How To Breakdance

People have been trying to learn how to breakdance or Bboy since Break Dancing became popular in the 70's. The best method to learn how to breakdance is by finding other breakdancers and practicing with them. The moves may look difficult at first but if you practice constantly and do not give up you will learn them. My suggestion is to take it one move at a time and build up your skills. Many bboys or breakdancers create "sets" or "routines" that they practice over and over. They go from one move to the next and practice the set over and over until they have it memorized. This way if they get into a battle they have routines that vary in difficulty they know they can count on. The most important thing is that you take your time and practice the basics. As you practice your basics and master them it will make your sets better and it will make learning the power moves and more advanced moves easier. You can even look for breakdancing lessons and breakdance classes online.

The Internet

If you cannot find a crew to practice with there are many resources to learn the moves. If you search Google for " how to breakdance " and "how to do breakdance powermoves" many sites that will teach you how. Also if you search for breakdance lessons you will find people who can teach you online or come to your home. Remember learning how to breakdance is easier than you think. There are tons of resources from really amazing dancers who can teach you how to breakdance easily.

Dance Classes

Dance classes are an easy way to learn how to breakdance. If you can join a studio or take classes online and learn how to dance by streaming the videos and following along. Dance class is often under rated but you get access to great teachers who have lots of experience. Also most teachers are proud to have students and they will tap you into the break dancing community and introduce you to others.

Break Dance Moves

When you first learn how to breakdance, you can get overwhelmed by how many different types of breakdancing moves there are. You can break the moves down to three main categories

Style Based Moves

Style based moves are moves like CC, and six step. These are footwork moves that you can easily use to match the beat of the music and dance. They are called style based moves because style can be easily customized to fit the dancers style. These are relatively simple to learn.

Power Moves

Power moves are the more flashy momentum driven moves like flares, head spins and air flares. They are the showstoppers and the main reasons that most people want to learn how to breakdance in the first place.


Freezes are moves where you hold your body still and "freeze" for a while. There are so many different ways to freeze but the most common freezes are baby freezes and chair freeze. There are also Air Freezes, Hollow back and more.

Final Tips

If you really want to learn how to breakdance you are going to have to be patience and put in a lot of hard work and effort. The moves don't come easy but you will be rewarded once you get them. Join a crew or practice with your friends because the be bboy community is massive and a wonderful place. Dance classes are a great way to learn how to break dance and can connect you instantly to the bboy world. Once you join you will meet people from all over the world who share a love for what you do. Bboying is a lifestyle not just a dance. Learn how to breakdance and become a Bboy.

Original article

The Most Important Tip for a Salsa Beginner

When first learning Salsa, it's easy to make a few assumptions about learning this wonderful dance. Being a bit more experienced, I now wish my teacher or someone else had pulled me aside and said, "This is the most important tip for a Salsa beginner." Do it this way and you'll have no problems learning. So, just in case no-one has already told you what it is, I am going to.

I'll just give you a bit of background first. I'm a musician and I simply went about learning to dance the way I learnt to play the guitar. That is; learn the scales, learn the chords, practice them as much as possible (unless you're a bit lazy or pressed for time) and then play songs. That should work for Salsa dancing. Right?


It's just not the same with dancing. Salsa dancing, for that matter nearly all dancing, is partner work, and a man has to learn how to lead as well as dance. (Women need to learn how to follow.) Added to that, a combination is not just the fingers but the whole body (with the parts usually working independently). Finally, unless you have a partner who is learning salsa with you, and you can practice at home, nearly all your learning and practice is in public, whereas a guitar can be played alone and can also be played any time.

Salsa dancing is very different to other learning.

Also, I guarantee you that you are unlikely to remember all the combinations you learn at lessons. There are just too many. For one, they are stylistically your teachers, so some will simply not feel right for your physicality. Secondly, only the girls in the lesson will be able to follow you at first because they know what's coming (and they unconsciously lead you as part of their learning strategy). Try these combinations out of the lesson context and you soon realize how challenging it is to reproduce a whole combination with a partner who hasn't done the lesson.

In a nutshell, you are never going to remember it all - so don't beat yourself up about it and come up with a good learning strategy instead.

With that said, here is the most important tip for a salsa beginner.

Start with a very basic combination of your own of say, five or six steps/moves you know you can lead well. For example, forward and back, open out step, followed by a cross body lead, a right hand turn for the lady, a right hand turn for yourself (low hand), a cross body spin for the lady, and a Cuban turn. Tell anyone you dance with that you are a beginner, and practice leading these really well, concentrating on staying in time (but having fun of course).

Each lesson, grab one or two of the new moves you just learned that you found the easiest, and add them to your 5/6 steps, but don't add another one until that one is solidly in your repertoire. If you want to add two per week, you will need to salsa at least 2 times a week - one to learn the combination/move and another night to dance it over and over again until you know it by heart.

There you have it - the most important tip for a salsa beginner!

Just think....if you do it this way, you will add 52 moves in only 6 months, and that is pretty impressive by anyone's standards!

Have fun and watch out for my next article at Salsa Beginners [] on discovering the easy way to remember combinations!

John Sammers has been working with people as a therapist, communications trainer and a coach for many years. Some of the work he does helps people rid themselves of painful memories and some of the work is to help people develop themselves and their skills. He is also a keen musician, guitar teacher and salsa dancer. John's history is in education and music. After 20 years as a musician and 10 years or so of teaching he retrained as a life coach (now incorporating NLP and Law of Attraction). He then continued his professional development to become a certified Master Practitioner of NLP & Hypnotherapy. John's personal interests are in writing and recording music, Latin dance, Tai Chi and all aspects of the guitar. He writes on a number of areas of interest.

Original article

Salsa DVD For Beginners - Top 3 Dangerous Myths About Salsa

Is salsa dancing dangerous? Am I going to be able to still live a physically normal healthy life after I take a dancing class? Is Salsa Dancing dangerous for my relationship? These are all great questions that are hardly ever answered but I am going to give the real answers to the real questions you have.

#1 is salsa dancing dangerous? Well ask your self a simple questions first. Are you honestly physically in shape? Some people go into dancing with little or no physical training which usually leads to injury. You see dance is like almost every sport out there. If you are constantly playing basketball everyday, your body has what we call muscle memory and it makes it easier for you not to get injured.

But if you do not play basketball alot I can guarantee you that you will have a higher chance of getting injured. So If you don't do any physical exercises that keeps your body in shape then yes dancing salsa can be dangerous. But there is a quick way to change that. You can start working out, go to gym and get some cardio in your life and lift some weights so your muscles can wake up again. This can help you make sure that salsa won't be dangerous for you!

#2 Am I going to be able to still live a physically normal healthy life after I take salsa dancing? The answer to this question is simple, can you injure yourself walking up a flight of stairs? Of course, but if you are constantly paying attention to what you're doing then you have a lower chance of hurting yourself.

Most Injuries happen because people stop paying attention to what they are doing because they think that they know everything already. This is wrong, wrong, wrong. Always pay attention to what you are doing even if it is a step you've done a thousand times, because if you don't pay attention you will get injured.

#3 Is Salsa Dancing dangerous for my relationship? Honestly I have found that dancing can actually help relationships. Usually couples will go and learn how to dance salsa together which is great because of the time you get to spend together. Also when you take dancing classes as a couple there's something new you will have in common. Who knows you might go out on weekend's and dance salsa together.

I'm pretty sure that being able to have your partner wanting to take you out dancing is not so dangerous as much as it would be fun. Relationships from my experience grow when you interact with each other. In my opinion salsa dancing is a perfect way to interact with your partner while having have fun together. You guys might end up even loving salsa so much you end up taking more classes to get better together which can be something you can share with each other for the rest of your relationship.

Salsa dancing has many dangerous myths that people associate with it. But if you really want to find out juicy info about Salsa DVD for beginner go to and I will uncover even more mysteries.

Original article

Do You Stretch Before Your Dance Classes?

In this article I want to expand on why stretching is an essential warm up for your dancing.

Here is a common scenario:

It's three hours before dance class and as usual, you're sitting in front of your computer, facebooking.
Your body is relaxed and this is what it's thinking: "OMG! This is so relaxing, I'm never getting up."

Then it's time to go to dance class. You promptly close the browser, tell everyone on your status that you're going to class, grab your bag and get out the door (not in sequence of course). You get to class, put on your shoes and all of a sudden you are required to exert yourself. You have to point your feet, use your hips and stand up straight! Imagine what your body has to say to this dramatic shift.

Your body: " Whhhaaatttt? You got to be kidding me! I'm going to twist my ankle now. Like. Right. Now."

Your body is not ready for all this physical activity. Your body feels abused. It was just sitting down and all of a sudden it has to do ALL this stuff". The last thing it wants is another injury.

