How to womp dance

womp womp dance | TikTok Search



For You



Mia Dwyer-Kim

I use to listen to this song everyday in the way to the World of Dance set! This was my hype song lol #fyp #mychoreo #wompwomp

19.2K Likes, 74 Comments. TikTok video from Mia Dwyer-Kim (@mia.dwyerkim): "I use to listen to this song everyday in the way to the World of Dance set! This was my hype song lol #fyp #mychoreo #wompwomp". original sound.


original sound - Myaudios_



Womp 👄😳 #fyp #foryou #foryoupage #fup #foru #xyzbca #wompwomp #edit #meme #dance #humor #forupage

TikTok video from Zenos (@imzenos): "Womp 👄😳 #fyp #foryou #foryoupage #fup #foru #xyzbca #wompwomp #edit #meme #dance #humor #forupage". original sound.


original sound - Zenos



WOMP WOMP TUTORIAL 🏃‍♀️! dc: @rileysaurage #ReplyToComments #dance #tutorial #fyp

1.2K Likes, 6 Comments. TikTok video from 🤩⚡️🐠🌴🌟🍭🛵⛱ (@tutorials_dances.tiktok): "WOMP WOMP TUTORIAL 🏃‍♀️! dc: @rileysaurage #ReplyToComments #dance #tutorial #fyp". DavidMorris LIVEFROMTHEHEARTLAND 304.245.6432.


DavidMorris LIVEFROMTHEHEARTLAND 304.245.6432 - rileysaurage


TyG 🤣✨

Here’s my #WompWomp tutorial! Start the song at 22 seconds! Tag me in your videos!🔥 (Swipe UP on my page to see the original video!)👀

37.1K Likes, 111 Comments. TikTok video from TyG 🤣✨ (@yeahitstyg): "Here’s my #WompWomp tutorial! Start the song at 22 seconds! Tag me in your videos!🔥 (Swipe UP on my page to see the original video!)👀". original sound.


original sound - TyG 🤣✨



filter kept moving😂 this my dance tho😝 #dance #fyp #wompwomp #bored

TikTok video from lilmana;) (@manashazmat): "filter kept moving😂 this my dance tho😝 #dance #fyp #wompwomp #bored". original sound.


original sound - Mighty Bay



Still can’t pull any tho 😭 #wokeshake #themepark #twins #wompwomp #challenge #dance #foryou #foryoupage #viral

69.5K Likes, 194 Comments. TikTok video from Shay (@shaylajay): "Still can’t pull any tho 😭 #wokeshake #themepark #twins #wompwomp #challenge #dance #foryou #foryoupage #viral". original sound.


original sound - Shay


Elevate Records

womp womp womp 🔊 #drumandbass #party #raving #dance #dancing #dnb #waitforit #micdrop #uktalent #uk #bass #drums #fyp #foryoupage #foruyou #fyp #fy

5.3K Likes, 39 Comments. TikTok video from Elevate Records (@elevaterecordsdnb): "womp womp womp 🔊 #drumandbass #party #raving #dance #dancing #dnb #waitforit #micdrop #uktalent #uk #bass #drums #fyp #foryoupage #foruyou #fyp #fy". ELEVATE LONDON. KMOTIONZ.



SAM AND THE WOMP have revealed the vibrant official video for: “Sun Dance”.

Home » SAM AND THE WOMP have revealed the vibrant official video for: “Sun Dance”.


by findyoursounds

Released today (2 September), the multi-platinum London band’s first music in three years is now paired with visuals as bright and energising as a sunny day. Traversing through a universe of technicolour wonderment, the new video finds the band busting-a-groove in honour of the heavenly body found at the centre of our solar system.

