Teaching me how to dance

How to teach the Chicken Dance in PE Class

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What’s Up PE Friends!

Today I want to show you how I teach locomotor and non-locomotor skills through dance. In the video shown below, you can see me teaching Chicken Dance to some of my younger students. We had tons of fun doing this and my kids enjoyed it a lot.  Normally I do this dance with my K-2nd Graders.  (If you’re looking for a dance for your older kids check out The Jump Dance) 

So before we start, you’re going to need the following:

  • Prep the music. You will need speakers and a music player.  I highly recommend connecting your phone via Bluetooth for this so you can move around with the kids and still control the song.  I’ve added some helpful links related to this below: 
    • The Stereo Setup in my gym
    • How to Setup Bluetooth Streaming in your Gym
    • All my Music Playlists I use in PE Class
    • There are also links to all my tech gear (like the wireless mic) on our Amazon Page if your interested
  • Set some boundaries for your students to move around during the dance and find open space

Once all these are set, you are ready to have fun teaching and dancing!

Check out the video below to see an example of how I teach the dance to my kiddos!

*For an overview of the wireless mic you see me using in the video above check out this post on my wireless mic

As you can see this is a good time to also review DIRECTIONS (Forward, Sideways, Backward) 🙂

As you can also see from the video, I start the class by teaching the basic steps first after I let them listen to a sound clip of the chicken dance.  The clip usually helps prep the kids for the dance.  The chicken dance is a 4 count dance, meaning four counts per step and there are guess what… 4 steps and you will do the Chicken Dance 4 times.  

So the magic number here is… wait for it… FOUR!

The Chicken Dance Steps

Non-Locomotor Steps:

  1. Beaks
  2. Wings
  3. Tail Feathers
  4. Claps

Locomotor Steps (Switch these up if you want):

  1. Skip
  2. Slide
  3. Gallop

I start with Non Locomotor steps first making sure that I count to four as I do the steps, then proceed in explaining to kids which locomotor we will practice during what I call “The Movement Break” which is the time between each Chicken Dance.

While we are moving I give the kids a cue to freeze and get ready for the dance by saying “BEAKS UP” and then we start the next round of the dance. 

The Basic Breakdown is Below:

  • 4 rounds of the chicken dance
  • Skip in the open space
  • 4 rounds of the chicken dance
  • Slide in the open space
  • 4 rounds of the chicken dance
  • Gallop in the open space
  • 4 rounds of the chicken dance


  • Use other locomotor steps aside from the ones I used
  • Have students perform square dancing moves with a partner during the movement break
  • Create a routine around another skill like dribbling, ribbons or scarfs 

More Resources for K-2nd

The Call it Macaroni Song

Another great song for teaching locomotor and non-locomotor skills in class is a fun follow the leader called “Call it Macaroni”.  You can check out the video below for an example of this one:

*Digital version of the song or CD available for purchase here

The Hokey Pokey Dance

This is a fun variation of Hokey Pokey that I shared back in 2016 – it’s a great one to throw in when you are working on HULA HOOP TRICKS and already have hula hoops out.  It also works on reviewing Right and Left sides of the body which is good for younger students.

Locomotor License Test

At the end of 1st Grade we assess students on Locomotor Movement Skills.  For this assessment we do something called “The Locomotor License Test”.   It’s a fun way to turn an assessment into a fun challenge that ends in a reward for the students hard work, you can download the free lesson plan and Locomotor License Cards HERE.    Also, I’ve included the video below if you want to check it out: 

That’s it for today Friends – Have a Good One!

*If your a Member, you can download the E-book in the membership forums 🙂

Reader Interactions

A Journey of Grace, Stumbling, and Following My Own Rhythm — Unpublished

I have found that in my adolescence, I often looked towards others as a basis for how my life should be. I made comparisons and deemed these thoughts as the foundation of my growth. I saw someone else’s dance routine and stole their foot placement, listened to the beat of another’s drum and figured mine ought to sound like that as well. I looked at the beauty of someone else and then at my own and frowned in disapproval.  

It has been a lifetime of comparisons that I have been subject to, and it is a lifetime of stolen joy that I have been rewarded. 

With social media around, it is not difficult to scroll through fifteen different collections of grandeur and luxurious photos and think: Wow, that is a beautiful person in a beautiful place with features I do not have to flaunt and money I do not have to spend. But it is especially important to make one small change in doing this. I can make the comparison and point out what is different, sure, but I remind myself each time how this comparison does not directly correlate to my recognition of self-worth. For me, this is a new weapon I have excavated from the dirt which I administer into my routine every single day. It is endlessly rewarding to derive such liberation from comparison, but it wasn’t always this way. 