The Solution:
You need to PREPARE your body for dancing by stretching before the class. Dancing requires as much physical exertion as any other sport. Would you run a marathon without stretching?

Once you stretch, not only are you going to avoid injuries, but you will also be able to push yourself to the maximum. Another great side benefit to stretching is that it will inspire you mentally for dancing.

So do yourself (and me) a favor and whip out a mat 30 min to an hour before your class, and do some exercises. Your body will thank you and say something like; "I'm ready to give it my all!"

For Latin and Ballroom dancing I recommend that you concentrate on the following body parts:

1. Neck area.
2. Arms/shoulders
3. Hip flexors
4. Hamstrings
5. Ankles

If stretching is Greek to you (and you're not Greek), check out stretching videos on YouTube. I found many with some excellent beginner exercises:

Personally, I love and do yoga almost everyday. There are tons of studios available and you can even take yoga classes online! I find that it really helps loosen up the body and I strongly recommend it.

How do you stretch? Or do you at all?

By: Leonid Turetsky
--Professional Latin & Ballroom Dance Instructor--

Learn to dance online with our videos:
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For dance lessons in Boston area:
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Original article

A Great Exercise To Start Dancing Today

Are you hesitant to take dance classes at your gym or intimidated to join a dance class at a local studio? Are you tired of being a wallflower at parties while all of your friends are on the dancefloor having fun? You're not alone. Every day I watch people working to overcome their fears and here's a wonderful exercise to try out before you dive right in.

The next time you are home alone turn on your favorite tunes and just let the music move you. Pandora internet radio is perfect for this. The "DJ Got Us Falling in Love" station always gets me moving. You can start small with just the feet or the shoulders or the hips. The trick is to make sure you are dancing however you feel (without judgement!). If you need some more inspiration, search for videos online of people dancing. I found one of a woman cleaning her kitchen, listening to techno, and totally gettin' down (LOVE it). You can do it in your bedroom, in front of a mirror or even while cleaning - think Mrs. Doubtfire vacuuming style.

Moving your body to your favorite jams is a wonderful de-stresser and we both know you probably need it. If you allow it, dance is an excellent outlet for expressing how you feel. Try selecting the music based on your mood. If you're pissed at your boss or if you hate housework, who's to say you can't put on some rebellious music (ska or metal comes to mind) and express that too? Ha. Or the next time you need a pick-me-up try working from the outside in. When feeling down select some upbeat music (pop or big band even), bounce around the house for a bit, and you'll find it's hard to stay in a funk. There's no wrong way to do this exercise so long as you keep moving and exploring. Don't worry about technique yet. Just for now, practice when no one else is around and you'll find this to be a perfect way to get that body and spirit going. It will be liberating!

As your confidence builds with dance this will transcend to other aspects of your life too! You will bring new poise to your professional life. Imagine spontaneity and even enjoyment on those wedding dance floors. It could even help you become a better lover. Seriously. Understanding how your body moves can work wonders in your relationship. Start slow and simple with the exercise above. The goal is to let go of what's stifling and holding you back. Another wonderful perk of dance is that each step brings a dose of endorphins, making the next move easier than the last. Keep going even if it gets uncomfortable. Like anything new, it will ebb and flow. Dance may be intimidating at first but using this exercise in the beginning, or revisiting at any stage of your dance journey, will keep the things creative and fun!

Original article

Learn Your Basic Step Footwork More Quickly By Breaking Through The 'Conscious Competence' Barrier!

When new dancers attend their first Imperial Swing* dancing class and learn the mechanics of performing their basic step, they seldom have a miraculous epiphany when all the elements of their six-count, triple step footwork suddenly fall into place; instead, they simply manage to somehow shuffle through the prescribed sequence of alternating steps without making a mistake. Never mind how many steps there are, or how those (eight) individual steps interface with the (six) beats of the music; rather, there just comes a transient moment in time when a beginning dancer can, for the very first time and by rote learning, perform his basic step footwork properly. It may be said that at this watershed moment, when a swing dancer is born, that he performs his footwork in a 'consciously competent' manner; that is, he is stiff and mechanical, and although he is blissfully unaware of the impact of his transient weight shifts on his center of gravity, he does know which foot is his lead foot as he proudly marches through his footwork in a painfully robotic manner! Dance instructors see this birthing process take place every week during their club's introductory swing classes. Like other challenging endeavors in life, swing dancing has an attrition rate and sometimes beginners get discouraged and quit taking the classes because they cannot make the transition from being 'consciously competent' students whose movements are too premeditated, to becoming 'unconsciously competent' dancers who move fluidly with carefree abandon. The teaching technique presented below eliminates this unnecessary transition because it enables new students to perform their basic, triple step footwork almost immediately without the usual hesitation that often erodes their confidence.

Dance instructors have about one hour to present the different syllabus swing 'moves' which are specified for an introductory lesson. Since new students cannot perform any of these elementary 'moves' until they first learn their basic step, instructors in St. Louis are now beginning to use a new technique that teaches this six-count, triple step footwork in the quickest, most spontaneous and uncomplicated way enabling their students to relate the first six steps of their eight-step footwork to "skipping" forward and back; the last two steps are their in-place rockstep. Since most people can remember their carefree years as a youngster when they gleefully skipped around their school's playground, this technique redefines the basic step footwork and verbalizes it as follows: one skip forward (1 and 2), one skip back (3 and 4) and a rock-step (5 - 6). Gentlemen begin skipping forward with their left foot, and their left foot always remains in front of their right foot until they perform their rockstep. Ladies begin skipping forward with their right foot, and their right foot always remains in front of their left foot until they perform their rockstep. Unlike the bouncy, undisciplined movement associated with children skipping, dancers must not allow their shoulders and arms to move up and down; all of their upper body movement should be absorbed at their waist. New students must be taught that their first two triple step counts of "1 and 2" and "3 and 4" are actually 'scoot steps' best expressed as: "1 'n 2" and "3 'n 4" because dancers cannot take eight full steps in only six beats of the music. In other words, "1 'n" is a beat, "2" is a beat; "3 'n" is a beat, "4" is a beat; "5" is a beat and "6" is a beat. After everyone in the class demonstrates that they can perform both their basic step by skipping forward and back, and their in-place rockstep, the instructor should then refine his explanation of this same footwork in the traditional, detailed manner described below.

When dancers perform their basic footwork, they use triple step footwork rhythms; i.e., they take three steps for every two beats of the music. This footwork count is: 1 and 2 (first triple step), 3 and 4 (second triple step), 5 - 6 (rockstep). Dancers take three smooth (not bouncy) steps forward on the 1 and 2 count always keeping their feet in the "chase position"; i.e., with their lead foot ahead of their other foot. The male dancer keeps his left foot ahead of his right foot and his partner keeps her right foot ahead of her left foot. The first step that both dancers take on the "1" count creates the distance between their feet that keeps their weight from becoming centered over both of their feet at the same time and confusing their balance. This weight shift cues them on how to execute their next step (see below). Their second step, on the "and of 1" count, is an accelerated, "scoot" step which is followed by their third forward step on the "2" count. On 3 and 4 count, both dancers take three smooth steps backwards, and again, they keep their lead foot ahead of their other foot in the "chase position." On the 5 - 6 count rockstep, both dancers step back onto the "ball" of their lead foot keeping their heels from touching the floor, and then they rock forward onto their other foot. Notice that this rockstep is the only time when either dancer's lead foot moves behind his or her non-lead foot!

Although dancers take 8 steps (make 8 "weight changes") in their triple step footwork, they have only three "weight values" while executing their footwork. On the 1 and 2 count, the male dancer makes 3 weight changes (left-right-left) but he has only one weight value (or bias) that is on his left foot. On the 3 and 4 count, he makes another three weight changes (right-left-right) but again, he has only one weight value on his right foot. To dance with more lilt and balance, the male dancer must keep his "center" over his foot with the weight bias. Finally, on the 5 - 6 count, although he makes 2 weight changes (left-right), he has only one weight value because his two-step rockstep is counted as only one. The instructor presents the weight values for triple step footwork as follows:

On the 1 and 2 count, when the male dancer steps forward with his left foot, his right foot and then his left foot again, he makes three weight changes but he has only a single weight value (or bias) on his left foot. On the "and of 1"; i.e., the "and" of this first triple step count, the male dancer's "transitional weight" is momentarily on his right foot so that he is able to step forward again with his left foot, but his weight value remains on his left foot and he should adjust his posture and weight to favor (or bias) his left foot!

