Modern social dancing is not just a beautiful act, but also a useful hobby. exercise stress and from personal wayпознакомиться. In this compilation, we want to tell you about nine of the most popular social dances that anyone can learn.

1. Swing

Swing originated in the southern United States in the 1920s during the popularity of jazz - it was often danced to the compositions of Louis Armstrong. At that time, there were no original musical and dance styles in America, and jazz, with the swing that grew out of it, became the first manifestations of primordially American culture. For the first time they began to dance it in Harlem, the first swing dance was called the Charleston and was performed without a partner - the dancers simply abruptly threw their legs out with their heels, which resembled traditional dances African peoples. Little by little, the Charleston transformed directly into swing: the figures became smoother, they danced in pairs - the partner held the partner's hands.

Dynamic and beautiful swing was danced in clubs all over the country, and almost every city had its own style. The figures and technique of dancing changed over time, new directions gradually appeared: lindy hop, bilboa, and much later - boogie-woogie and rock and roll.

Modern swing is characterized by very fast and smooth kicking, high plasticity and emotionality. The partner plays a “leading” role, he directs the movements of the partner, who is required to be sensitive and able to adapt to the partner. The dance is built mainly on improvisation - freedom of movement is not limited by almost anything except jazz musical rhythm. Rehearse swing mostly just before the competition.

There is a swing school in almost every major city peace. There are international competitions where the so-called "ballroom swing" is most often performed. It is characterized by clear, smooth, interconnected movements and bright dance composition like in the video below.

2. Argentine tango

Argentine tango first appeared in Argentina and Uruguay at the end of the 19th century. Oddly enough, it was danced in brothels and gambling establishments, where men spent their time looking for affordable entertainment, women and dubious romance.

The customs of that time were quite strict, so that decent women could not even allow a partner to put his hand on her back - this was already considered reprehensible. Therefore, prostitutes were the first to dance the tango. The tango was characterized by close hugs, intertwining legs, grabbing, stroking and flirting glances, all with a blatant hint of obscenity. Of course, the women did not dance for free, and soon the men began to get together and practice on their own.

Tango gained wide popularity almost half a century after its inception. The young men taught dance, though less frank, to their girlfriends and relatives. From Latin America, tango came to Europe, where it acquired a modern look.

Now passion, close contact of partners, fast movements are typical for dance. The main role is assigned to a woman - all complex figures such as throwing out legs, turns and steps fall to her lot, the partner for the most part only supports. Argentine tango is popular all over the world. There are a huge number of styles, the most common of which are milonga, salon and liso. Improvisation plays a very important role in this dance. However, in international competitions held in all parts of the world, it is believed that a truly beautiful and professional dance should be rehearsed.

3. Viennese waltz

Contrary to the name, the Viennese waltz appeared not at all in Vienna, but in Germany, and a very long time ago - the first mention of it dates back to the 12th century. It is believed that it was then that the Bavarian peasants began to dance a similar dance. Later, the fashion moved to France - the appearance of the waltz is described in the Parisian newspaper La Patrie in 1559. Beautiful dance very soon gained popularity among the aristocracy - there are engravings and paintings depicting couples dancing the Viennese waltz, the most famous of which is the young Queen of England, Elizabeth I, flies above the floor in the arms of the Earl of Lancaster.

The main difference between the Viennese waltz and the classical waltz is that it is somewhat more dynamic, performed to faster, albeit smoother music. Like all waltzes, this dance is performed in three quarters, that is, there are three steps per beat. The man plays a leading role - he serves as a support and support for his partner, whose back during the dance is slightly tilted back in the shape. The Viennese waltz is a smooth dance, without sharp turns and tilts - it creates the feeling that the dancing couple seems to be floating above the ground.

The dance is not so easy to perform, at least to learn how to dance it beautifully, you will need long training and good plasticity. The Viennese waltz is included in the top five dances of the European program, which says a lot.

4. Zouk

Zouk originated in the Caribbean in the 1980s. The word "zouk" from the French Creole language is translated as "party" - originally zouk was danced at parties and discos. As the dance developed, numerous schools opened, new directions appeared. In the music to which the zouk is danced, African, Brazilian motifs, elements of flamenco and other musical trends can be distinguished. Zouk has gained the greatest popularity in French-speaking countries.

Unlike most Latin American dances, there is no overt eroticism and sharp dynamic movements in zouk, it is performed to slow “dramatic” music, the dancers move smoothly and very plastically. Zouk is characterized by tenderness, humility, slight sadness and sensuality. In principle, it is quite simple to dance it, no special preparation is required, and anyone can take part in the competition by simply submitting an application. Of course, a couple of “masters” who deal with zook professionally will win, but this direction is also accessible to beginners.

5. Merengue

Merengue, both music and dance, comes from the Dominican Republic. The ancestor of the merengue is the tumba dance, which is not so common - it is very complex and is not suitable for the main purpose of social dances - entertainment and communication. A relatively simple merengue, which does not require memorization and reproduction of complex figures, quickly fell in love with young people and soon penetrated most Dominican parties. Now merengue is most popular in Latin America and the USA. Most of the performers live there.

Merengue is performed to incendiary dynamic music, where the main accompaniment instrument is the accordion. The contact of partners in the dance is minimal - both men and women dance his “solo”, touching rarely and mostly with their hands. Close bodily contact is not typical for merengue - both partners commit a large number of movements: rotation of the body, movement of the shoulders at a stunningly fast pace, circular movements of the hips.

Merengue is quite easy to learn on your own - improvisation is typical for the dance, and you only need to be able to withstand a frantic rhythm. As with all other dances from our list, there are competitions for everyone in the merengue. Of course, it will be difficult to get into international competitions as a participant, but at amateur competitions it is quite possible to have fun and learn something from other dancing couples.

6. Reggaeton

Reggaeton first appeared in Puerto Rico. Based on the name, basics musical direction and dance originate from reggae music. Over time, very little remained of the classic reggae in reggaeton, but you can hear echoes of techno music, rap, bombs, captivity and hip-hop.

