & Boninvest
- 12h00 corner Stalijzerstraat & Nieuwe Gentweg
- 13h25 corner Park & Jozef Suvéestraat
- 14h00 corner Rozenhoedkaai & Pandreitje
- 15h00 Grand Place
Smedenpoort
- 11h00 On the pedestrian bridge at the Smedenpoort
- 12h00 corner Smedenstraat and Kammakersstraat
- 12h55 corner 't Zand and Noordzandstraat, at the level of the Speelmansrei
- 14h00 corner Noordzandstraat and Korte Zilverstraat
- 15h00 Grand Place
Ezelspoort
- 11h00 Underneath the Ezelspoort
- 12h00 corner Ezelstraat and Achiel Van Ackerplein
- 13h00 corner Ezelstraat and Pottenmakersstraat
- 14h00 corner Sint-Jakobsstraat and Palmstraat
- 15h00 Grand Place
07
Do I have to walk the whole trajectory from beginning to end?
No, you are invited to join for as long or as short as you wish.
You may take breaks at any point and re-join when you are ready.
08
Who can participate? Do I have to be a dancer?
Not at all! This performance is open to anyone that wishes to participate regardless of age or ability. No previous dance experience necessary.
Children under the age of 12 should be accompanied by an adult.
09
What do I wear?
We advise weather appropriate clothing and comfortable footwear. We will be proceeding rain or shine so dress accordingly.
We also advise to bring water.
10
What is happening once we get to the Grand Place?
Once we arrive at the Grand Place, Anne Teresa De Keersmaeker will lead anyone who wishes through a 30 minute long practice of My Walking Is My Dancing followed by a dance jam! My Walking Is My Dancing is a simple guided improvisational dance practice she has developed over the years that serves as an invitation to explore space, time and movement from walking all the way up to jumping, running, turning, etc.
All ages and abilities are welcome, no previous dance experience necessary.
11
Do I have to sign up?
No, just show up at 11:00 or join us at any point along our journey.
More about slow walking
"Slow walking" has its origins in Buddhism. There is a long tradition of walking as a form of meditation in this religion. Chinese Chan Buddhism, for instance, refers to it as 'kinhin' and is the opposite of 'zazen', the sitting meditation we traditionally associate with Buddhism. But also in other branches of Buddhism like Theravāda Buddhism, walking meditation (video) / (video 2) plays an important role.
Walking meditation is a meditation-while-moving but also a meditation-of-moving. The main focal point is that of the body moving in space and the awareness thereof. The walker centres his attention on the separate movements and this typically involves coordinating stepping and breathing. Contrary to sitting meditation, during which the eyes are usually closed, this practice is much more outward; the physical experience of walking strengthens the connection between the individual and his surroundings.
Read more
Walking is something we usually do automatically, without thinking. At the same time, it is the most elementary and straightforward of human movements. It is from this aspect that walking draws its power when suddenly it experienced consciously and it is presented and taken out of its everyday context. It is no surprise, then, that walking is an often recurring element in various forms of performance art. There are numerous examples of artists who try to manipulate time or draw attention to the process itself (and not to the end result) through this simple act. Others appropriate a space or give that space a new meaning by tracing it with their body. Take, for instance, Francis Alÿs who pulled a little magnetic toy dog through Mexico City until it was covered in metal scraps of street litter (video). Simon Faithfull followed the Greenwich meridian from Peace Haven in Hampshire to Cleethorpes in Lincolnshire without avoiding a single obstacle (rivers, fences, bushes, etc.
) (video) / (video 2). Janet Cardiff earned fame and recognition with her 'audio and video walks' guiding the audience along a trajectory in and around New York's Central Park and in the Hirshhorn Museum in Washington (Video) / (Video 2). One of the most famous examples may very well be The Great Wall Walk (1988) by Marina Abramović and Ulay. They walked down the Chinese wall in opposite directions until they met in the middle after ninety days and made their farewells.
In other words, there is no shortage of examples. There are even books dedicated exclusively to walking and the way it manifests itself in art. Dance plays a considerable role here. Postmodern choreographers like Trisha Brown, Steve Paxton and Yvonne Rainer explored the boundaries and produced a movement art that exists on the line between dance and pure performance. Just as the nature of performance art allows it to take place outside the walls of a museum, the early work of Brown broke out of the theatre.