On the 3 and 4 count, when the male dancer steps backwards with his right foot, his left foot and then his right foot again, he makes three weight changes, but he has only a single weight value (or bias) on his right foot. On the "and of 3"; i.e., the "and" of this second triple step count, the male dancer's "transitional weight" is momentarily on his left foot so that he is able to step backwards again with his right foot, but his weight value remains on his right foot and he should adjust his posture and weight to favor (or bias) his right foot.

On the 5 - 6 count, when the male dancer steps backwards with his left foot and then rocks forward onto his right foot, his weight value is "left-right" because he shifts his weight from his left foot to his right foot. There are only three weight values in triple step footwork because the breakstep, which has two quick weight changes (left foot to right foot), is considered as a single weight value (L-R). The faster the music's tempo the quicker these weight changes become. After reviewing the basic step footwork, the instructor asks everyone to rejoin their original partners and then he teaches the couples how to execute their basic step together in the closed position while he corrects their body stances and arm positions.

St. Louis Imperial Swing is a "mirror pattern" style of dance. The male dancer and his partner begin their basic step footwork together in the closed position standing at about a 45 degree angle to each other in a mirror opposite stance. In this "V" position, both the angle of their bodies and the bow of their arms in front of them form the letter "V." The male dancer holds his partner's right hand in the "cupped" fingers of his left hand without any thumb pressure; his right hand is centered on her upper back, and his right upper arm is angled downward with his partner's left arm resting on top of it. The female dancer leans back against her partner's right hand and she positions the palm of her left hand lightly on the top of his right shoulder with her fingers draped forward. These body connections establish the "frame" within which the male dancer leads his partner. Both dancers should stand up straight with their diaphragms raised; center their weight on the balls of their feet, not on their heels; avoid leaning forward and maintain eye contact with their partner while they dance. The instructor concludes this first segment of the class by discussing the importance of the "slot," and how it should be oriented to the room.

The male dancer leads his partner within a rectangular dance space that is called a slot. He orients this "line of dance" to two of the four walls of the room by aligning his closed position stance on the dance floor as follows: on a wooden floor, he orients his slot to the floor boards; on a tile floor, he either goes with the length of the room if it is rectangular, or he goes with the width of the room (sideways to the DJ or stage) if it is square. The slot is often referred to as a railroad track and its sides are called "rails." The breadth of the male dancer's shoulders defines the width of the slot and the distance that he extends his arm (bowed in a "V") to touch his partner defines the length of the slot. The female dancer always has the undisputed right-of-way over her partner on this track, and it is jokingly said that: "when she gets the gravel (between the wooden ties) then he gets the steel (of the rails) or they aren't tracking properly, and he will get run over."

During the second part of the class, the instructor introduces his students to the remaining dance 'moves': the "Glideaway;" the Open Position Basic Step (with and without using the 'patty-cake' handwork);" the "Right Side-Pass (with an Underarm Turn)" which is also called a "Crossover;" and finally the "Basic Return (into the Closed Position)." Whenever an instructor teaches these fundamental swing 'moves,' he should always emphasize how critical the female dancer's arm resistance is to his ability to lead her. For the male dancer, trying to lead his partner when she provides insufficient arm resistance (or a "noodle arm") is equivalent to him trying to maneuver his car without a steering wheel! All of the swing 'moves' above are very important because they not only improve the male dancer's ability to lead his partner, but they also enable both dancers to use their newly learned, triple step footwork to practice stepping around left and right and reversing their positions in the "slot."

There are numerous, excellent swing dance clubs located in the St. Louis area and every night of the week at least one of these clubs hosts scheduled lessons and a dance. If you are a swing dance instructor then I hope that the information presented in this article is helpful when you teach your introductory classes. If you are an aspiring, new dancer then consider attending one of these classes; it is the first stop on your fun, life changing journey into the world of social swing dancing. The large, friendly community of enthusiastic dancers welcomes you to join them when you are ready to take that first step. And, speaking of steps, don't forget, if you have ever "skipped" around your school's playground as a child then you already know how to perform swing dancing's basic step because the footwork is identical. Plan to take your first lesson at an upcoming dance and put your newfound knowledge of the footwork to music!

*Note: Imperial Swing is St. Louis' own style of East Coast Swing that is danced in a rectangular slot (instead of in-the-round) and infused with a touch of West Coast Swing styling.

Copyright © 2011 by Henry H. "Skip" Culver, Jr. Member of the West County Swing Dance Club and author of: Imperial Swing Dancing (visit: ).

Henry H. "Skip" Culver, Jr. is a member of the West County Swing Dance Club in St. Louis Missouri. He is a Gold Seal Instrument Flight Instructor and the author of the bestselling book on navigation titled: IFR 'Pocket Simulator' Procedures. In 2000 Skip turned his attention from aviation towards the dance floor. He became a Certified Swing Dance Instructor in 2004, and then with over seven years of detailed notes from various classes and workshops in hand, he began assembling the Imperial Swing Dancing manual which he published in June of 2007. Skip is a frequent contributor of articles on swing dancing to different club newsletters throughout the United States.

Original article

How to Get a Male Dance Partner

Are you a woman looking for a man to dance with? Maybe for it's for social dancing or just practice. Maybe it's actually for competitive dancing. Regardless, you have probably found that the gender imbalance (more women than men) make this hard for a woman. It's certainly not like there are men floating around each woman hoping to get her attention is it?

I have been asked by a number of women who subscribe to my emails on techniques to improve partner dance ability about how to find a dance partner. The reasons for dance range from simple social dancing to practice to competition. So I decided to talk to some women who are good at getting men to dance with them, talk to some men about dancing with women they do not know and review what I know about male psychology to come up with some suggestions about how to get a male dance partner.

Understanding men in dance

One of the biggest issues men have (unless they have been dancing for years so they're probably a dance instructor) is that they will not be at a level equal to the woman's level, and so she will not appreciate his efforts. Basically, men don't want to feel that they are taking; they want to be giving. So if you seem to be a good dancer (or even just possibly better than the man), then he will feel you'd rather not dance with him, and he will not ask you to dance.

Women who get the dance partners

I have heard a few women complain about how men seem to have their favourites. And it is true - the women who will get asked to dance most are the ones that men feel compelled to dance with. Two things will compel a man: attractiveness and comfort with the woman. He either wants to get to know her, he already does or he feels that she is open to dancing with him. Still, such a woman probably only gets the men who still feel certain that they are at her level asking her to dance.

However, I know women who I have seen dance with many men in one night and those men were complete strangers. These women did something different - they asked the men. And they never got a 'no' - men feel obliged to keep a woman happy. If a man says no, then he will probably have a good reason (like an injury or being close to a heart attack).

Male psychology

All of us like to be told we're good. However, men love hearing it from women. On the flip side, men are concerned with making a bold false claim so one is unlikely to take any kind of action without certainty. Men are worried about pride and reputation. There is nothing wrong with not being good at something as long as you don't falsely act as though you are.

Strategies for getting a male dance partner

Social dancing

If you simply want to dance with men socially, then it helps to engage with everyone in a friendly manner. If you frequent a regular place where you dance and others are regulars too, then strike up a conversation with different people (especially men). They will get to know you, feel comfortable with you, and then be more likely to ask you to dance. Just as an example - while writing this I have realised that I dance mostly with women I know from dance class, without thinking about, it simply because I know them.

For competition

If you want to find a partner for a dance comp, then it's a bit different. You can always go to websites like, but that will still have the gender imbalance. Therefore, you're better off searching for men who have not yet declared their intention for comp. So let's look at this untapped source.

Remember, it will always help to know people so that you have more connections, and you can network.

For this approach you will need to overcome male hesitation about dance competitions. Remember the following: men don't like to drag a woman down with less skill and men don't want to make bold claims they can't be certain about backing up. This means that a man is very unlikely to express a direct interest in competition dancing even if he is interested. Also, remember the following: men love compliments from women and they would rather give to women than take from them. That means if they are sure a woman would value what they have to offer, then they would probably commit. So you basically need a man who does not yet feel he is up to dancing competitively (with you or anyone) and then make him think he is.

The easiest way to do that is to ask, but ask in the right way. If you ask him, then the man can now safely assume that you are either happy with his ability to dance or ability to improve to the required level with practice. This now means he will not think he is taking from you. Also, the fact that you asked means he has been complimented so the notion of dancing with you has positive ego boosting connotations. Additionally, you offer social proof, if someone has asked him to dance, then they have given unsolicited and independent approval of his dance ability. Therefore, he is not making any unsubstantiated bold claims.

So you can see that you asking him does do a lot to reduce the hesitation in a man when it comes to competitive dance, but how to ask?