Watch Here:

Featuring the band’s leading lights Bloom de Wilde and Sam Ritchie, “Sun Dance” also sees a special guest appearance from UK-based Ghanaian vocalist K. O.G. (fresh from his appearance on BBC’s Later with Jools Holland), who lays down the track’s incendiary spoken word section and brings the moves.
Directed and edited by Bloom herself, the “Sun Dance” video was filmed by Mark Keshishian at Sugarland studios in London. The unique costumes were designed by Carley Hague, Kitty Joseph and Jylle Navarro, with make up by Kamila Forini.

Recorded at Love Electric Studios in North London, live drums come courtesy of longtime Womp drummer Juba Wetzler. Live brass instrumentation was orchestrated by Sam Ritchie (trumpet), with its multi-layered oomph provided with the assistance of long time band members Tony Rico (sax), Tom White (trombone) and new tuba player Christopher Barrett. Bloom de Wilde’s spirited, sunshine-soaked vocals were recorded at the Lullabye Factory in Amsterdam, while collaborator K. O.G. laid down his bars from his current base in Sheffield.

Engineered with James Carey, “Sun Dance” was edited in collaboration with Sam Ritchie. The final arrangement was sent to 2x GRAMMY Certified Recording and Mix Engineer, Producer Mack Woodward in the US and then mastered by Nick Watson at Fluid.

Fronted by award winning trumpeter Sam Ritchie and Dutch songstress Bloom de Wilde,Sam & The Womp draw on their eclectic heritage, breaking free of convention, prioritising the party and creating a cultural explosion. Renowned for their potent alchemy of Brass and Beats, the band have conquered festival stages around the world, performing at the likes of GLASTONBURY FESTIVAL to WEMBLEY ARENA, touring Australia and sharing bills with DIZZEE RASCAL, MIA, MARK RONSON, RUDIMENTAL, DISCLOSURE and BASEMENT JAXX. Perhaps best known for their seismic number one chart-busting single “Bom Bom”, the track recently hit UK Platinum and Triple-Platinum in Australia and continues to cause pandemonium across the globe.  

An irresistibly upbeat new track inspired by the rhythms of Fela Kuti, the international pop sensations return in 2021 in fine fashion. Embracing the summer season with a groove that couldn’t be anyone else, “Sun Dance” is a blazing, beatific and brassy new single of pure Afropop dynamite. 


2nd Sept – Bristol Lost Horizon 18th Sept – Worthing Pride 


Tags: music news music video new release official music video sam and the womp sun dance