Pieces like Walking on the Wall (video) and Roof Piece (1971) (video), are characterised by the interaction between the body and a specific environment, an interaction that is not commonplace. Dancers are running (suspended in harnesses) parallel to the floor over walls or pass on a series of movements to each other while they are each standing on a different roof.
Some years earlier, Steve Paxton had already integrated the everyday movement vocabulary in dance performances like Proxy (1961) and Satisfyin' Lover (1967) (video). These choreographies consist mainly of a carefully orchestrated variation of walking, standing still and sitting, continuously applying different tempi. In addition to Brown and Paxton, other participants of the New York Judson Dance Theatre, like Yvonne Rainer, were working with fundamental, everyday movements. By doing so, they wanted to strip the dance of any expressive or dramatic meaning so that the body becomes a neutral object to experiment with in terms of speed, stability, gravity, rhythm and (im)balance.
The choreographers Anna Halprin and Simone Forti worked at Halprin's workshop in San Francisco along the same lines. In that period, their pure, non-narrative approach to dance inspired Bruce Nauman to make performances like Walking in a Exaggerated Manner Around the Perimeter of a Square (1967-1968) (video) and Slow Angle Walk (Beckett Walk) (1968), filmed at a tilted angle. As the title of the latter example suggests, Nauman also drew inspiration from the work by Samuel Beckett, depicting characters with no hope for the future and caught up in pointless, repetitive acts.
As it happens, Samuel Beckett also got the idea of a 'geometric mime' in the sixties. Ultimately, the idea would grow into the television play Quad (1981), 'a ballet for four people' that he wrote for television. The piece consists of four people dressed in white, red, blue or yellow walking across a square stage in fixed patterns and variations (just as, remarkably enough, was the case with the performances of Nauman).-Step-18.jpg/aid1640374-v4-728px-Shuffle-(Dance-Move)-Step-18.jpg)
(video) / (Video 2) Although technically, this is not a dance performance, it still clearly pertains to the pioneering movement art in postmodern dance. But also more recently, in 2005, choreographer Jonathan Burrows took to walking again in The Quiet Dance (video), a co-creation with the Italian composer Matteo Fargion.
It's clear that walking has come to play an important role in art, not in the least in (post)modern dance. However, walking is one thing, slow walking is quite another in the way that it is a very specific way to address and draw attention to certain themes. We could say that generally it deals with the same aspects that are the key element in walking meditation. Consciousness focuses on a physical experience in which the walker is (again) introduced to both his body and the environment that body is part of in a fashion that is much intenser than usual. In doing so, he is confronted with a challenge that is in theory quite simple, but in practice is only rarely part of our contemporary sensory world anymore.
In his short films Beautiful 2012 (2012) and Journey to the West (2014), the Malaysian director Tsai Ming-liang introduces a Buddhist monk moving extremely slowly through very hectic city centres (e.g. Marseille) (video). The contrast could not be greater which explains why it is so powerful. The filmmaker who regularly works with very long, uninterrupted shots, considers this slowness as an act of rebellion, a manner of protest. Making the passage of time not only visible, but also deliberately slowing it down, ensuring the viewer feels uneasy, tense and eventually even frustrated.
It is also remarkable that when slow walking is carried out in an artistic context, it is also often accompanied by a very deliberate intent to establish a change in the public's perception. The slow walk not only serves as a statement, it isn't walking for walking sake. The spectator is not just a passive observer, his changed perception is part of the performance. This is doubly so when the audience is asked to participate in the process and start a slow walk themselves.
In 2015, Marina Abramović set up "Project N° 30" on Pier 2/3 in Sydney for the Kaldor Public Art Projects. For twelve days, the public could engage in a series of exercises that were all set up around the concept of 'duration' that explored physical and mental boundaries and magnified details through a simple assignment or act. In addition to counting grains of rice or staring into the eyes of another person, it also involved the 'slow walk' (video).