It's assumed that you know a number of men who you think would be up to the challenge in your dancing network. Pick one (this can be tried on a few guys and letting them know that another guy might jump in first might motivate them) and just start talking about the notion of competition dancing. Then simply ask if he would like to try dance with you in a competition. The important word here is 'try'. It suggests that it is something that is to be investigated by trying, and you're not going to be a control freak. No one (well few of us) likes to be completely controlled by another in any part of our lives. Keeping it casual will allow for a sense of control, and reduce the chance of him saying no because he feels like you're trying to talk him into it (this is where having a few other options helps too).

Social dance in a strange place

Now what if you're dancing socially and you don't know anyone?

The same principle applies if you ask a man. It says that you think he is up to standard or if he isn't, then you're ok with it. So once again he needn't think that he is taking as opposed to giving. And as mentioned above, it's very unlikely that a man will say no. I never do and I am yet to meet another man who does! So if you want to dance, then don't be scared to ask.

Clint Steele is a social dancer with an interest in learning and how people can get better at something with minimum time and effort.

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Original article

The Different Types of Irish Dances

Although a traditional Irishman is known to hate the 'stage Irishman', he is believed to hold a soft spot for dance. Thus, despite the efforts of the Church to condemn it, people continued to dance with fervor. In fact it is said, that the early dancers kept their arms straight to avoid begin caught by a passing priest. The world knows about Irish dances because of the popular Riverdance style that demands complex leg work. But Irish dance isn't all about just one style, there are several styles that are reflective of Celtic culture. Here is a list of styles that form an integral part of Irish culture.

Ceili Dancing: They can be broadly classified into informal and performing dance. The informal or social dancing can be further divided into ceili and set dancing. This is the most informal of all and often performed at fairs and cross roads and social functions. The crackdown of all forms of dance by the Catholic clergy literally destroyed this art form. The impact was so great that after the Gaelic Revival when the Gaelic League decided to resurrect, it was practically lost and new steps had to be codified.

Set Dancing: This is the more structured form of dancing. In an attempt to discourage dancing, the clergy decided to tone down the steps and standardize it to reflect Christian traditions. They also did not want the girls and boys to hold their hands together and hence asked them to hold their arms on their waist. It is performed by four couples who are arranged on the sides of a square. Dancers remain flat on their feet when dancing and avoid leaps and traveling movements. Another striking feature of these dances is the costume. The dresses are elaborate and involve use of elaborate designs that are inspired by Irish culture.

Sean-nós: This is most unregulated and liberated form of Irish dance and associated with Connemara. It is known to a visual expression of the music, wherein the dancer uses his arms, shoulders, hips and feet to accentuate the music. It is no surprise that the dancer has a close relationship with the musician.

Waltz: Although the waltz did not originate in Ireland, the Irish have surely contributed to its various adaptations. Thus well known dances like Stack of Barley, Day Gordons, Shoe the Donkey are a regular in almost every ceili and the Irish have come up dance solutions for these songs.

The author of this article loves to write about Irish dance forms and the different aspects related to the dance including Irish dance dresses and dance solutions.

Original article

Should I Change My Child's Ballet Class?

You chose a particular ballet class for your child, but now - for whatever reason - you are now thinking that it's not the right dance class and perhaps you should change. The first thing to do is to discuss your unhappiness with your child's dance teacher. Many issues can be sorted out with some decent dialogue. However, having spoken to the current teacher and having got nowhere, then switching class will be the only option. Here are some of the things to think about when choosing a different class.
Will your child feel comfortable changing to a different class? If she (or he) has friends in the current class, you need to consider whether she will enjoy the new class as much if she doesn't know anyone in it. Perhaps you could persuade one of her dancing friends to switch classes at the same time, so that they could go together. If you have a particular concern over an issue in the current class, then often other parents will have the same concern. If you discuss your worries with other parents, then you may find that they too are keen to move their child. Moving together will be a lot less worrying for children.
What is the style of the new teacher? Is she strict and exacting such that she is likely to get the best ballet exam results from her pupils? Or does she have a more relaxed approach such that your child is likely to have more fun in her ballet class? You will know which approach will be the best for your child. You can request that your child has a free taster class to see if she enjoys the class, before you sign up to a whole term of lessons.
What exam boards does the new ballet school do? If the exams that have been done are different, then it may be that different ballet movements have been taught. Talk to the new teacher about the differences to see if they are significant. It may be that one or two private lessons would be all that would be needed for your child to fill in the gaps.
Does the new ballet school put on an annual show? All children love the opportunity to put on a new ballet costume or tutu and show their parents and relatives how well they have been doing in their weekly classes.
You need to consider the logistics of getting your child to her new class. How long will it take to get there given the traffic situation at the time of day of the class? Children get easily bored in the car and a new class would have to have some significant benefits to travel far.
Obviously, the cost of the new class will be very important when considering whether to move your child. Remember to enquire about the cost of taking the exams and the cost of the ballet attire required when comparing the two classes side by side. Another cost that needs to be included is parking costs. It is easy to overlook things such as parking charges when assessing the overall cost of the new class.What will you do whilst your child is in the class? Are you able to watch or are you just hanging around outside? It could be extremely welcome if there is a local cafe to read a magazine in or surf the internet whilst your child is in her class.
Naturally, you will need to consider what day and new time the class is on. However, you should also enquire the days and times of the classes, as your child progresses up the ladder. It may be that as she moves up a class, the day changes to one which you cannot do. So, it is always important to ask about the timing of the higher grade lessons.
Does the new ballet school offer other types of dancing? Your child may wish to branch out into different types of lessons as she progresses e.g. tap, modern, character dancing, jazz, song and dance etc.
You need to enquire about any rules the new teacher may have. For example, about the way hair should be worn, the ballet outfit to be worn including any special ballet uniform, whether jewelry can be worn, the colour and type of the ballet shoes. Your child will want to fit in to the class and will not want to stand out by not having the correct attire.
You may wish to give your child a gift to help ease any concerns she may have about changing class or simply to praise her for her progress. All aspiring ballet dancers will be thrilled with a present of ballet jewellery. Ballet jewelry can come in different metals such as silver and gold. Be careful with ballet jewellery made in base metals, as they can cause allergies to the skin.

For beautiful ballet jewelry including charms, pendants and necklaces go to Ballet Shoe Jewellery and Ballerina Jewellery.

David Valle is the jewellery designer of Valle Designs & Co which produces sports jewelry in gold and silver including ballet jewellery. Aside from ballet, other sports covered include gymnastics, cricket, horse riding, motor racing, scuba diving, skiing, swimming, tennis and windsurfing.

Original article

Belly Dancing Jewellery

Belly dancing jewellery can make a belly dancing outfit complete. When you see a dancer on stage she represents grace, elegance and beauty. There are many different styles and types of jewellery that belly dancers wear. Necklaces, anklets, headbands, earrings and bracelets can all be pieced together to make a belly dancer look elegant and beautiful. In this article, we will explore the different types of jewellery that belly dancers wear.

The three main colours of jewellery are gold, silver and bronze, gold and silver being the most popular options. Jewellery should be picked out to match the belly dancers coins on the hip scarf and belly dancing top.

Necklaces: Belly dancing necklaces are mainly big, bold, chunky and sparkly. Some necklaces are strictly made out of coins to match perfectly with a hip scarf. A lot of necklaces are silver or gold with a little colour to them. Sometimes gems and stones are added to the necklace for colour. Turquoise is a popular colour and stone used. Some necklaces can be a foot long and others like chokers fit right around the entire neck. Often times, many necklaces will be worn; one red and two silver to give a chunkier and fuller look.

Anklets: Anklets add a nice touch to a belly dancing outfit. Anklets are like bracelets for ankles. Many belly dancers will wear a sting of coins around their ankles for the extra sound the coins make. If your feet are showing, an anklet is a great accessory.

Headpieces are like the necklaces but they are made to fit on the head, almost like a flat tiara. There are headpieces that have coins dangling over the forehead and some simpler styles with thin medallions and silver chains.

Earrings: Belly dancing earrings can also be made up of silver or gold coins. Many earrings are long and heavy. The longer earrings are called chandelier earrings. Tribal style belly dancers wear feathered earrings or Goth styled earrings. When the earrings match the necklace it really draws attention to the face of the dancer.

Bracelets: Many belly dancing bracelets attach to a ring and cover the whole hand and wrist. Sometimes these are referred to as slave chain rings. Sometimes Bengals are worn. Bengals are a series of smaller thin bracelets and a dancer will wear about 10-20 of them on their wrist. Wide silver or gold bracelets and cuffs are also worn.

Armbands: Armbands are worn above the elbow and upper arm. Sometimes they will match the costume perfectly with the colour of material and the coins. Other styles of armbands are silver cobras or simple medallions. Armbands are also called armlets.