Mexican Ballet |

The choreographic art of Mexico retains some features of the ancient dance culture of the Aztecs and Maya, which was quite high. The dances were accompanied by singing. They were performed during religious festivities with the participation of several. hundreds of dancers, were distinguished by their perfect technique, which required special training. Later, plot pantomime dances appeared on the themes of mythology, history, and everyday life. Subsequently, text was introduced into them. This is how a peculiar genre developed - a play-dance (one of them has been preserved - "Rabinal-Achi", in the Maya language). Dance. the legacy of the pre-Hispanic era can also be traced in the folklore Indian groups dec. regions of Mexico (the pantomime dance "Flying People" has been preserved). In the 16th century Catholic the church, in order to attract parishioners, introduced Nar. dances and comedy dialogues. During the colonial period, the dance developed under the influence of Spanish. dance culture. Next to Spanish fandango, sandunga, zapateado dances in the 17th-18th centuries. formed a dance. forms of Creole folklore - sleep, wapango, jarabe, combining dance with singing and instrument. music. In con. 18th century The dance also appeared in the theatre. stage, where Spanish-Portuguese vocal, musical and dance performances - tonadilla and folia - occupied a large place. At 19in. Italian influence spread in Mexico. and especially French dances, which prevailed until the 20th century. The waltz and especially the Cuban also gained popularity. dansa (or habanera), similar in rhythm to tango. After the Revolution of 1910-17, which contributed to the growth of the national. consciousness, dance the forms brought to Mexico by the Spaniards have lost their significance. Mex update has started. art. Immeasurably increased interest in the culture of pre-Hispanic civilizations. At the same time, the enrichment of art with social problems required the search for modern. forms of expression. New trends were reflected primarily in ballet music, especially in the work of comp. S. Revueltas and K. Chavez - the creators of the modern. mex. composer school. Topics life and history of Mexico developed in the music of Chavez's ballets - "The Four Elements" (1926), "Daughter of Colchis" (1946), Revueltas - "Traveling Tadpole" (1936) and continued in production. their followers D. Ayala Peres - "Man from the Mayan people" (1940), L. Sandy - "Bonampak" (1948) and J. P. Moncayo - "Zapata" (1953), whose sources of creativity are in modern. folklore and ancient music of Mexico. However, these trends were not immediately embodied in ballet practice. The first attempts were made in 1932 by the Campobello sisters, who opened a classical dance school and organized the Mexico City Ballet troupe. social and aesthetic. the aspirations of mex. arts. intelligentsia turned out to be closer to modern dance, with its attention to social problems and the search for modern. choreographic language. M.'s bases. were included in the con. 30s American choreographers - representatives of modern dance A. Sokolova and M. Valdin. From the 40s. M.'s formation began. At 1940 Sokolova created the Blue Dove troupe; it included G. Bravo, J. Lavalier, A. Merida, R. Gutiérrez, G. Case, and others. In 1940, Valdin organized a school and a troupe. After her departure, the Valdin Ballet troupe was created, led by Bravo. In 1947 comp. Chavez founded the National Institute of Fine Arts (INBA) (with departments of literature, music, theater, dance) - the center of mex. art, designed to unite the masters who protect and develop nat. tradition, and with him the Academy of Mex. dance - an organization for the creation, research and dissemination of Mexican choreographic. art.

The Academy (headed by Merida and Bravo) created the Official Ballet of the modern. dance of the National Institute of Fine Arts (or Ballet of Fine Arts). See Mexican Ballet of Fine Arts.

In con. 40 - early 50s around the Institute of Fine Arts grouped (in addition to the Ballet of Fine Arts) Nat. ballet (headed by Bravo), Contemporary ballet (headed by Reina), and others. As a result of the activities of all three groups, the concept of "M. b." The art of these troupes was based on modern dance combined with elements of bunks. dance. The themes and images of the performances were taken from traditions, legends and bunks. life. Often elevated to a symbol, they acquired the character of an allegory. Stage solution pl. performances were often defined by the works of meks. artists D. Siqueiros and J. K. Orozco, who were involved in the design of productions. The most interesting and consistent in the formation of this style was the group of Nat. ballet of Mexico (see Mexican National Ballet) under the direction of. Bravo. A special place in a number of Mex. choreographic collectives took the Ballet of Fine Arts, where many performed at different times. famous artists. At 1956, this troupe separated from the Academy, which began to function as a teacher. an institution that trains performers of classical, modern. and Nar. dances, educators, choreographers and dance researchers. folklore. The Academy has choreographic workshop and troupe Experimental ballet, where future performers and choreographers practice. Among the teachers: leading figures of the Meks. ballet by R. Reina, S. Castañeda, R. Noriega, N. Happy, Lavalier, B. Henkel. In 1956-58 the Ballet of Fine Arts was a conglomerate, which also included the National. ballet (director Bravo), Modern. ballet (directed by R. Reina) and the Mexican Ballet (later National Ballet, directed by G. Arriaga). Reorganized many times, often changing names, he worked at first in the style of modern dance (1956-62), then in the classical style. schools. In 1963 the troupe was disbanded and reorganized as the Classical Ballet of Mexico. From Ser. 70s The team was named Ballet Theater of Fine Arts. The increased importance of the technique of classical dance is the result of the expanding connections of M. b. with Cuban. In 1975, agreements were concluded with Cuba on cooperation in the field of choreography, training and education of ballet personnel. This cooperation aims to create a school of Latin American ballet based on ethnic and cultural community.