This dance is relatively young - it was first danced in the 1990s at discos and parties. The main thing in reggaeton is a strong rhythmic beat, it is extremely easy to move to this dynamic incendiary music. In this dance, too, there are no obligatory figures, but very fast rotation of the hips and stomach and movements of the shoulders at an unrealistically fast pace are characteristic, and these movements are performed by both partners. Another feature of reggaeton is its provocativeness - in the movements of the partners there is a clear sexual overtone, challenge, passion.

Reggaeton is especially popular in Argentina, where friendly competitions are even held and broadcast on it.

7. Hustle

Hustle is another disco dance style. It first appeared in Europe and America in the 1960s and immediately gained popularity among young people, because it did not require special preparation, was simple to perform, and at the same time beautiful and romantic. Almost any music is suitable for hustle - it is enough to feel the rhythm a little, and you can whirl with your partner. Dance appeared in the USSR in the late 1980s. By the way, it is he who is shown in the film "Beloved Woman of the Mechanic Gavrilov."

In the hustle, unlike many of the above dances, there is nothing provocative. His movements are just a six-count step, inside and outside single turns and not too close contact between partners. Although the Hustle was originally a social dance and was invented as a way to have fun and get to know each other, it is now used as a sporting event. There are many different directions in hustle, but the most interesting is jack-n-jill hustle: a couple at the competition goes to the floor and dances an impromptu dance to music unknown to them. The level of the dancer is determined by one of the five classes - to get the next one, you must participate in competitions and win prizes.

8. Irish set dances

Irish set dancing originated in the 18th century. The merry Irish liked the classic French quadrille, perfectly suited to their folk melodies. The quadrille mixed with Irish dances like reel, hornpipe and jig, and the result was something unimaginable. In the next two centuries, it was danced everywhere: at village holidays, weddings, in pubs. Gradually, set dances replaced even the traditional Irish keili.

The most amazing thing is that the movements are mainly made only with the legs: all kinds of turns and jumps, sliding steps, overlaps and swift throws of the legs. At the same time, the body remains calm and hardly moves, and the hands, as a rule, lie on the belt. Irish dancing is a mixture of pride, hot temperament and mischief.

Now set Irish dances are no longer so popular - you are unlikely to meet them at discos - not the kind of music. But all over the world, many championships are held on them, the largest of which are the All-Ireland Championship, the British Championship, the American National Championship and the World Championship. All you need to learn Irish dance is the ability to keep up with the rhythm and breathe correctly.

9. Rumba

Rumba was invented, oddly enough, by African slaves who lived in Latin America. Their own culture during the years of slavery was closely intertwined with the culture of the Spanish invaders. The word "rumbo" translated from Spanish means "fun". Initially, the dance was really dynamic, the music was like the famous melody "Kukaracha". But over time, the rumba was divided into two directions - directly rumba and cha-cha-cha.

The dance is characterized by smooth, erotic movements and wide steps of both partners. Rumba is considered a ballroom dance. The main thing here is the emotional content, light eroticism and drama. Music is slow and smooth. Sometimes the rumba is even danced at weddings as the first dance of the couple in Latin America- the dance symbolizes family responsibilities and reverent love.

Of course, you can’t dance rumba at discos either, but this dance is popular throughout the modern world. It belongs to ballroom dancing and is one of the five standard Latin American ballroom dancing programs.

• Regular dance classes will make your body slimmer. During training, from 200 to 800 kcal are burned per hour - no worse than when doing fitness.
• You can strengthen the respiratory organs and the heart, increase the endurance of the body, cleanse the blood vessels of cholesterol.
• and gait - something that you can be proud of after regular exercise. Dancing will help you learn how to hold your back correctly.
• You will develop excellent coordination, responsiveness and flexibility of the body.
• Become communicative and self-confident.
• Learn not to be ashamed of your own body and move beautifully to the music.
• You will have the opportunity to express yourself. In dance, a person is completely liberated, which contributes to psycho-emotional unloading.
• You are in a great mood. After a gym or fitness training, many people feel tired, and after dancing, on the contrary, a surge of strength and vigor.

Which direction to choose

Hip-hop is a cheerful, perky and very energy-intensive youth dance direction. You will be able to express your emotions, feelings or protest, to be liberated thanks to the movements that the body itself suggests. This is drive and adrenaline, the spirit of competition and leadership. Rules and restrictions are blurred here, but at the same time, a bright, clear style is felt.

This direction is characterized by movements that are turned down, relaxed half-bent knees and the body, which is in a low fit. High jumps are replaced by sliding on the floor, there is a quick and unexpected transition from undulating and slow movements to sharp and clear ones. The dancer should appear completely relaxed and the dance should be cheeky.

Who suits

Anyone who is young or feels young, confident and daring. Hip-hop can be a useful hobby for your child. For children and adolescents, it will help strengthen the musculoskeletal system, correct slight stoop and form a proportional figure. Moreover, this dance direction educates volitional qualities and purposefulness, helps to show individuality.

According to research Kids inactive most of the time during dance classes, hip-hop is the most useful dance direction for a child: 57% of the training time a person is in motion. Scientists recognized flamenco as the least active: in this case, the children were mobile only 14% of the time.

Peculiarities

• home distinguishing feature: hip-hop is not danced to the rhythm of the melody, but to the beat that needs to be recognized and clearly captured in the musical composition.
• This is not just a dance, but a way of self-expression and a lifestyle. Hip-hop fans often wear clothes that emphasize their freedom: wide pants, sneakers, baseball caps, hooded sweatshirts.
• Hip-hop is always open to experimentation and improvisation. An important role in this direction is played by character, namely, confidence, self-affirmation, a certain stubbornness and perseverance. This type of dance will help you become more daring, psychologically liberated and open in communication.
• Such a dance perfectly works out the muscles of the legs, arms and shoulder girdle, improves fine motor skills.

Contraindications

Hip-hop can be considered a set, so the contraindications are standard, as for regular workouts. With extreme caution, people who have problems with the knee joints should be taken to such activities, as they have a large load.

Workouts combine aerobic exercise with elements seductive dance. Each lesson includes a warm-up, including stretching, and learning the dance sequences. The muscles of the legs and arms, hips and buttocks, abdomen, back and chest receive an excellent load.