Belly dancing jewellery comes in all forms and covers the head to toe of the dancer. Wearing necklaces, anklets, headpieces, earrings, bracelets and armbands can really make an outfit shine and look fancy and rich. The goal of a belly dancer is to keep everyone's eye on her while she's dancing. With lavish jewellery, it's much easier to achieve that goal.

Lark Begin

Original article

Ballet Movies And Steam Punk Movies

I love ballet movies. The abundance of movies available now is of great interest to me, and I'm sure it is for most dancers.

It is not possible to get around the world, see all the dance festivals, or travel to catch all the ballet touring companies every year. Yet, while collecting ballet movies, I feel like I just lucked out.

I bought a "deal" package of 4 ballet movies recently. Swan Lake, Romeo and Juliet, The Nutcracker and The Sleeping Beauty. I only bought it because The Nutcracker is Maurice Bejart's production, which I had not seen. The others...well I can always watch another one, whoever.

The "Swan Lake" was special because Evelyn Hart danced Odette/Odile. I had not seen her in that role, so it was a nice surprise for me.

Secondly, I watched "Romeo and Juliet", choreography by Angelin Preljocaj, with the Opera National De Lyon, filmed in 1992. Cool. That's a company that has not graced my neighborhood. I knew it was a neoclassical style.

Steam punk movies? I may have seen three before - "Dune" designed by Tony Masters and Carlo Rimbaldi; City of Lost Children" designed by set designer Jean Rabasse and artistic director Caro (and coincidentally both scores were by Angelo Badalamenti); and "The League of Extraordinary Gentlemen" with set designer Andy Thomson - all steam punky designers...

Well, this "Romeo and Juliet" has the flavor of steam punk movies and it is moody and powerful. It is not designed with Victorian alternate-reality machines and housing, or costumes, it is sparser. But it has all the typical steam punk social control and dark suppressed emotionality, at least as is presented in the steam punk movies I've seen.

None of the lush velveted, pearl and gold-laden Italian wealth of the Renaissance power families is there to rescue us. No colorful market place or town square, except for brief showings of persons outside of the Montague and Capulet families/street thugs.

I did not think I would like the modern choreography - having been partial to John Cranko's - yet with the Prokofiev score, it was captivating. Preljocaj's choreography demands a strong classical technique which the dancers deliver with ease.

I did not assimilate what I was looking at immediately. This production re-invents some of the characterization, trimming down the cast and events. The Montague characters are garbed in loose suits, and the Capulets appear with the demeanor of highly strung Dobermans, in tight black outfits that are padded like body armor.

When I realized I was watching a Steam Punk Movie I sat back and enjoyed it. The wall guards with the German Shepherd were a chilling touch.

If you love ballet movies and steam punk movies you will really enjoy this one.

Dianne M. Buxton trained at The National Ballet School of Canada, The Martha Graham School of Contemporary Dance and Toronto Dance Theater. She was led by her career teaching and directing professional ballet dancers, to study ballet/sports/fitness, nutrition, and the mind/body connection. She writes about ballet pointe shoes and ballet parents tips to help you with your ballet classes, and those of your dancing daughters and sons.

Original article

Learn to Dance - Modern Jive - The Beginners Survival Guide

The first obstacle that anyone wanting to learn to dance has to over come is quite simply going for the first time. While some people are willing to throw themselves straight in and go with the flow others are a little more unsure. Men especially tend to find going dancing for the first time awkward because, as most of them freely admit, they don't usually hit the dance floor until they have had a few drinks.

So what are some of the main concerns that newcomers to Modern Jive dancing have and why shouldn't you use them as an excuse not to try.

I haven't got anyone to go with.

The Modern Jive teaching method ensures you will dance with many different people of varying abilities, some will be there for their first time and some will be more advanced and able to help speed up your learning process.

I have two left feet.

As we said above you will dance with lots of people, it won't be long before you find someone with two right feet to compliment you perfectly. Don't assume that everyone else is going to be better than you.

Everyone else will know what they are doing. I will be the only beginner.

Because of the way Modern Jive is taught you do not have to book a course of lessons which start with the basics on week one and progress from there. At most venues there are at least a couple or more newcomers every night so it is highly unlikely that you will be on your own. Even if you are the only new person that night there will be the people who were new last week or the week before. Because there are approximately 21 beginner moves for the teacher to choose from and only 3 or 4 moves taught in the beginners class each week it is more than likely that last weeks newcomers will be seeing all of this week moves for the first time and are in the same boat as you.

I'm to young/old for all that.

Rubbish, you are as old as you feel. And you can dance Modern Jive in a style that suits you.

What if the guys at work find out.

Like it or not ladies it is one reason why the men who do go dancing love it. It doesn't matter what Modern Jive venue you go to 9 times out of 10 there are more women than men. Usually the numbers are not that uneven and due to the constant rotation of people during the classes this does not present any inconvenience at all, however, when the classes are done and you get to the part of the evening called "freestyle" where you put into practice what you have learnt, a good male dancer will never be short of a partner. As soon as the guys at work find out that you spent the entire evening dancing with a host of different women they will soon realise that their life spent in front of the TV is the sorry one.

Now that some of the excuses are out of the way here are the top ten things to remember when you rock up for the first time.

1. Don't give up on your attempt.

If you make the effort and go for the first time you have already won half the battle of learning to dance. Even if the first week doesn't go quite how you would have liked give yourself another couple of weeks to get into it.

2. Don't try to remember everything you learn.

Once you have learnt a few move you may find that your memory starts to leak information. If this happens just try to remember the moves that you like, practice those and forget about the stuff that you were not so keen on. Its better to do 4 moves well than 10 moves badly.

3. Go with the flow.

Join in and try not to be too self conscious. It is highly unlikely that you will be the only newcomer and even if you are no one will take any notice of the fact because there are new people starting constantly. You will be more conspicuous if you stand out than if you join in.

4. If you don't understand ask.

If there is something in the class that you don't quite get then ask one of the crew when the class is over, they will always go through it with you. Also don't be afraid to ask the teacher questions when they have finished their classes as they will usually take you through any problems with the moves one to one.

5. Ask others to dance.

Don't be shy the more people you dance with the quicker you will learn and the more fun you will have.

6. Arrive for the start of the beginners class.

Because there could well be a large number of people in the class the teacher will not be able to go back to the beginning just for you.

7. If something goes wrong don't panic.

If you forget something while doing the class or something doesn't go quite right then don't worry about it. The whole point of Modern Jive is that it is fun and not a school of perfection, no one will mind, everyone was a beginners once, simply try again and don't give up.

8. Men lead and ladies don't.

If both of you try to lead neither of you will win and you simply won't be able to dance.

9. Have fun and socialise.

At least 50% of the enjoyment of learning Modern Jive is having the opportunity to meet new friends and have a fun night out. If you join in and try your best without taking it too seriously you will almost certainly have a great time.

10. It could change your life. In one year alone I went to four weddings that were the direct result of people meeting at Modern Jive nights. (now there's something to think about)

Want to find out more about Modern Jive? Visit and start learning moves, online, today.

Original article

Hoping to Learn The Wobble Line Dance Before Your Next Event? Here's How

Hoping to learn the Wobble Line Dance but are too shy to get up on the floor. Afraid of making a mistake because you feel as if all eyes are on you, and you just know you'll end-up turning in the wrong direction? Want to learn how to do the popular wobble line dance from the comfort of your home in 10 minutes even if you have two left feet?... Read on.

Dancing is gaining momentum, ever since American's Got Talent, Dancing with the Stars and all of the other TV dance programs. Everyone is dancing from 8 to 88. Today, many are teaching line-dance steps. From health clubs, church clubs and senior citizens facilities... those baby-boomers are WORKING IT!

Read below as we walk you through the 4-count easy shake your booty wobble line dance, it will amaze you how quickly you catch on and how good you look doing it... Watch.

Step 1.

Take a step forward and wobble in place for four beats. (to wobble; shake your shoulders, butt, or knees in a circular direction)

Step 2.

Take a step backward and do the same thing for four beats. (to wobble; shake your shoulders, butt, or knees in a circular direction)

Step 3.

Lend forward for 4 beats add a bounce or shake what your mother gave you is what we used to say back in the day~

Step 4.

Lend backward for 4 beats add a bounce, shake it...

Step 5.

Cha Cha starting with your right foot, then left cha cha for 4 beats each, here you can put a little spice in the dance, your preference.

Step 6.

Last step starting on your right foot tap (like the old rock) left, right, left for eight counts, while turning a quarter- turn. Once you get the wobble dance down and feel comfortable, then you can add your own style, anything goes as long as you end up on the right beat going in the right direction.

And if not, just turn around. Now just start the whole sequence all over again. Just make sure you're turning making a square. Start turning to your right first and after each sequence you make a quarter turn.