Successful activities of the Folk Ballet under the direction of. A. Hernandez (founded in 1952). The troupe performs dances, performances include nat. folklore. It consists of two troupes - touring and stationary. The team has three studios - two choreographic. and choral. In 1961, the troupe received the 1st pr. at the Festival of the Theater of Nations in Paris. In 1965 she toured the USSR.

Along with the teams that developed the nat. traditions, in the 50s. troupes arose that focused on the best achievements of foreign ballet: the New Dance Theater (founded in 195 by C. Francis and B. Henkel). his repertoire and performing style were eclectic; Chamber ballet (founded in 1958, directors in Happi and T. de la Rosa), which adhered to the neoclassical. orientations other than the traditional ones. classics ("Pas de quatre", "Sylphs", 2nd act of "Swan Lake", pas de deux from "Sleeping Beauty"), staged modern. ballets - "Wapango" Moncayo, "Duet" Salas, "Life" Diskinson, "Parabola" to the music. 12th century - all ballet. G. Contreras; "Variations" on music. Brahms, "Trio" to music. Albinoni - both ballets. Happy; "Ballet Jazz" on Sat. music (ballet dancer T. de la Rosa). By the 70s. these groups did not survive organizationally, but their creative direction was continued by the Independent Ballet (founded in 1966, hand. R. Flores Canelo and G. Orosco), which included productions of modern. mex. and foreign choreographers dec. directions (among them are M. Decombe, J. Fili and A. Sokolov with one of her last works "In honor of Garcia Lorca" at the music of Revueltas, 1973), and "Classical Ballet 70" (founded in 1970, organizer A Hernandez, director Happy), whose repertoire includes post. Happy, Contreras, Sanders and others. The best of the works - "Erotic flying for the world" by Sanz and Sanchez (1973. ballet. Happy, Fili, R. Marenko, directed by Miarnau).

Among other groups of the 50-70s: Concert Ballet of Mexico (founded in 1952. director S. Unger, since 1954 - F. Segura). in 1963, the main part of the troupe, including L. Urdapilleta and J. Cano, became part of the Classical Ballet of Mexico: the Folk Ballet of Mexico (founded in 1958, organizer, director and choreographer G. Arriaga), promoting mex. dance from folklore to modern. ballet; Choreographic workshop of the National Autonomous University of Mexico (founded in 1970, headed by Contreras). There are also troupes of modern and folklore dance at universities pl. cities (Guadalajara, Veracruz, San Luis Potosi, Guanajuato, etc.).

In Mexico there is a foundation for the development of folk dance (headed by Lavalle), which studies original folklore groups in decomp. regions of the country. Mex festivals have been held periodically (since 1966). dance.

Ballet. Encyclopedia, SE, 1981


see also

Tango Music genres

Hungarian music National cultures

Gloria Church music

Motet Music genres

Acknowledgment Church music

Legato Terms and concepts

Musical aesthetics Terms and concepts

Azerbaijani music National cultures

Greek music National cultures

Sextet Terms and concepts


Efimova N.

D. MARTA GRAHHAM'S CREATIVITY AS A SOCIO-CULTURAL PHENOMENON -2015. Issue 5 (8) September-October - Issues of magazines

Dance is the rhythmic movements of the body, which usually line up in a certain composition. And what is very important, they are performed under a certain musical accompaniment. Dance is one of the most ancient art forms. It reflects a person's need to convey feelings that arise at a certain point in time: joy, sadness, delight, pain, etc.

Dance as an art form existed at all times and in all countries. Dance art belongs to the culture of every nation to one degree or another, and this phenomenon is not accidental, because. folk art, including choreography, occupies a leading place in the social life of society. It performs one of the functions of culture - the socialization of people, primarily young people, adolescents, middle-aged people.