I used to tailor my self worth to the height of another, and after stepping into something that was always too big or too small, I finally realized it was in my best interest to find something unique to my own size. Don’t be fooled though, this self-actualization did have its pros and cons. 

The main pro is sinking into the very core of who I am as a person and then surrounding myself with uplifting entities that force feed fulfillment. And yet, this can only exist at the expense of the con of it all — the brutal and hard work of stripping away all the conditional excess that has been built upon the blank slate I once existed as. 

The reflections that released these shackles of comparison, which have left scars on my left arm and have sent dull aches into my wrists, formed most efficiently through therapy. Therapy is, and has been, a great device to derive self-worth from. It has allowed for my brain to sit and paint a monochrome picture of myself, and it has been the only consistent ploy for peeling back the layers of low self-worth and critical self-talk that I subconsciously digested as a child. 

Therapy taught me to view everything as the shades of green on a willow tree’s leaves: No one leaf will be the exact same color, or have the exact same striation, but they have all the features that are already beautiful. I began to save the tree leaves in my notebooks. I have filled one hundred-and-thirteen pages with them. They are not all the same color, or the same size. But they do all share beauty that is finite.

It was a Saturday when I was journaling and saw one fall out. It swayed left and right then gently laid onto the ground until the wind picked it up with bare hands and guided it away. When my hair blew over my shoulder from the same gust I realized that, like those leaves, I too am finite. I wrote then that it is beautiful to love myself in this body, at this time, for however long I have until the cells reproduce and I see an old version of myself die, and witness a new version of myself reborn. 

So, what comes of this acceptance? For starters, I deleted Instagram for an undisclosed amount of time. I love seeing my friends but there are black thunder clouds circling around the app that clap each time I open it. I am also still tender underneath it all, and I believe the skin I currently wear is still piecing itself together, as if there are cells on the back of my neck showing signs of wear and the stitching in between my eyebrows hasn’t quite faded yet.  

I replaced looking at the stimulation of comparison with looking at my own merriment of fulfillment and I saw the mirrors I stare into smiling back. I know no publicized picture could capture the sensation of feeling a page written in daisies, so I let them exist as invisible for now. Leaves that fall onto my lap are still meant to be in bed with me and the words I type will continue to overpower my insecurities. The beat I used to drum to has changed its pace so many times that I keep having to teach myself to dance to new choreography, but how can I be wrong in my steps if I am only improvising? 

So, how does a normal rhythm begin? On 1, then 2, or is it on a sequence of 5’s, 6’s, 7’s? No, I realize, it only begins when I begin, and it only follows the same rhythm I follow. There is no wrong, there is no right, only my dance. And I will be dancing my heart out these next years.

Dancing in a dream: interpretation from dream books


Dancers: Pixabay

What does it mean to dance in a dream? Such a dream usually tells about pleasant things. What he saw testifies to the imminent prospects, the fulfillment of the cherished, the well-being and strengthening of the social significance of the individual. Is it really? Let's figure out why we dream of dancing.

Why dream of dancing according to Freud's dream book?

A world-famous psychologist claims that dreaming of a dance is a good sign if you enjoy what is happening. The dream speaks of problems that burdened, but will soon pass. A dream indicates that a person is experiencing a psychological discharge. nine0005

A dream in which you want to dance very much, speaks of too much sexual potential, which cannot be realized in reality.

If in a dream you do not participate in the dance, but you are watching nearby, but you get visual pleasure from what is happening, then the subconscious hints: you dream of trying something condemned by the public as immoral. We are talking about same-sex love, which you subconsciously consider attractive.

Why dream of dancing in a dream according to Miller's dream book? nine0025

What does it mean to dance in a dream? Miller's dream interpretation is interpreted as follows:

  1. Moving to music is a good sign. The dream hints that the problems that are troubling at the moment will soon cease to bother. Why dream of dancing alone? Leave everything to chance, once again do not overstrain, the result will be positive.
  2. What else will the dream book tell about? Dancing in pairs - the help that is so needed will come from a life partner.
  3. Dance also speaks of success in personal life. Subconsciously prepare for the wedding. It is important to consider the details of the dream. A dance with a chosen one or a chosen one speaks of auspiciousness. nine0008

For careerists, dancing in a dream speaks of future success, professional growth and promotion at work. If you are dancing at a holiday, then expect a quick profit.

Why dream of dancing in a dream according to an esoteric dream book?

What will the esoteric dream book tell about? Dancing in a dream has several explanations:

  • Stormy and funny dances - expect problems with the musculoskeletal system (dislocation, fracture, sciatica, and so on).
  • Slow pair dance - a long quarrel, divorce and problems in the love field. nine0008
  • Watching dancers is an unpleasant discussion in which you sort things out.