No longer will you feel awkward at social event. Or be the only one that can't do the Wobble line dance. Now you can join in at your next family reunion, wedding invite, or take to the deck on your cruise.

Let the truth be told; learning how to do the wobble line dance may be easier than you think. Although we went through the steps in the above article; and if a picture is worth a thousand words, then a video is worth a million.

Join in and learn from our step by step video. There's nothing to buy and no opt-in box. Just click on the link and in 10 minutes you'll be the next Wobble Line Dance pro.

Original article

4 Great Reasons You Would Want to Slow Down Music - Get The Most From Your Dance or Music Practice

No matter if you are a dancer or dance instructor, music teacher or musician; there are amazing benefits when you slow down music that you are trying to learn.

When learning a dance routine or a selection of music it makes sense to begin slow, until you are perfect (or close to it), and then build tempo until you can perform it confidently at the desired speed. It may be even beneficial to go quicker than necessary, then when you have to actually perform at the exact speed of the original song, you will find it a cinch.

By beginning your practice slow you "program" the song or dance routine into your brain and by the repetition of the action you should easily build "muscle memory".

Instead of entrenching a bunch of mistakes into your brain from the start, it makes sense to ingrain a correct activity in your mind right from the beginning.

4 Reasons You May Want to Slow Down Music.

1 - Makes Learning Easier.

What if you are trying to learn a dance routine or piece of music but you are having trouble getting your fingers or feet around it because it is too fast. It may be difficult or it just might be simply too fast. By slowing down the music you can simply learn the routine and then once you are confident you can gradually get it up to "speed".

2 - Makes Learning Much More Enjoyable.

When you are having trouble getting a routine right it can be extremely frustrating. No matter how intensely you try it can easily put you off practicing. But if you slow down the music by even a small amount it can be the difference between having fun and being frustrated, being successful and failing, winning or losing, becoming a star or being a schmuck, getting ahead or being left behind.

3 - Fix Certain Segments Of The Song.

You might be having problems with just one part or section of a number. The best option is to isolate just that section, slow down the music and go over and over it. Build "Muscle memory" correctly.

4 - Don't Work Harder Than Is Necessary.

The choice is yours. In anything you do you can either do it the hard way or the easy way.

Simply Put, slowing down a song or track will make you a much better dancer, musician or teacher and I am sure you can see how incredibly beneficial it can be to slow down music and fix mistakes at the start of your (or your students) learning path, and then gradually building speed.

I spent hours and hours of frustration searching for a simple way to slow down music. At last I stumbled upon an uncomplicated solution. Check out my video tutorials at You'll be surprised how easy it can be once you know how.

I can now slow down a song and save it to my hard drive for later use in 26 seconds - And so can you. Find out how you can slow down music

Original article

Choosing the Right Music for Rumba Dancing

Most professional ballroom dancers consider the Rumba dance as the most erotic and sensuous of all Latin dances. As a blend of African and Cuban music, the rumba has a slower tempo compared to other Latin dances and focuses on sensual hip movements.

Rumba music is described by some experts in the dance industry as folklore music. This could be credited to the influences of the rumba as the music and culture presented by Africans who were brought to Cuba as slaves. The blend of Latin and African culture has transcended the music for Rumba from the mixture of two distinct cultures.

While the syncopated beats are definitely African, the framework of Rumba music is significantly based on the musical traditions for Spanish dance. The numerous variations of rumba are derived from the tones, patterns and musical accompaniments from copla, malaguena, isas, jotas and similar Spanish dance.

Usually a Rumba dance starts with the soloist vocalizing then the dancers would perform the routine of slow music such as Ave Maria Morena," "Llora Como" and "Cuba Hermosa."

Remember that the beat and tempo of the Rumba is slower than the Cha Cha or Swing Dance so ensure that the characteristics of the music are in line with this type of dance.

If you are searching for music for rumba, here are some suggestions.
Check out an online music store. Many of these online portals have special pages for Rumba music. You can also listen to samples of Rumba collection. There are many varied stores with these services so you can easily find suitable rumba music and can compare prices for different CDs.
Consider the variation of the Rumba dance you need to perform. There are many types of Rumba as varied and rich like the cultural heritage of Latin America and Africa. Therefore, there are particular songs that are better accompaniment for a variation.
Ask for recommendations. If you are a member of a dance club or you are taking lessons, you can ask help from your dance instructor or your club mates about their favorite dance songs for Rumba. Then take time to consider their suggestions to determine if they are appropriate for your presentation.
Think about the level of difficulty for the Rumba Dance you need to perform. Before you select the final piece, make certain that the song or songs you select could blend well for the dance movements you have chosen. It is such an eye sore for a Rumba routine that is presented where a novice dancer tries to hard to match the music.

Adam J Reynold writes about the Rumba Dance and other Ballroom Dances.

Original article

Tip on Finding a Good Dance Class

There are many, many choices of dance out there, all of which fit certain people's needs and wants. The style of dance you choose to study should be a personal choice, something that truly speaks to you, which is why it is a good idea to try a few different style to see what really strikes your fancy.

Many adults start their young kids in dance by signing them up for ballet, tap or jazz. These traditional forms of dance are a great way to get your child introduced to the basics and to see what they like and what they don't. Some children will thrive in all three while others will prefer one over the others. Take these reaction to heart as you should follow your child's cues on which dance modality to have them follow as opposed to forcing them into one style or another. This approach will breed a happy, positive association with your child and dance as opposed to resentment for a style they didn't choose themselves.

If you are an adult already and just being introduced into dance, then maybe you will also choose the more traditional route of ballet, tap or jazz. Or perhaps you will choose ballroom dancing with your spouse or country line dancing with some friends. Again, it is a good idea to try a few different classes to see what you like best. The music of the class and the individual instructor's teaching style will be influential in the way you perceive a style of dance so keep that in mind. Also, the setting in which you take your lessons will play a part in how enjoyable they are to some. For example some people prefer the individual approach to a closed studio to learn the samba and the meringue, while others prefer a larger class setting or even a party atmosphere such as country line dancing at a bar or honky tonk.

Which ever style you end up choosing, don't just assume that is the only dance style for you and be done with it. Keep an open mind to the arts in general and try your hand at a different style from time to time. You may be surprised to find yourself falling in love with a style you had tried ten years ago and didn't much care for when you give it another shot down the road. is filled with info on Toddler Tap Shoes and more. Visit the site for more information.

Original article

Hip Hop Teacher Training - Classical Music and Street Dance Choreography - Can They Work Together?

Street Dance choreography is primarily created to RnB, Pop, Commercial or Hip Hop music. Having been in the Street Dance industry for the last 18 years and having taught internationally this is my advice; If you are a new Street Dance teacher, I would advise that you use music that your students are expecting to hear, namely RnB, Pop, Commercial or Hip Hop music.

Why should I use music that students expect to hear?

Customers, in general, like to get what they expect. For example, if you turned up to a solicitor's office, with an urgent and important matter that you needed them to address and they were all in casual clothing and they were laughing, joking and dancing around and listening to music in their office, you may question their ability to meet your needs. Why? Because we all expect solicitors to dress in a certain way and to carry themselves in a certain manner. Dressing in such a relaxed fashion and behaving in this way, may not fit with the professionalism you are looking for from a solicitor.

In the same way when your students come to your Street Dance lesson, they will be expecting to hear RnB, Pop, Commercial or Hip Hop music. If you are not playing this kind of music, they may think that you do not know what you are doing. It is important as a teacher that you gain your students trust and respect and give them what they expect. If you don't, you may lose students.

Are there any exceptions?

Having said this, if you have a class that you have been teaching for a while it may be more appropriate (and less risky in terms of losing students) to experiment with the music that you use.

I have seen countless examples of beautiful choreography created to classical music and therefore would strongly advise established Street Dance teachers to experiment with all different genres of music. As long as you are listening to what the music invokes in you as a choreographer and keeping the dance style in line with what Street Dance choreography is, then the two can work perfectly together.

My top tip if you are going to use different genres of music, is to totally commit to using the tracks you choose. You need to love the choreography you create and be totally inspired by it, so that your students will be too. You will have to believe in what you create, so that your students can also believe in it and feel confident enough to really go for it and to enjoy the dance.

If you are willing to experiment, why stop at classical music. Have you considered choreographing to rock music? Country music? Slow ballads - the options are endless. Have fun with it and who knows what exciting and inspirational choreography you might create.