Beginners will have to master the basic elements: waves with the body and arms, circular movements with the hips and chest, backbends while standing, sitting and lying on the floor. As you progress, the training includes complicated dance combinations with elements of acrobatics (splits, flips, racks).

Who suits

This type of dance was created for all girls and women, regardless of their physical form, appearance and age. If you not only strive for a beautiful figure and graceful walk, but also want to learn how to love yourself, attract and seduce the opposite sex, then strip plastic is ideal for you.

Peculiarities

• Strip plastic will help to overcome the complexes more easily, will provide an opportunity to see your body and its advantages in a new way, as well as correct or hide flaws. After regular exercise, you will not only look better, but also feel more confident and attractive.
• When teaching this style, much attention is paid to posture and, without which it is impossible to perform high-quality dance elements.
• The program also includes a fashion show. It will take a few weeks, and you will begin to move smoothly and uninhibited, and the gait will become easy.
• Another advantage is that many of the movements are done with arch in the lower back. Usually these muscles are poorly developed due to a sedentary lifestyle. This type of dance will be an excellent prevention of diseases such as scoliosis and osteochondrosis.
• During such a training, reincarnation takes place, you can reveal your sensuality and tell about secret desires, try on different roles - from a modest housewife to a vamp. You will master the art of attracting men and learn how to arouse their interest.

Contraindications

An obstacle to classes can be diseases of the respiratory system, heart, blood vessels and joints. With osteochondrosis, there is a limitation: you can not twist strongly in the spine. At the same time, strengthening the muscles of the back and abs, stretching the muscles of the hips, shoulder girdle and pelvis will help to significantly alleviate the manifestations of the disease.

This is one of the sexiest destinations, which helps to prolong the youth and attractiveness of a woman. Mandatory components of oriental dances are beats ( jerky movements hips) and vibration combined with smooth waves, circles, eights. Movement coordination is very important. The dance pattern should look holistic, capturing all the attention of the viewer.

Who suits

Ideal for mature women. Unlike jogging or aerobics, belly dancing is a gentle form of physical activity. This means that you can perform movements without putting too much stress on your knees, shins and feet.

Peculiarities

• You can start mastering the eastern direction even in poor physical shape: belly dance will independently prepare your body for the necessary loads.
• This type of activity helps to form a feminine figure. Since the movements of the hips in this dance are quite complex in terms of coordination, those muscles that are difficult to use during normal exercises are being worked out. Such fphysical activity contributes to a healthy flow and facilitates childbirth.
• After 2-3 months of belly dancing, women feel better in case of gynecological diseases. Blood circulation improves, especially in the pelvic organs, inflammation of the appendages disappears, menstrual pains are forgotten.
• Being engaged only in oriental dances, it is impossible to create a perfect figure, since this is a fairly similar load. Not all muscle groups are involved here, for example, the back of the thigh, the gluteal muscle, and triceps practically do not work.

Contraindications

Latin American dances (salsa, bachata, cha-cha-cha, mamba, rumba)

Latin American dances are known for their fiery, impulsive and positive nature. The lessons consist of three parts:

• Warm-up - semi-circular rotation of the head, hips, circular movements of the shoulders and the like.
• The main part is learning movements and their repeated repetition.
• Cooldown - usually static stretching exercises and dance moves at a slow pace.

Who suits

This type of training is ideal for energetic and emotional people. He embodies incendiary rhythm and clarity of movement. Latin American dances are also a great way to warm up relationships in a couple or make new acquaintances.

Peculiarities

• The main feature of such dances is the constant work of the hip muscles with a fixed position of the back and a springy step. Therefore, the main load falls on the muscles of the shoulders, lower back and legs. Also, this type of dance helps to improve the heart rate.
• One of the important features is that you will not even notice the load on the body as a whole. The maximum that you will feel is a slight pleasant fatigue. This is due to the proportionality of the load on the whole body.
• Actively engaged in Latin American dances, you can not only lose weight, but also pump your hips, if you have a tendency to do so.

Contraindications

In the presence of cardiovascular diseases and problems with the musculoskeletal system, such dances are contraindicated.

One of the most popular workouts for weight loss. It has been distributed in over 180 countries. This fitness program combines elements of hip hop, salsa, samba, merengue, mambo, flamenco and belly dance. Its goal is to work maximum amount muscles, without exhausting you with repeated repetitions of trivial exercises.

The direction was invented by the Colombian Alberto Perez (Alberto Perez) in the late 90s. He was a professional choreographer and dedicated his entire life to teaching others latin dance. Later, zumba became the basis for the training of many stars (Shakira, Beyoncé, Britney Spears).

Who suits

Zumba does not tolerate restrictions, it can be practiced by people of any age, men and women with any abilities and skills. All choreographic movements are simple and clear.

Peculiarities

• Training is like a party where everyone dances using complex combinations movements.
• You don’t need any special physical training to start exercising, so Zumba is great for beginners.
• The dance program is very diverse, which means that it will not be boring.
• The emphasis in training is on the lower body, which allows you to tighten your muscles well and get rid of cellulite.

Contraindications

Categorical contraindications are hernia of the lumbar spine, displacement of the vertebrae, diseases of the bones, ligaments, joints, thrombosis, problems with the heart muscle, high blood pressure, post-traumatic period, pregnancy at any time.

Contempo is a combination of dance techniques from Western (classical dance, modern jazz) and Eastern (qigong, taijiquan, yoga) arts of movement.

The main exercises are built by analogy with classical and modern ones: from simple to more complex. The lesson includes exercises in the stalls (work on the floor), relaxation techniques, as well as stretching.

Who suits

Amateur and professional dancers. Height, weight, complexion of a person are not important here. Contempo is suitable for you if you want to not only keep a good shape, move beautifully, but also know yourself.

Peculiarities

• Globally, contempo differs from other dance styles by its inward orientation, interest in the quality of a moving body, its relationship with space, time, and a partner. The dancer accumulates energy, thoughts, emotions inside himself, and then gives them to the viewer.
• The peculiarity of the dance also lies in the alternation of muscle tension and relaxation, falling and lifting, sudden stops (often on straight legs), balancing.
• Breathing during the contempo should be measured, as if it continues to move. Martial arts brought this requirement to the dance.
• Contempo gravitates more to the floor, while the lightness and expressiveness of movements are emphasized. Usually danced barefoot.