Coming back to dance again, we see that slow walk has also made an entrance here. As early as in 1970, Yvonne Rainer integrated a slow walk ('M-walk') in the anti-Vietnam performance War. A more recent example, closer to home, was 100 pas presque during the Festival Kanal in Brussels in 2014. The choreographer Taoufiq Izzediou travelled 100 meters in one hour with his dance company. In doing so, he said he wanted to ask some significant questions about the relationship between the individual and his environment but also, and especially, about the place of modern dance in today's world and in public space.
It certainly isn't the first time either that Anne Teresa De Keersmaeker makes a connection between walking and dance. One of the fundamental principles on which she has been building her choreographies in recent years she refers to as 'My Walking is My Dancing', just like the title of this project. The productions En Atendant (video), Cesena (video), Partita 2 (video) and Vortex Temporum (video) were based on this. In doing so, De Keersmaeker chooses the "simplest of movements; the movement of walking and running and the changes therein. The rhythm of the body appropriating the space." It is a form of improvisation in which the act of walking undergoes a variety of transmutations (e.g. by walking backwards or going twice as fast, etc.) giving rise to a broad range of means of propulsion. One of the most recent creations, Golden Hours (As you like it) (video), for instance, starts with a slow walk.
It is carried out by all dancers to Brian Eno's song that shares the name and which is looped endlessly.
And then, on 23 September, during the Festival d'Automne, Rosas presents the project 'My Walking is My Dancing'. With the slow walk and the workshop, De Keersmaeker wants to demonstrate that walking is dancing, and that everybody has the ability to dance, anytime, anywhere. It is an opportunity to prove that dance can bring people together in the public space in a unique, spontaneous and accessible manner and may furthermore contribute to changing our perception of that space.
REFERENCES
- Exhausting Dance: Performance and the Politics of Movement. André Lepecki, 2006
- The Art of Walking: a Field Guide. David Evans, 2013
- Walking and Mapping: Artists as Cartographers. Karen O'Rourke, 2013
- Meditation for Peace: a Comprehensive Guide for Discovering the Joys to Achieve Peace and Calmness. Calista Dion, 2015
How to learn to dance shuffle - Lifehacker
December 15, 2019LikbezSports and Fitness
Master the basic movements, and then improvise and get high.
Iya Zorina
Author of Lifehacker, athlete, CCM
Share
0This dance style includes a lot of freedom and improvisation. That is why he is so good. You can master the basic movements in a couple of hours, and then complicate them to infinity and combine them with each other, create your own combinations and spy on others.
Dance in sneakers, socks or barefoot, in any outfit, anywhere.
Master the basic movements of the shuffle
In this style, you do all the basic movements with your feet, your arms most often move freely - according to your heart.
Running man
This is the most basic and essential shuffle movement. You can do it in three different ways.
Full foot
The movement begins by bending your knee and lifting one leg. Next, you need to simultaneously put both legs - supporting and raised - at a distance of one step from each other.
The raised leg is placed forward on a full foot, the standing one behind slips back on the ball of the foot and remains on it - the heel is not placed on the floor. The weight is evenly distributed between the two legs.
After that, it remains to return to the starting position. To do this, the front leg slides back, and at the same time, the back leg is pulled up. You find yourself in the starting position and repeat the cycle. The movement itself is soft and springy: do not stick into the floor, keep your legs relaxed.
Heel
This is a lighter and faster running man look that may be needed for some combinations. Here you put your foot not on the whole foot, but on the heel. At the same time, the one standing behind remains on the toe.
On pads
In this variation, the foot is placed forward on the pad. At the same time, the one standing behind also remains on the ball of the foot, and the body leans slightly back.
T‑step
In this movement, one foot constantly makes a “herringbone” - turns the heel in and out - and the second touches the floor and immediately rises back.
When the heel of the skating leg turns inward, the toe of the other leg touches the floor; when outward, the other leg rises, turning the knee inward.
It turns out two positions: closed - when the legs are wrapped with the knees inward, and one leg is raised, and open - when the legs are turned out with the knees outward, and the toe touches the floor. Practice doing the T-step in both directions: slowly at first, then with acceleration.