And now I could like to invite you to claim your FREE report called "Teaching Street Dance - Avoid the 5 Biggest Street Dance Teaching Mistakes"

From Hayley Hall, International Street Dance Teacher Trainer and the Co-Founder of the Street Dance Teacher Training Company

Original article

Introductory Dance Lessons

Are you one of those people who finds themselves cursing their two left feet as they hesitantly jump on the dance floor? If so, have you ever considered brushing up your dance skills so you can begin enjoying the wholesome activity for a change? Since dancing may not come naturally to all people, certain individuals who thrive in art have devoted their career to helping others improve their performance. Classes have been created to greet all beginners and introduce them to the correct way to move about the floor. Simply choosing the style you wish to learn and signing up at your neighboring facility will have you confidently out of your anti-dance attitude in no time.

Perhaps you are a single individual looking for one on one dance training. It is not always easy, especially as we get older, to feel comfortable dancing with a stranger. Dance instructors recognize that whether you are learning to slow dance, or to Congo, you are going to need time to break your nervous habits. For this reason, they move at a pace that you feel confident with and only encourage you to try new moves. Also, since it is often more relaxing to have a partner of a preferred sex, both men and women instructors can be requested to assist you. This direct form of teaching is the best way to improve your overall technique without feeling the pressure to keep up with a group.

Other people may be searching for an entry level dance class with a large group of people. This type of class is a great way to meet other beginners and learn how to move with many different people. You can even bring your own partner a long for the fun. Together attendees will learn dances, such as the waltz or flamenco, at a manageable pace while switching from following to leading their partners. Getting to know all aspects of different routines will have you ready for any situation that may arise. You may not always find yourself paired with the best dancer at the club, but you will learn how to gracefully respond with your skilled moves.

Some people many even need a course designed to help their skills for a certain event. One of the most common reasons couples need this training is for their wedding day. As all eyes are usually on the bride and groom it is important that the two have practiced a routine that won't leave them embarrassed to perform. Beginning couples can choose from learning one dance to having full training that will prepare them for all events, including the first dance and reception. Group classes, as listed above, may even be helpful for feeling more at ease on your big day. There are many options and styles to think about when picking your preferred introductory class. Just choose your top interest and soon you will be begging people to accompany you on the dance floor to show off your new skills.

Original article

Ready For Pointe Shoes - Do Your Feet Have Ballet Muscles?

Almost every dance student starts ballet because they want to dance in pointe shoes. They know they will have to work hard to get their foot muscles strong enough for the beautiful pink satin toe shoes. Adult ballet beginners know they may not get into toe shoes. Yet many will work very hard to see if they can.

Are there special exercises that could make this easier for both the young and old ballet beginner? It is a given that each wants to find the best ballet teacher in their area. And a dance academy that has a pleasant encouraging atmosphere.

Or one that fulfills their expectations of discipline and drive...

What can a ballet beginner do at home to get closer to being ready for pointe shoes?

At home, exercises for pre pointe can be learned and practiced six days a week. Always have a day of rest. But bear in mind that the ballet barre exercises you do in every class, also get you ready to dance in pointe shoes. Not perfectly, but pretty close to.

Every ballet position and exercise prepares you to dance en pointe. Understanding correct posture (which is natural posture of the spine), just to start, will help you get the best ballet position in plies, tendus, and all the ballet exercises done at the barre.

Correct ballet positions use your core muscles perfectly - pulling up the lower abdominal muscles. Holding in your stomach as you breathe adequately. Does this help you prepare for pointe shoes? Oh yes!

Understanding correct ballet turnout, how to increase it and how to hold it correctly with the right hip muscles...yes, this helps you to be ready for pointe shoes.

Understanding that ballet stretches, done with comprehension, relax and tone your muscles - yes, this too gets you more prepared to dance in toe shoes.

And, yes there is more. Very special exercises that isolate and strengthen the foot muscles, those little tiny muscles that are particular to the sole of the foot. The advantage you have in taking time to learn these pointe shoe exercises is that you will determine exactly which foot movements have a weakness.

You can work on your particular weaknesses until you have perfect confidence that your feet have the right ballet muscles functioning correctly.

When the sole of the foot muscles get strong, the muscles of the lower legs -the calf and shin muscles - get a relief from over-exertion. This can prevent shin splints and Achilles Tendon inflammation.

When the sole of the foot muscles get strong and sensitive, ballet foot control will be better in releves, and jumps - and for pointe work!

Also, learning how to take care of your ballet muscles is part of the process. Knowing how to massage your calves and feet properly is not to be slighted. Using a tennis ball, or a Pinkie ball, helps you prevent inflammation and injuries.

Learning some details about nutrition, the best kind of protein, and how magnesium resolves muscle cramps will help you too.

And THEN when you go to buy pointe shoes, you will be ready! Whatever you can do in soft shoes, you will be able to do in pointe shoes. Of course it will take some getting used to. I recommend that you learn the best ballet stretches and get your own ballet muscles dancers guide to be ready for pointe shoes.

Original article

How To Choose Pole Dancing Poles

Pole dancing has now moved from the realms of men's clubs and into the homes of countless women. This does not mean that wives and girlfriends are buying pole dancing poles to drive their partners crazy with desire, the fact is that it is an activity which is believed to be an excellent way to keep the body in perfect fitness and shape.

Using a pole dancing pole on a regular basis can allow you to tone up your abs and ass, strengthen your arms, and get rid of excess fat and cellulite from the thighs. It is also a great way to boost cardio vascular ability and stamina. There is almost no end to the number of benefits that working out with a pole can have. If you are interested in buying your own you should take a moment to consider the following advice and suggestions.

To start with it is useful to be aware of the price. The lowest cost would be around fifty dollars though the products that retail at this price are unlikely to have been made to the highest quality. A top of the range design would set you back closer to five hundred bucks, for an investment of around half this price you should be able to have your very own pole that will last you many years.

Once you have settled on a budget the next question will be whether to go for a fixed pole or one that is removable. This will depend upon the availability of space in your home as well as whether you want the product to be on prominent display.

The added advantage of a removable design is that you can take it with you to a variety of location such as a party or a friend's house. Both the options should be secure as long as you have not bought a cheap product.

You will also need to think about the material that the pole is manufactured form. A lot will depend upon your experience and your moves. A stainless steel design is more slippery than those coated with brass or chrome. For advanced moves it is best avoiding the stainless steel options as you will need the best grip to help support yourself.

If possible try out a few designs before spending your money. Maybe there is a friend who also has a pole you can practice with to get a feel for the type of metal before buying. Perhaps there is also a retailer in your town or city that would allow you to try out a pole before you buy it.

Never overlook the safety aspect of using a pole dancing pole. It would not look sexy or feel desirable if the product comes crashing down the first time you use it, always ensure that the pole is erected safely. Only invest in a design that you know is strong enough to hold your body without it starting to lean over. It should be as sturdy as possible if you are to get the maximum benefit.

Find out where to buy a Pole Dancing Poles from.

Original article

Kathakali The Classical Dance Form Of Kerala

Kathakali the classical dance form of Kerala was originated in Kerala 400 years ago. Kathakali is an art form where music, dance and drama are incredibly synchronized that is in Kathakali constitutes three fine arts, abhinayam or acting, nrityam or dancing, and geetham or singand.

In Kathakali there is a perfect combination of five elements of arts. Expressions (Natyam), Dance (Nritham), Enactment (Nrithyam), Song/vocal attribute (Geetha), Instrument attribute (Vadyam).

In Kathakali, the story is accomplished purely by the movements of the hands called mudras and by facial expressions called rasas and bodily movements. The expressions are developed from Natyashastra. There are 24 basic mudras, Each can again classify into 'Samaana-mudras that is one mudra represent two items or misra-mudras that is both the hands are used to show these mudras.

Sringaram that is amour,Hasyam that is humour,bhayanakam that is fear, Karunam that is desolation, Roudram that is anger, Veeram that is valor, Beebhatsam that is disgust, Adbhutam that is wonder and last one is Shantam these are the nine facial expressions of a Kathakali artist called Navarasams.

The performing artist does not sing or speak in Kathakali,Manipravalam is the language of the songs used in Kathakali. Though most of the songs are set in ragas based on the Carnatic music, there is a distinct style of plain-note interpretation, which is known as the Sopanam style. In Kathakali there are four music instruments used these are Chenda, Maddalam, Chengila and elathalam. The music created using these instruments called melam. Usually there are two singers to sing the music. In the two singers one of them use chengila to create a rhythamic steady beat.

The most famous stories in Kathakali are Nalacharitham (story from Mahabharatha), Duryodhana vadham (concentrate in Mahabharatha war), Kalyanasougandhikam (the story of Bhima going to get flowers for his wife Panchali), Keechakavadham, Kiratham (Arjuna and Lord Shiva's fight, from the Mahabharata), Karnashapatham, Nizhalkuthu.