Contraindications

Standard restrictions for physical activities. Moreover, this type of dance is quite difficult, exhausting, and you need to be in excellent condition. psychological form for training. Long stretches, practicing jumps can exhaust a person with a fine mental organization and bring him into a state.

This is a rather complex set of movements, during which you need to keep the whole body in tension. Training is often exhausting, with a fairly large load. Before starting, a 15-minute warm-up is necessary to warm up the main muscle groups, after which the basic elements of the dance begin to be worked out. For the performance of this style, not only the movements of the dancer are important, but also their appearance, especially shoes. by the most famous view The Celtic dance that everyone knows about is the tap dance.

Who suits

Patient people who are attracted to the theme of social dancing. Complex combinations are inherent in this style, the elements of which will have to be learned not only in the classroom, but also at home (perhaps even mentally).

Peculiarities

• You have to get used to a rather unusual pose. The dance is performed on half-toes (the dancer raises his heels and stands on his toes), the upper body is motionless, the arms are always lowered. The basic rule is fast footwork.
• This is a group dance, therefore, on the one hand, you will have to give up all liberties, on the other hand, you will have to develop a sense of partnership when you feel yourself one with other people. Psychologists say that such training is especially useful for those who have difficulty joining the team or are afraid of communication.
• Music has a clear rhythm and requires the same precise steps. It is important to hit both the note and the foot.
• Another curious feature is that it is better not to practice any other dances before starting training. Classical choreographic training often gets in the way. For example, in ballet, the feet and hips are strongly turned to the sides. Here, on the contrary, the legs are always crossed. And forget about the hands.
• The system of Celtic dances is extremely interesting in that it heals the spine without missing a single section, no worse than a real doctor. The habit of keeping your back straight will form after a few weeks of regular practice.
• Constant training will form the ideal calf muscles. Although any kind of dance has a positive effect on the muscles of the legs, the Celtic ones receive a well-deserved gold medal.
• This type of activity does not give any load on the hands, so if necessary (or if desired), you need to work out this zone separately.

Contraindications

Large shock loads (jumps) do not allow those who have problems with the heart, blood vessels, and spine to practice Celtic dances. Progressive varicose veins are also a contraindication.

We have looked at several basic dance styles from which you can start your acquaintance with the world of dance. Take a few classes and you'll see what's right for you. When choosing, consider your age, the complexity of training, your physical condition and goals.

Striptease, Strip plastic, Pillon

Striptease is the art of seduction... It is interesting because it is able to reveal femininity, sensuality and sexuality in a dancer. Becoming on a par with a man, a woman of our time is increasingly forgetting to be a woman. Stripping refreshes instincts, breaks the shackles of stiffness, teaches you to express feelings and emotions. Pillar training, in turn, gives amazing physical training.

Difficulties: requires skills in rhythmic gymnastics, good stretch and beautiful figure.

Top Break Dance, Dup Step, Popping, Electric Boogie

The dancers of these genres are real "dance magicians", originating from the art of pantomime. What they do is amazing! Not for nothing, today there is no one cooler than breakers in modern dance. In their performances, we see the highest level of control over the body, the most complex elements, so unimaginable that sometimes it even hurts to watch. Excitement bordering on horror!

Difficulties: to really achieve something in breakdancing, you need to devote yourself to it. And you need to be extremely careful, it does not do without injuries.

Go-Go, Waking, Vogue

Just what you need for fashionistas who are hungry for the stage! The highest degree of posturing and acting skills. They play on the elegance of forms and lines that reveal the beauty of a half-naked body. Vogue and Waaking are "pathos for whites." The Vogue style is characterized by model poses, it imitates catwalk walking. The style of Waaking, which took a lot from Vogue, is dominated by hand movements (the name itself translates as “waving hands”), they borrowed many movements from locking. Go-Go is a looser style that mixes the previous two and adds elements of other styles, such as the strip. This is the most popular style of dancing nightclubs.

Difficulties: excellent physical data and moral readiness are required to perform on stage practically in underwear.

Jazz Modern, Contemporary Dance

Modern interpretation ballet, which preserves aesthetic traditions, but gives freedom and flexibility of technique, abolishing the rigid standards of the classics. Choreography is at the heart of these styles. Most of the higher educational institutions under contemporary dance are represented by Contemporary. But the paradox is that this genre is completely unsuitable for dancing to modern dance music. This is purely a stage dance technique.

Difficulties: To be successful in this style should be practiced from childhood.

Classic. Choreography

The highest "theatrical" form choreographic art, the embodiment of the highest aesthetic ideals. This is an exclusively stage dance, focused on the audience. It is characterized by strict standards and high requirements for performance techniques, many of which are performed at the limit of human capabilities. In terms of complexity, the elements of ballet can only be compared with the elements of break dance.

Difficulties: professional ballet classes do not go unnoticed. Extremely high demands leave their mark on the formation of the body, especially since ballet should be practiced from childhood, while the body is still supple. Possible damage to ligaments, tendons, joints, overdeveloped individual groups muscles and more.

Latin American dances, salsa, hustle

These destinations are extremely popular today. This is not only dancing, this is leisure, communication, discos. These styles bring people together: energetic, passionate movements, exciting swaying of the hips ... Although these are mostly pair dances, they are organized in such a way that you can easily change partners and make new acquaintances. And they don't require special training are fairly easy to learn.

Difficulty: on initial stage for lovers of complexity is not enough, the main thing is to find a suitable partner.

Lower Break Dance

The lower break is a masterpiece of modernity, bordering on the impossible, going beyond the limits of human capabilities. He absorbed the elements and style of Hip-Hop culture, performed by DubStep or Hip-Hop music. The technical essence of the style is the control of "torque" in all possible positions, i.e. continue to rotate with changes in position on any points of support, even on the head. This is the most complex acrobatics superimposed on the rhythms of music. Suitable for short, stocky dancers.