The social and cultural significance of dance can hardly be overestimated, because dance can be regarded as an interpretation of the codes of ethnic, national or cosmopolitan culture, as a sociocultural message, as an expressive plastic act of self-expression of a person, as a form of intercultural communication, and even as a way of ideological intimidation of the enemy. Gesture, movement, dance, plasticity are elements of the expression of feelings that arose long before the advent of written speech and even music, they are the language of communication in which people communicate with each other, with themselves and the world.

Originating at the dawn of human civilization, dance was a natural human need to express their inner emotional state and sense of belonging to the world around them, the need for rhythmic movements, a plastic form of mastering the world and organizing space. The natural habitat of a person influenced the formation of the entire system of his plastic language, while the dance from the moment of its inception was associated with the life and life of people.

The earliest forms of dances are ritual dances, which include initiation dances, worship dances. They carry a great semantic load, they are very symbolic. This is due to the proximity of people of that distant era to nature.

The dance reflected the unity of the religious and practical organization of society, which was reflected in the unity of the structure of the dance, verbal forms, musical accompaniment, the use of pantomime, graphic and sculptural means. All together personified the effectiveness of the ceremony. [1]

Gradually dance became an art. Today dance has acquired a new meaning and a new role. Of course, he retained all the other possibilities. It is still a spectacle, a pastime, a social ritual, and so on. There are other lines of development of dance: it becomes a sport (sports and ballroom dancing), part of therapy (nowadays fashionable dance therapy), the basis of social self-identification (for example, hip-hop and other youth movements).

The art of dancing developed, and the human body remained the expressive material of movement. The bodily plastic image of a person did not lose its attractiveness for works of art in various types of art. In dance, the bodily, external image of the performer, expressed in movement, largely expresses the essence of the artistic image. The justification of this statement is based on a feature that is defined in choreography as the “plastic form of the soul”, because plasticity is the most natural expression of feelings. [2]

Today, dance is an art form that has a special way of artistic reflection, within which a special type of artistic language is created through rhythmic-plastically organized movements of the body in space and time. For example, in Soviet ballet studies, dance was traditionally defined as an art form "in which the means of creating an artistic image are the movements and positions of the human body", which arose as a result of artistic generalization. [3]

Following the classification of art forms according to the ratio of visual and expressive principles in them, dance can be attributed to expressive arts, while it should be noted that among other types of expressive art, dance most gravitates towards figurativeness, the main instrument of which is the human body. [4]

Today, choreographers, choreographers, artists turn to images, plots, artifacts of fine arts for the purpose of their professional creativity, dance directing, which in general constitutes the synthetic nature of dance and puts this phenomenon of human culture, numbering hundreds of thousands of years, to a new level of compositional and figurative possibilities of art synthesis. The phenomenon of dance in the process of evolution of the culture of human society at each cultural and historical stage acted as a mechanism for expressing the spiritual and aesthetic content of the corresponding era.

There are many directions in the dance art, one of which is Martha Graham's modern dance, which belongs to modern dance. It is necessary to understand what is the social and cultural phenomenon of Martha Graham's work, if she still has so many followers.

Martha Graham - American dancer and choreographer (1894-1991). In her era, there were rigid stereotypes of male and female, ideas that, for example, men are cerebral and women are emotional, men in dance express themselves in straight-line pushing movements, and women in smooth movements along curved trajectories. Martha stated that she "doesn't want to be a tree or a flower or a wave". In her dances, she abandoned the standard view of femininity and strove to make her characters impersonal, conventionally formal, strong and even masculine. In the body of a dancer, according to Graham, the audience should see a person in general - disciplined, capable of high concentration, strong. This desire was especially reflected in her early work. [5]

If in ballet everything is rounded - the position of the hands, soft smooth transitions from pose to pose, then in Graham's dance, angular movements came to the fore. Here everything was sharp, abrupt, tense. The gaze did not rest, contemplating harmony, it (and with it the consciousness of the viewer) all the time, as it were, stumbled, bumped into bumps, corners, because, as Graham claimed, this is real life.