Rocking
You jump on one foot, and the other touches the floor in different places: on the side of the supporting leg, across, behind - anywhere you want. You can put your foot on the toe or on the heel - the latter is called a kick. The supporting leg can simply rise low or perform a T-step - move the heel out and in.
Charleston
To begin, you turn your knees and toes inward and lift one leg. Then turn your toes and knees outward, and put your raised leg forward crosswise. Repeat the same with the other leg.
All movement occurs on the balls of the feet, the heels do not fall to the floor. You can move both forward and backward.
Diamond
First you put your feet crosswise with your toes outward with a jump, then you also spread your legs apart with a jump.
Slides
One leg is straight, stands on the whole foot, the other is with a bent knee on the pad. Leaning on the pad, you slip the foot of a straight leg back, as if wiping the sole on the floor.
Immediately after the slip, you turn around. In the turn, the straight leg bends and goes to the pad, and the one that was on the pad, on the contrary, turns on the heel. After that, it remains only to change legs and move in the same way in the other direction.
Scissors
From the starting position - standing with a raised leg, as in Running man - you turn your hips to the side with a jump and put your legs crosswise.
The front foot is on the heel, the back foot is on the ball.
Then you jump back to the starting position and do the same on the other side.
Sidekick
From the starting position, you turn your hips to the side with a jump and spread your legs a step apart from each other. The standing foot in front is placed on the heel, the standing one behind remains on the pillow. Then, with a jump, you collect your legs and do the same on the other side.
Try other variations of the basic shuffle movements
You can perform the basic movements in different directions: forward and backward, turning around. This will give you more freedom to improvise.
Variations Running man
Do several times in place and then turn around. You can also try walking this way to the side. Each time the leg will need to be placed slightly crossed in order to slowly move to the side.
Variations T‑step
You can lower your foot on the toe, on the whole foot, touch the floor to the side of the supporting leg or forward and behind it.
You can also keep the other leg off the floor at all - leave it on the toe and turn the knee in and out.
Variations Diamond
Here one more element is added to the movement – the heel strike. In the starting position, you wrap the toes of the feet and knees inward, and then jump on the heels, turning the socks to the sides.
From this position, without jumping, you turn your toes and knees inward, cross your legs with a jump, turning your feet with your toes outward, and then return to the starting position.
Charleston Variations
After three turns of the Charleston, turn both toes in one direction and then in the other. At the end, you can turn the knee to the side.
Connect familiar shuffle moves
While you lack the skills to move freely and come up with something of your own, learn a few combinations. They contain interesting movements that will replenish your dance vocabulary.
Combination 1
This is a simple combination of two basic movements - Running man and T-step.
First take five Running man steps, then four T-steps to the side and repeat the same in the opposite direction.
Combination 2
Another combination of two basic movements. Here you do three Running mans, then one T‑step with a back foot touch, and two front heel touch kicks. The same on the other side.
Combination 3
There are no standard steps here, but there are already familiar Sidekick and transition from heels to toes.
Learn more difficult combinations
We will add some videos with good combinations.
1. Cool video for beginners: movements are repeated in slow motion to make it easier to dance to the music.
2. And here the combination is analyzed step by step in slow motion, dividing it into three parts. Very comfortably. Look for more on this channel, there are several such analyzes.
3. There is no slowdown here, just a great combination. But you already know almost all the movements, so you can figure it out. If something is not clear, watch the video at a speed of 0.25.
Pick up the music and improvise
Surely you have favorite songs to shuffle to. Include them and start with basic movements: just do the Running man and periodically add different elements when you want. Move in different directions, relax and have fun.
If you don't have favorite tracks, try our selection.
I must say that the shuffle is an amazing cardio workout. In just a couple of tracks, you will be out of breath and sweat, like after a run, but you will feel absolutely happy!
What's more, if you have to force yourself to keep going while running, shuffle requires you to have the willpower to stop and not dance.
As a bonus - a short video from a beginner after a couple of hours of practice.
Shuffle is cool!