Difficulties: Extremely difficult to prevent injury

Flamenco

Folk spanish dance with mandatory traditional costumes. Flamenco is particularly dramatic and attracts a fairly mature audience. This is a spectacular and expressive genre filled with passion. He is characterized by a specific choreography of the hands, active beating of tap-dancing trills and luxurious pas in frilled chic skirts in a gypsy manner.

Difficulties: need a keen sense of rhythm

East Dance, Tribal

Art of seduction, erotic dance of the East (ancient striptease). It is performed in specific costumes with ringing scales, which enhances the musicality of the dance, synchronization with the music. Oriental dance is rich in all kinds of techniques in plasticity, rhythm, replete with small details and decorations. Really professional dancers fascinate with the beauty of the curves of a semi-naked body and clear, finely drawn movements. Unlike other styles, “oriental dancers” delight with the expressiveness of curvaceous forms, the ability to profitably reveal the features of the female figure.

Difficulties: small shaking, vibrations, harmful to the not yet formed female body.

The basis of modern dance, improvisation for the dance floor

Base of Modern Dance- dance format for the dance floor, suitable for music of different genres. This is a universal dance technique that is combined with any style, type and manner. It is not required to memorize dance sequences and performances, the dance is built on the principle of a constructor: there are basic elements and rules, how they fit together. Having studied several movements and learning how to combine them with each other, you can improvise under different music, for this, several months of training are enough. The whole dance is based on rhythm, plasticity and coordination of movements.

Difficulties: to achieve beauty and ease in improvisation, it takes time to restore atrophied muscle groups.

Shuffle, House, ElectroDance, Tecktonik, C-walk

Active styles for expressive youth: techniques with swings and jumps to music with a direct rhythm. Extremely energy-consuming, attract a lot of attention and require a lot of space. You will be unlucky if you find yourself next to such a dancer on a crowded dance floor, since this does not happen often, but these styles have become a hit at street festivals! These techniques turn you on - you just want to join and start dancing. But the dancers are not enough for a long time, because. the set of movements is not particularly large and varied, and all are quite energetic.

Difficulties: finding a place to fulfill them

R'n'B, Hip-Hop

Initially, R'n'B is a culture of funk, jazz and soul. She also contributed to the emergence of rock and roll. In the future, R'n'B and Hip-Hop began to actively mix, because. they are both part of the African American culture. Today, R'n'B as a dance includes any possible technique, but all of them are performed in a particularly pathetic manner, in the obligatory ultra-fashionable outfit. R'n'B classes are a great solution for those who want to "show themselves." This style gives self-confidence, a sense of one's own coolness and sexuality, it is a cure for complexes and insecurity, which young people lack so much; that is why it is purely a youth trend.

Hip-hop, however, is a serious direction, where the pathos is justified by the really cool training of dancers who do not neglect breakdancing.

Difficulties: constant psychological pressure within the team, where the spirit of struggle and competition reigns.

ballroom dancing

Pair dance with rigid choreographic standards. The dancers are completely attached to their partner, who is extremely difficult to replace.
Flaws: injury, occupational diseases. Considering that this is a professional dance for participation in competitions, the loss of a partner almost always entails the collapse of the dancer's professional career.
Advantages: fully reveals the topic of interaction with a partner. The highest form of possible paired dance art.

Strip

This is the most ancient, and at the same time the most modern style of dance. It is constantly changing, as the standards of femininity and masculinity change. You can dance it in different ways, but the meaning does not change. This is a dance that arouses sexual interest, allowing you to enjoy your image, the effect that you produce. This is the most emotional style of dance, in which the features of male and female movements are maximally expressed. There is a very thin line between the most beautiful and the most disgusting. Therefore, high qualification of the choreographer is simply necessary.

club dance

The broad concept of "club dance" includes many movements of various styles. They can be performed synchronously or solo. Club dance today is divided into 2 directions: to music with a direct rhythm and to music with a broken rhythm. Straight rhythm is classical Electonic music like Disco House, Techno, Progressive. A broken rhythm is a break beat, breaks, R'n'B, Hip-Hop.

Jazz-Modern

Born at the time of the relevance of ballroom dancing, modern jazz is a combination of classical techniques, street dance styles, jazz improvisation.

top break dance

A combination of all “old school” styles, such as plastic, slides, king-tat, robot. Break Dancing is exciting, vibrant, and colorful. For this reason, he became very popular. Break dancing first appeared in the South Bronx (Big Up's to da Bronx!) in the 70s. At first, it was danced on cardboard boxes laid out on the street, which turned the sidewalk into a stage. Street dancers mixed aerobatics dance with martial arts and disco dance, and each performer crafted his own style. Music poured from portable stereo tape recorders. Now it's a personal way to get in shape and have fun!

go-go

A dance technique that allows you to get a crowd of spectators using standard artistry techniques, wide, amplitude movements that capture attention, courage and game. One of the main elements of Go-Go is the expression of sexuality and the minimum amount of clothing.

street dance

In the early 70s, a huge number of groups dancing on the streets formed in the USA, subsequently reincarnating into culture. It has incorporated a popular form filled with elements of various dance styles.

Stage, power style of synchronized dance, which allows you to work out the quality, endurance. A large number of synchronous connections of popular movements and courage are presented.

Powerful dance style for the stage, where movements are performed with full force and at high speed. This style features a large number of "wide" movements, swings, rotations and reversals.

Slide man (Moon walk)

All kinds of moonwalks in all directions. This technique is perfectly combined with plastic. At the core of the style moonwalks, which give an illusory effect of sliding on the floor. The style includes more than 20 types of gaits. Swimming or sliding then semi is an illusion created with your feet. This creates the feeling that you are trying to go in one direction, but you are actually moving in another direction. A classic example of this effect is the 'Moonwalk' made famous by Michael Jackson. The actual illusion is an old Mime trick.

Disco

As a result of the "psychedelic revolution" of the late 60s, a culture of music, fashion, and dance was formed. The manifestation of one's individuality in this form is relevant to this day. The disco style influenced many other styles that appeared later.

R&B

It has gained great popularity all over the world, thanks to the music to which it is performed. This trendy dance direction helps to get not only an excellent sports form, but also provides an opportunity to show "aerobatics" in clubs. The style evolved from "Hip-Hop", became more diverse and complex. The abbreviation "R&B" stands for "Rhythm and Blues". As a rule, it is danced at the level of improvisation.