In her dances Martha Graham tried to reflect the life of her contemporaries, their national character and historical past. She was constantly interested in how traditions, life circumstances, local natural conditions influenced the formation of the character of the people. The early "pioneer" period in the history of the United States attracted her particular attention. So Martha Graham had the dances "Ancient Mysteries" (comp. L. Horst, 1931), "Border" (comp. L. Horst, 1935), "American Document" (comp. Ray Green, 1938), "Spring in the Appalachian Mountains" (comp. A. Copland, 1944), Doris Humphrey - " Shakers" (1931). [6]

Indeed, her dance was very close to the mood of the society of that time. The new art of her dance was nourished by the juices of her native land, absorbed what the air of the country was saturated with. She created her dances, trying to comprehend herself and her people with their traditions and moods. Martha has always been close to society. Looking at her dances, contemporaries said that at the same time the country itself stood up in them, with its breadth and power, with its open spaces, where plains stretched for thousands of miles or mountains rose, among which a person lived without borders.

Free initiative, democracy in the relationships of that time were reflected in her dances through sharp angular movements, passions on stage - this is what distinguished the work of this famous dancer and choreographer. Surprisingly, nature was woven into her dances. When Martha Graham staged Frontier or Spring in the Appalachian Mountains, the dance was dominated by broad, confident, free, open movements, echoes of cheerful folk American square dances.

In the dance compositions, just as in the society of that time, the adventurous spirit of the pioneers clashed with a puritanical upbringing, where the main attention was paid to external decency, piety and morality. Social problems developed into psychological problems. Martha Graham in the dance "Letter to the World" (1940) turned to the experiences of the American poet Emily Dickinson, whose poems reflected the struggle between puritanical religious mysticism and freethinking. She was also attracted by the work of English writers, the Brontë sisters (Deaths and Entrances, comp. H. Johnson, 1943). During the 1940s, Martha Graham's productions took on both greater scale and an increasingly sophisticated psychologism. This was expressed not in concert numbers, it was already a whole theater. But at the heart of her work has always been emotion, which ultimately took on theatrical form. In the art of Martha Graham, a new type of dance drama was born, where the narration concerned not so much external events as the movements of the soul.

Martha Graham was called the "Shakespeare of the dance" for the depth of her compositions and the reflection of the state of society. Especially willingly she turned to the images of ancient and biblical, church myths. These are ballets about Herodias (simultaneous production to music by P. Hindemith, 1944), Medea (The Cave of the Heart, comp. S. Barber, 1946), Oedipus and Jocasta (Journey Through the Night, comp. W. Shumen, 1947) , Ariadne and Theseus (“With a Message to the Labyrinth”, comp. G.K. Menotti, 1947), Joan of Arc (“Dialogue of the Seraphim”, comp. N. Dello Gioio, 1955), Clytemnestra (production of the same name, set by Halim El-Dabh, 1958), etc. [7]

She subjected the souls of her heroes and heroines to a deep analysis, capturing the subtlest nuances of emotions, penetrating into the subconscious. Moreover, these were absolutely modern productions. Dance became a means of self-realization. This coincided with the trends of modern art and literature, which paid special attention to the psychological analysis of a person, revealing emotionally contradictory experience, revealing the hidden motives of actions. Such a dance also responded to the needs of the modern American to solve psychological problems with the help of psychoanalysis, which was so widely developed in those years.

Of course, all the dances of Martha Graham are a huge connection with society, its culture and traditions. She proudly recalled later in her memoirs that at one time many teachers of the choreographic school, where she studied, said about her: "Graham is art." And in fact, Martha Graham, as the image of an American dancer, the creator of American modern dance, which appeared as a development of free dance, can be called a socio-cultural phenomenon of her time.

  1. 1. Kagan M.S. Morphology of art: a historical and theoretical study of the internal structure of the art world.

    Learn more