What else will the dream book tell? Dancing on stage - the subconscious hints at impending depression and illness due to envy of the well-being of other people.

Why dream of dancing according to Vanga's dream book?

Vanga spoke about dancing in a bad way. She believed that the desire to move to the music foreshadows:

  1. Imminent disease of the musculoskeletal system. Wanted to dance in a dream? The dream interpretation warns: go to a specialist and check the condition of the body. nine0008
  2. If you dreamed of ballroom dancing, others envy you. Expect unpleasant gossip and rumors.
  3. Cheerful dances in your house speak of quarrels in the family and with neighbors. Be attentive to others, beware of small conflicts, as they will develop into major problems.

Why dream of dancing according to Grishina's "Noble Dream Book"?

Girl dancing at sunset: Pixabay

Nina Grishina wrote about dreaming dances in her dream book as follows:

  • Dancing fast - expect exhausting work that will bring you to fatigue.
  • Simple dance - you are disturbed by thoughts of intimacy with a particular person. Another such dream speaks of psychological elasticity, which will soon help.
  • Go dancing - a confident attitude will lead to success.
  • Participate in a round dance - have become the goal of discussion, a gamble or an entertaining dialogue is ahead.
  • Get carried away by a dizzying dance - you have embarked on the wrong path to achieve your goal, do not intentionally think about the bad. nine0008
  • There is no way to stop during the dance - a feeling of impending danger that cannot be avoided has overtaken.
  • A sprained leg will tell about harm to the body and danger due to active actions accompanied by music.
  • Legs do not obey, they seem to have grown to the floor - you feel wrong, think about your inert and slow state, which will not lead to anything good.
  • The girl dreamed that her partner was spinning her around him - a signal of forgetfulness and absent-mindedness. nine0008
  • You are dancing with a partner or a partner - a person you lust for, are afraid of or are not completely sure of him.
  • If you witnessed a dance of a group of people, passions flare up around you.

What else will the dream book tell about? To dance a waltz - enter into a difficult relationship with a specific person.

Why dream of dancing according to an Islamic dream book?

In Muslim culture, dancing in a dream is an unfavorable sign. Such a dream speaks of a waste of time. Review your pastime, perhaps you need to change something in order to become more productive and efficient. nine0005

If nothing is changed, then the applied forces are in vain. More dances will indicate the problems that the dreamer himself will create. Be careful what you do so you don't get into trouble.

In a dream, someone from the family is dancing - quarrel with this person. For a patient, such a dream speaks of a deterioration in his condition, but for a prisoner, a dream is a good sign, since he will soon be released.

Why dream of dancing according to a folk dream book?

Why dream of dancing in a dream? The meaning of a dream depends on various factors. It is important to consider the partner, dance style and setting. General interpretations are as follows:

What does the partner testify to?

Dancing in a dream with a man - you will get married soon. Mutual understanding and harmony will reign in the family. Such a dream has another interpretation: family life with this person will become the subject of envy. Try not to show off your relationship.

Participating in a dance with several people circling? Expect a major scandal. Take a close look at your surroundings, quarrel with one of your relatives or friends.

Don't worry if you dance alone in your dream. This is a good sign that indicates financial gain, merit and success. Another good thing is dancing with a child. There will be more positive things in your life. Such a dream tells a woman: expect replenishment in the family. nine0005

What will the dance style tell about?

In a dream, dancing a waltz is family happiness. The problems of a loved one will improve, and harmony will reign in the family. For unmarried people, the waltz speaks of imminent marriage. Oriental dance is interpreted in different ways: you feel hatred or sexual attraction to a particular person. Round dances indicate a fascinating conversation, and a folk dance to a woman speaks of a meeting with her future husband.

In a dream, the dream book interprets dancing in different ways. The meaning is influenced by the partner, dance style, atmosphere, place and setting. Such dreams indicate quarrels, scandals, troubles, but at the same time they speak of imminent changes for the better. nine0005

Original article: https://www.nur.kz/esoterics/dream-books/1871858-tancevat-vo-sne-tolkovanie-po-sonnikam/

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. nine0005

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 observed 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. nine0005

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. nine0005

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. nine0145

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. nine0005

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. nine0005

Fallacy 3: special training is needed

For the 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. nine0005

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. nine0005

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. nine0005

Getting rid of illusions is a complex internal process. If you leave them to yourself, you can even get the opposite result.

Misconception 5: plasticity 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. nine0005

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. nine0005

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 tools 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. nine0005

Like any auxiliary tool, mirrors have both 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. nine0005

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. nine0005

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. nine0005

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. nine0005

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. nine0005

Misconception 9: You have to know a lot of moves to learn 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. nine0005

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. nine0005

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. nine0005

Dance, like the culture of speech, makes a modern person more successful and self-confident.

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