Trance

Trance as a stylization of dance technique, with a softer nature of movements based on the specific features of electronic trance music, absorbed mainly movements that anyone can perform without special physical training. This is a dance of deep feelings, not always clear to others.

This chapter describes the issues of lead and follow. Before proceeding to the discussion of these important topics, it is required to define the terms used in the following ...

The terms "leader" and "follower" do not necessarily correspond to male and female, although in most cases they do. These terms are quite politically correct, however, in the process of reading the paragraphs of this book, you may also come across the following synonyms: "partner and partner", "gentleman and lady" and, perhaps, expressions close to them in context.

Some terms may not be entirely appropriate for you, however, what can you do - social dances are generally far from politically correct.

About leading and following

"If you don't lead me," my sister said, "I don't move." Fifteen years later, I still remember her words. During this time I have grown considerably in many of the social dances that I first learned through her, but two things she gave special meaning still linger in me after many years... "If you don't lead me, I don't move!" and "Don't dance me into the furniture!"

The leading and following that takes place between two people on the dance floor can be analyzed down to the smallest detail and is perhaps the most complex form of communication that can take place between two members of the human race... At the highest and well-developed level, this communication is exciting and gives an immensely pleasant feeling for a dancing couple. Leading and following are skills that require a clear mind, good cognitive abilities such as learning, movement pattern recognition, and non-verbal communication. When you watch a couple of champions in the Jack-n-Jill nomination, you feel that improvisation is being created with you, which is a bright part of the art of dance.

There are many misconceptions about leading and following that are expressed by partners and partners alike. Poorly trained dancers sometimes think that the partner is only capable of limping on her own and the partner should bend from her dance figure as he pleases. it big mistake. Even if some people can tolerate this situation at the initial stage of learning social dance, it cannot last long - it is too hard for a man and too painful for a woman. The partner cannot control the location of each part of the partner's body. A partner without a good posture, the correct position of the body and legs, with a lack of tone in her hands is simply not able to lead. A partner without the same abilities will not be able to lead, as the lady will not be able to recognize the cues from the noise (and it may simply be physically impossible for her to do the required dance figure due to the partner's obstruction). Leading should not be tedious, it is exhausting only when the partner is not leading. Leading is not jerking and pushing. This is a message of intent. Dance is an art form that does not require the skill of an athlete.

Good leading/following is like a heart to heart conversation - you don't have to yell, you just need to speak quietly. As the dancers level up, all they need to do is just whisper. The dribbling should not be regarded as "tugging and pushing". Although some weak partners often say, “If I dance with a strong partner, I can lead,” they will need someone with the strength of Arnold Schwarzenegger in his best years, and then, after a good warm-up, to lead them around the dance floor. Similar suffering awaits a partner who gets a partner who has a vague idea of ​​what leading is and cannot move to the rhythm of the music and has no idea what kind of torture he is subjecting his partner to while doing this. A partner's job is not to drag a partner around the dance floor, and a partner's job is not to hang on a partner or reach for him like a sack of potatoes. Leading and following is a dynamic process requiring large investments from partners on each side. It is definitely possible to lead a partner through some very intricate steps that she doesn't even know about without much force. Perhaps this is beyond the power of most men. However, if a partner wants women to compete with each other, just to get a happy opportunity to dance with him, this is the first thing to be learned. Skill, not strength, is what must be chosen.

A partner who claims that he can lead any partner well does not create a good reputation with his colleagues. Partners who claim to be able to follow any lead also cast a shadow over the reputation of really well led sudarkas. Experienced dancers would never say that because it's a lie. John Wood couldn't have been world champion with any woman - Anne Lewis contributed to every little part of their success. To say that all a woman needs is a good lead partner is like taking away most merits from talented partners. It also puts too much responsibility on the men - all mistakes are assumed to be their fault. Sometimes partners say: "I'm just being fooled ...". This presents following as the easiest thing to do, which is usually not the case.

Partnership skills are vital to good dancing. It is very difficult to develop partnership skills when a couple trains on their own, since partnership is the most difficult element of training and it can take many years to achieve perfection. Partnership does not mean "learning dance lines". Partnership involves understanding how to make two individuals one, moving around a common center. When preparing for a competition, dancers have to work hard to improve their partnership skills, which is much more difficult for couples who are used to "using each other" than for those who are formed from people who did not know each other before. For example, when I'm training while working on my technique, the slightest change (such as a fleeting delay in changing weights) completely discourages my partner. She starts complaining that I don't feel right, or she interprets the change as a lead for some other move that I didn't plan. However, the same technique works great with other smart partners, with whom I often dance. Obviously, a long-term partner is so used to his soul mate that any improvement or change is taken very tightly. (I have heard similar statements from Jim Maranto - US Champion in ballroom dancing about his partner / wife).

Even sports routines are underway. Every athlete trained to “dance his part and let his partner dance her part, and no lead is required” has been trained incorrectly. Judges notice differences between couples with real "link", dribble/follow, couples who just move according to their pattern. One of the athletes wrote: “Ballroom, like social dancing, depends on leading and following, even during competitions. My partner and I in standard ballroom dancing have a few pre-choreographed transitions that we use during competition, however I still depend on him to lead so I know exactly what we're doing, where we're going, what timing he's using now, and what his mood, expression, at the moment. Another athlete wrote: "Definitely dribbling is necessary, even in sports Latin American dances, where the routines are choreographed to the root. My partner and I spend countless hours working on the little things, but that's just one side of the dance. Good lead and follow is critical to Latin American dancing, both for control and balance, and simply because good lead and follow is a thousand times more enjoyable for both partners.” Even without dancing with anyone you will be able to see the difference between athletes who cannot lead or follow. Just watch how couples move on the dance floor in relation to others. Since they dance their own patterns, they have not developed or practiced the process of leading and following (which is necessary for the "feel of the dance floor" vital for avoiding obstacles and unforeseen intrusions into the dance line). Even while performing a routine, it is still sometimes necessary to unpredictably change direction or completely redo the routine, due to the fact that other couples are also dancing. Competition is not a place where leading and following should be absent. Even in Latin American dances, and even if the couple knows their routine, the partner must lead. Most of the steps performed during dance competitions require special attention to lead and follow. You can see this side of athletic couples dancing without any apparent effort, and it's because of the lead and follow.