In Kathakali the vesha that is costume is mainly classified into four, Pacha (Sathwika, the hero), Kathi (the villain), Minukku (for female characters) and Thaadi. These are the four costumes used in Kathakali.

Pacha- The make-up known as pacha is allotted to hero of the story,Examples of those characters are Dhirodatta,noble kings like Nala, Yudhishtra, Rukmangada, Arjuna and Bhimsena. All characters under pacha wear Kiritas But when it comes to characters like Vishnu, Krishna or Rama the Kiritas changed to Mudi,so this costume is also refered to as mudi. The facial make-up are same both mudi and pacha except that Krishna wear dark jacket rather than purple or red jacket from Pacha.

Kathi- The costume is similar to pacha except that in the make-up., a knife-shaped pattern is drawn on either cheek in red pigment and a small ball is fixed to the tip of the nose and also in the fore-head. This costume is usually for villain characters like Ravana, kamsa and Duryodhana. Except that pacha characters kathi characters make fearful noises when the emotion expressed.

Thadi-Thamoguna that is wickedness is represent in this costume, there are three types of thadis red black and white.. The red Thadi is normally given to extremely wicked characters like Rakshasas or those men's like Dussasana. Destructive evil force is represented in red thadi costume. The crown of the white thadi is known as Vattamudi, a formal military hat-like headgear and a white beard,the example of white thadi character is Hanuman (A preeminent character in Hindu mythology).Black thadi the costume is given to such a characters like kali in Nalacharitha,Like red thadi this is also represent evilness. The make-up is the same as that of the red thadi except that the beard alone in black color.

Kari-The kari is purely black costume, The make-up in face the jackets and the skits all are in black. The headgear is the same.the costume is used to characterize the human beings both women and men. They also provide some voice like howling.

Chutti- The white make-up plays an important role in Kathakali make-up.In the older time chutti was laid using mixture of rice paste and lime.But now the base is laid with paste and the balance made of paper. The chutti is used to increase the outline of the face,so that the facial expression can be clearly marked out.

Minukku-The make-up is usually used for female characters. The costume and make-up is entirely different from other characters.In Minukku costume the face is painted with yellowish orange color. Women, sages and Brahmanas appear in 'Minukku'. Other characters who appear in Minukku are charioteers and messengers.

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Original article

Do The Cha-Cha-Cha

The very lively beat of the cha-cha-cha, sometimes shortened to cha-cha, is characteristic of Latin American ballroom styles. The dance was, in fact, named after the lively sound made by the dancer's shoes scraping the floor in rhythm to the quick beat. The cha-cha is another of the Latin dances with origins in Cuba. The development of the dance into an international ballroom dancing event was achieved with the help of a European man known as Monsieur Pierre.

Beautiful Latin costumes do much to add to the upbeat rhythm of the cha-cha, especially when they feature fabric cuts such as fringe that can fly freely with movement and create a blur of bold color to catch the eye.

Cha-cha is usually danced informally to Cuban music, or Latin pop and rock. Professional ballroom dancing usually features music that is more lively and maintains a steadier beat than Cuban-style dance which has fun changing rhythms.

Dancers learn specific hip and leg movements that are easily recognized characteristics of Latin-style dances. Many ballroom costumes for Latin dancing have extreme hip-accentuating features that draw attention to this key part of the body, such as slits, ornate beading, or extra fabric.

A Latin costume worn while performing the cha-cha is more likely to be short, as well, to allow for free leg movement and to add to the sensual appeal of the dance.

Traditional Spanish-styled Latin costumes feature multi-layered ruffles and often a bare midriff. The spiciness of Latin dancing does not escape the dance, even at the professional ballroom dancing level.

Men's ballroom costumes for the Latin dances such as a the cha-cha are also more attention-grabbing than their more subdued counterparts, often featuring deep v-necks, interesting accents and pops of color to accentuate the female's Latin dance costume.

The cha-cha is a very beautiful dance form that is one of the most lively and energetic of the Latin ballroom dances. The upbeat music, the eccentric moves, and the bold style of its costumes work together to create an unforgettably appealing impression that radiates energy and enjoyment of life through dance.

Take the time to learn the Latin dance, and have some fun. It is not very hard once you master the basic moves that make it, and you will enjoy the added benefit of an invigorating workout at the same time. Additionally, you'll enjoy wearing colorful Latin costumes while strutting your stuff! offers the finest ballroom dresses/costumes & dance shoes in the industry. Nancy is a 5 year pro-am ballroom competitor in both American & International Ballroom. She provides quality ballroom dance apparel and accessories, and offers beautiful custom Latin dresses and more at discount prices.

Original article

Capezio Dancewear for Different Dance Styles

The primary purpose of Capezio dancewear is to allow you to both look and move as a dancer. Capezio dancewear includes many different items, such as leotards, tights, tutus, wrap skirts, and of course, shoes. Dancewear must either accentuate or complement your body's movements while you dance.

For example, the graceful elegance of ballet should be apparent in every movement of your body, and to emphasize this fluidity you need the appropriate form-fitting ensemble. Capezio leotards and tights are designed to illustrate your body to the audience during every pirouette, jeté, and arabesque. Wrap skirts and tutus are specifically structured to draw attention to your legs and movement without distracting from your dance. And, pointe shoes, which are the most essential ballet accessory, are crafted to elongate your legs and feet and to enhance your dancing.

In tap dance, your costume may be flamboyant and bold, since the key element of your Capezio dancewear is your tap shoes. The audience's ears and eyes are automatically focused on your tapping feet. Tap shoes are the focal point of a tap dance performance, and as such, they must not clash with rest of your costume. The type of tap shoes you wear depends on your dance routine as well as you or your instructor's personal preference.

Modern dance does have as strict a dress code. Capezio dancewear for this genre is generally simple and understate, which represents its less rigidly stylized nature. Modern dance incorporates elements of ballet and jazz. And, similar to the wardrobe for ballet, your attire for modern dance should be form fitting to permit you to move your body in the appropriate ways. In a performance, you may wear a dance dress, which is basically a camisole leotard that has a light, sheer, flowing skirt attached to it. A dance dress is usually a solid color. The most notable staple of modern dance is the fact performers are usually barefooted. When you do modern dance, your bare feet and uncomplicated attire enhance your body's innate flexibility.

Modern dance also has less regimented rules about hairstyle. Tap and ballet generally require you to wear your hair up to highlight the lines of the neck, face, and shoulders; modern dance, on the other hand, only requires that you keep your hair back in practice, your hair may be loose or down in a performance, depending on the nature of the dance number. In dance, your hair do is an extension of your costume and it is styled accordingly

Capezio dancewear is not just your uniform, it is an extension of the dance itself. is your go to shop for all your dancewear needs. You can find Capezio leotards and Mirella shoes here, for practice and for performances

Original article

To Flirt or Not to Flirt on the Dance Floor

Now one of the great things about the salsa dancing scene is that for the vast majority of people it's mainly about the dance. Now lets be honest, while I definitely agree with this flirting is a part of our day to day lives and the dance floor is no exception. When I dance I am not doing it with the intention of meeting someone to take home or even to date. I would say this is true for many of us but who is to say that you can not put flirting into your dance?

If you are new to dancing I find that this comes naturally (engaging with your partner) but for some reason it seems to go away the more you dance. Veteran dancers heed my words! All the moves, styling, footwork or whatever will not make you a memorable dance unless the other person you are dancing with is part of that experience. I still think about a dance I had in Montreal with a performer, a great dancer, but absolutely dead in how she interacted with me. She seemed so focused on her styling and looking good in front of others, barely a smile the whole dance. I spent most of it wondering what I was doing wrong.

Now I am just as guilty of this, I have noticed it in myself and its something I am trying to curb. How many times have you seen awesome dancers who have a business expression on the face? Its weird and way too serious. There is also the question of what to do in classes. Its important to be aware because of this. Here is a general rule in classes your energy needs to be 50% less than on the dance floor. Mellow out in class. Focus on getting the moves right not on trying to flirt or engage your partner in conversation during moves. As an instructor it is very distracting to be explaining something while someone else cannot stop flirting with whomever they are partnered with. Keep in mind your partner will feel the same way too.

Take this as a tip, too much eye contact = creepy, no eye contact = boring little eye contact after a spin accompanied with a grin=money. Keep in mind I am not talking about actual flirting, but rather putting in the spirit of flirting into your 3-5minutes with this other person.

Here is a summary. Put flirting into your dancing, not actual flirting but flirting behaviour. Grins, looks, hips, etc. For good measure sprinkle in a little body role once in a while too. Remember at the end of the day its a partner dance, a street dance, a social dance.

Ivan Wan
Salsa Dancer & Teacher
Vancouver, BC, Canada

Original article