Read also 🕺💃🤸♀️
- Dancing as a sport: choosing the right direction
- Dance and movement therapy: how to know and change yourself through movement
- How to learn to dance: video lessons for those who are not afraid to try
- How to learn street dancing without leaving home
- Zumba is a fun way to lose weight for those who love dancing
*Activity of Meta Platforms Inc. and its social networks Facebook and Instagram are prohibited in the territory of the Russian Federation.
I want to go to the dance, but I have a problem remembering the movements very badly
I want to go to the dance, …
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#2
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Witch
to master the dance you have to practice for a very, very long time.
don’t worry, I don’t have an ear for music at all, it’s hard for me to get in time, the rhythm of the music. But I'm an excellent dancer and often performed at various competitions before.
#10
once at the screening a year ago, I just disgraced myself for myself: we were shown 3 eights, I was the only one out of 20 people who could not reproduce. I was accepted into a beginner group. I have been dancing for 2.5 years, 3 times a week, and only now I began to feel some progress. I began to remember faster. Moreover, many movements are often similar to each other, so it becomes easier, you can predict the next movement, as well as combine it yourself and get new eights.
And in a dance group of 10-20 people, there will definitely be people who have similar problems - so don't worry.
Also, our trainer very often gives us coordination exercises, which also help to develop muscle memory.
Well, the simplest thing: with the left hand we draw a triangle in the air, and with the right hand at the same time a square, or the hands make some movements, and the legs others.
if you really have a desire to learn to dance - sign up - you won't regret it.
#11
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9000#14
no, it's not too late. Since groups are formed taking into account age and level of training.
#160002 I have 3 dance directions .
. Ballet, East and Hip-Hop ..
and think about the movements I can’t remember at all (
well, in ballet and in the east, more or less, but Hip-Hop .. in general, tin. .everything is very fast there..so I can't remember anything..
#18
I didn't do much dancing...and that's why my muscle memory is not very developed. ..
I work as a pj...with improvisation in the dance like normal...but I remember the last dances, and when I remember...it still takes time to do it all correctly and beautifully...other girls from work easily remember ... but I'm not (((Am I really that stupid ((???
#19
Although it is possible that you don't do much dancing.
#20
I train my memory - I learn links from videos) it seems to be a little better with my memory)
I really like to dance, but because I remember slowly complexes are added(
#22
Guest
Late 30? Average age probably 18-21?
it's not too late, trust me.
Nothing, it's never too late)))) I'm 45, I'm into club dancing (GO-GO), I even managed to perform. But I really remember the movements very slowly, I have to take additional classes so as not to let the speakers down. Came here to fix my problem. Everyone remembers the movements quickly and is already working them out, but when I return home I can’t remember anything myself))) And the performances, it seems, will now be constant.
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Tape
I studied at home on my own using CDs, I realized that it is difficult for me to remember the movements, I need to review the movements 10 times, repeat five times.
And if you go to a group, no one will repeat that. What to do? How to develop muscle memory?
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tape
studied at home on her own at home independently on disks, I realized that it is difficult for me to remember the movements, I need to review it 10 times, repeat five times.
And if you go to a group, no one will repeat that. What to do? How to develop muscle memory?
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#46
is familiar to pain ...
Girls, TA, TA, TA, TA, TA, TA, TA, TA, TA, TA. same problem! Recently went to fitness dancing! But just some kind of tin! I can’t remember, sort of like, elementary ligaments, if you look from the side !!! True, I have been - a couple of times, so far.
But in my opinion it doesn't matter. Clear coordination and memorization - either there from the very beginning, or not, and appears through exhausting training of the body and memory. Stupidity has nothing to do with it. Although, I will not hide, the teacher herself is sometimes in shock) She wants the whole group to dance - as one! Only, some - months of movement repeat, and some - brand new ones come. It is clear that everyone has "their own level" and, in mastering the "new" is the same. People are all different! More from school! Some solve the problem in a minute, but with errors. Others - in 10 minutes, but correctly. Some only draw, while others only sing. And try to put the artist behind the keys! Simply, with age, the level of claims increases, both to oneself and to the environment. And, of course, it's not a secret for anyone that many are understanding, while others simply BRIGHT AGAINST THOSE WHO MAKE MISTAKES! It certainly plays into their hands (psychologically). In general, my opinion.