Here's another side of good dancing where leading and following happens even when the couple is dancing side by side and not touching. This is not a typical lead, it is carried out by changing the posture of the body and fixing it with the eyes. During side-by-side dancing, the partner monitors the movement of the couples and possible collisions and can adjust or completely change the routine in this regard.

In the Jack-n-Jill category, when there is a performance with a regular partner, you can look quite modest, since the judging is heavily focused on the definition of leading / following. It is often noticeable when regular partners do a routine without leading/following. It is quite noticeable that the couple is doing a routine without the use of a lead: they are taking synchronized steps, but they look like separate people, not like a couple. I often test my regular partner, changing our routine as we go. When there are other couples on the dance floor, you never know what might happen. You may need to avoid a collision, or someone will simply forget which shape is next...

Partners, to truly lead, you must know the lady's movements for every piece you lead her through. Leading and following are very different skills, and following in the smallest part is just as difficult as leading. Recognition of dance figures in a noisy, moving environment is a very confusing task, which is equivalent to passing a figure when leading. Of course, there is one thing that only the lead partner can do - "feeling the dance floor." The leader is responsible for avoiding collisions, and this is a very difficult task, especially on a crowded dance floor and couples moving in different directions at different speeds. The partner has to do many things at the same time: listen to the music, decide what to do to it, think about their own movements as well as the movements of the partner, monitor the movement of other couples ... (this is not a complete list yet). And what is especially bad, when a partner starts his dance career, he needs to learn how to do it all at the same time. Naturally, the partner must also perform many actions, but the partner must not only perform, but also initiate them. In addition, there are many variations that differ only in the smallest details of execution, and the partner needs to take care of these details in order to clearly indicate which movement is required to be performed. And, of course, as a professional, he will maintain a relaxed conversation in a foreign language while leading dance figures of the highest complexity! :)

Following skills are just as important as leading skills. The dance is much more enjoyable when the partner gives only a gentle, not strong, lead to his partner, determining what he wants, and she perceives these body movements as a lead. For this to work, the lady must be sensitive and responsive to the sensations of the lead, and not imagine that the partner must literally carry her through the dance. The skill of following is greatly underestimated. No matter how much I try to teach beginners how to lead and follow, I always run into a hard time when I had to hammer in that dancing is a partnership - everyone in a couple must bear their share of the work, otherwise everything will fail.

Leading/following represents one of the ways of communication (partner to partner), but really good dancers on both sides put different forces into the dance in different time. And even if the partner is (usually) in control of the direction, timing and choreography, he should be aware of the partner's actions (how far she is, if she has finished on her line, if her weight is on the right foot to make the turn, and much more. other). This is vital, the woman follows, but the man must lead and follow, that is, the partner must know what the partner is doing and compensate.

A partner in creative control needs pattern-based thinking, with a descriptive frame that includes the dance floor, the space occupied by the couple, the spatial relationship, and the bond patterns between the two dancers. It seems that partners are most involved in the last component of the descriptive frame, that is, they respond to communication patterns. Following is more fun than leading because the follower (a) has much less room to move and (b) doesn't know what's next, so each dance becomes a "mysterious magical journey". Some partners point out that the best part following is being led through figures and steps that were previously unknown to her. When the lead is done well, a good partner will perform movements that are completely unexpected and unpredictable and with great pleasure.

Some partners complain about how hard it is to use the same repertoire of movements over and over again throughout the evening. They note that the partners have more fun, as they dance different dances all evening. However, one of the partners wrote: “A good leader will never dance the same thing with every partner. The path to this lies through a change in the set of movements from one partner to another. When I'm dancing with a beginner, it's hard to tell me apart from a good beginner. When I dance with one of the champions (whom I feel comfortable with), you can see big difference. And what's more, if you see me dancing with someone I've known well from dancing for years, it will also look different."

In addition to the study of the figures, the first place should be to analyze the possibilities provided by them both by the partner and the partner. There should be no mechanical execution of movements. Awareness of the possibilities adds new horizons for the partner, who must have in her head all the menus of possible movements at each point, not just the one that is habitually used. Since the partner does not know what movement she will be led to next, she needs to be ready for anything, and very quickly respond to the situation and the signals received, aimed at ensuring that the action is performed without any additional discussion. This skill, in some ways, is very close to such spatial or "pattern-based" thinking of partners as "feeling the dance floor."

What can be managed and followed

One aspect of leading and following is what is leadable and who can follow it. Some new learners dance at best once a month and are more likely to learn by taking lessons than dancing. However, these people are still in a better position than those who dance once a month with no lessons in between. One of the local teachers (Michael Gillon) identifies three categories of lead dance patterns:

1. Ones that everyone can follow (even someone from the street)
2. Those that a follower who is familiar with the style of dancing but does not know the pattern will be able to follow.
3. Those for which knowledge of a given figure is necessary in order to follow

It is important to separate the figures to lead different levels of partners, because you will break the heart of the partner and burn with shame yourself, trying to perform a type 3 figure with a type 1 follower.

One of my teachers gave me some solid advice for dancing with less trained partners:

• Adapt to their smaller skills so as to make your partners look good and don't minimize your dancing technique
• Keep an eye on the partner's balance all the time, because a partner who is out of balance can fill up the whole pair. If such a feeling of imbalance arises during the dance, it is necessary to give more support on your part.
• Remodeling your dancing style for a less experienced partner is thoughtless. In this case, the dance becomes a very difficult task compared to the usual conduct.
• Create situations in which the lady will not be able to doubt your intentions - limit her choice.

Previously, I thought that ballroom dancing leading is little needed, since the partner is already ready for each next step, but this is not correct. If you are competing, you need to lead your partner well. She is possibly (probably) better than the average social dancer, and because of this makes best job with poor management. My partner and I agree that social dancing is the real test of your technique and professionalism. And, at the same time, just because I won't be able to do some of the moves with any social dance partner, we won't give them up in the routine. When I get stuck thinking "I want to lead anyone" during classes, we can't grow fast as partners.

I think that dancing skills can be divided into four levels:

1. Basic concepts (opportunity to lead a professional dance instructor)
2. Comprehension (being able to lead a good amateur who also knows the steps)
3. Good understanding (ability to lead an amateur who doesn't necessarily know the steps, but is a good dancer)
4. Master (the ability to lead almost any partner)

Interestingly, I have the most success when I dance with people who have never danced swing or Viennese waltz before. Swing is quite flexible to allow tight control over what the lady does. The Viennese waltz is too fast for the lady to have time to make a mistake. However, in slower dances where the partner has time to think and do what she thinks is right (instead of moving naturally), it is quite difficult to lead the beginner in the right direction.

Mario Robau surprised me by saying that he would gladly give up his two US Open Cups to dance well with any woman off the dance floor. One of the most difficult skills is the ability to dance well with any partner. It requires not only adapting your lead/following to your partner's style, but also adjusting your moveset to your partner's ability. Mario told me that when he dances with a woman for the first time, he takes her through "test" patterns, simple moves that she can follow but that show her ability to lead. After that, he chooses only those movements that she can definitely follow. An aspiring partner will never be harmed by dancing with Mario; he will always make her look good (as well as himself).

One of the common mistakes leaders make is trying to lead an inexperienced follower through complex movements. Experienced dancers should start simple, and work on more intricate moves when the new social dancer is ready for them. When you're trying to show a trendy move you learned in the last workshop and your partner can't handle it, you both look terrible... When you do the simplest moves with elegance and trust and your partner is happy and in rhythm, you both look fabulous. If the partner has lost the rhythm on the change, it is very likely that she will not get into the rhythm on the next movement, so make sure she is on the right foot before continuing the dance.

How partners can help new partners

New partners need a lot of help. And the best way to help your partner is to follow his lead, even if it's wrong, as opposed to compensating for his bad lead.

Proper following gives partners the right feedback. By feedback, I don’t mean verbal criticism, but direct feedback in the form of: “What happens if I click on this button?”.

If the partner does not lead or leads something else instead of what the lead meant, the partner must not compensate for the mistake and make the piece she is led to, she must not do anything beyond what the lead indicates. In this case, the partner clearly sees the result of his conduct. If the partner compensates, she takes away the effect of causation from the partner. feedback and he will never be able to lead correctly.

It is dangerous to try to teach or show your own criticism. Unless you are a teacher, of course, who knows what he is doing. If you just follow the lead, you don't criticize.

The fundamental question raised here is "how can dancers be most helpful to their partners?". I hope that a common understanding can be achieved if everyone leads or follows to the best of their ability.

One of the most difficult problems with beginner partners from tango to lindy hop, it's that they don't get carried away. They do not dance with their partners, but rather watch instructors and other couples, but are just as good at ignoring their partners.

It is very difficult to lead someone whose body is twisted in the direction of other couples or her feet. Sometimes I ask novice dancers to give verbal feedback about what is happening. If the partner doesn't even try to follow exactly my lead to the best of her ability, I won't make up for the mistakes she may be making and can concentrate more on my own dancing.

On the importance of dancing with beginners

There is no doubt that dancing with the best partner makes you look good, and that with such a partner you can concentrate on details, style and such, simply because leading and following does not require much attention. At the same time, this is far from the best way to practice lead/follow skills. If a learning leader only dances with an excellent follower (or a novice partner dances with an experienced partner), they won't be able to develop good lead and follow skills because they don't need to. A similar situation also exists when excellent partners dance only with partners of their own level. Leading/following skills are slowly degrading because they are not being worked on very much. After a few months without being exposed to beginners, you may be surprised that you can't dance well with them, even if they do quite well among beginners.

Learn how to dance by dancing better with more experienced partners. However, learning to lead/follow is best by dancing with less experienced dancers. Your skills will improve much faster when dancing with beginners than when dancing with experienced partners. It is easy to lead/follow with the best dancer, all your weaknesses as a leader/follower show up when dancing with beginners. Dance with beginners and ask yourself why every poorly led/followed movement doesn't work, and when you identify these mistakes, the need to correct a lot of your dancing becomes manifest!

You cannot become a good dancer if you only dance with one partner. In this situation, you will learn to dance well only with each other, and all the mistakes and bad habits of your partner will become acceptable and unnoticed for you.

There is a special type of leader who comes across again and again to someone who dances long enough: guys who want to dance only with the best followers, because they believe that only such partners can match them. high level skills. This is usually due to the fact that only the best partners will be able to compensate for their mistakes or individual characteristics dancing. Good partners make these guys look good despite their mediocre lead, but these leaders keep thinking they're the best because they isolate themselves from feedback. The best reality check is to dance with a much less experienced partner. If no one but the best partners can follow your lead, I will politely suggest that you work on your lead skill. This type of thinking among leaders greatly harms their dancing. I've seen guys overestimate their abilities and stop working on technique too early. As a result, they need a lot of time to improve their driving skills.

Oh, a slow dance: You've probably either loved him or hated him since high school. No dance can be that romantic, and yet, many people who have no problem shaking their buttocks all night long go to the bench when the music slows down. But don't worry - even if you don't know how to slow dance, you shouldn't sit on the sidelines at the end of the evening. If you want to know how to slow dance, you just have to master a few basic steps, trust your partner, and glide gracefully to the music. If you want to master slow dancing in the time it takes for K-Ci & Jojo to play "All My Life", just follow these steps.

Steps

get ready to slow dance

Ask someone to dance. If you want to start slow dancing correctly, then you must ask the person to dance as gracefully as possible. If you are the man who asked you out on a date, you can wave your hand to her and say, "Let's dance?" If you are the date girl, then gently grab your partner's hand and pull him as you ask him to dance. Even if you don't have a partner, you should still look the person straight in the eye when you want to dance with her or him, and even playfully smile or sneer at him or her.

• Don't worry if you're nervous - chances are, that person is nervous too. Cover your nervousness by smiling and asking with confidence.