- What is the ‘Thotiana’ dance? And other dance crazes kids are doing these days
- ‘In My Feelings’ Challenge (The Shiggy)
- ‘Sangria Wine’
- ‘Milly Rock’
- The Dances of the Era
- A Few Famous Dances in the Sixties
- Dance With Your Hands
- Hip hop styles
- Easy Wedding Dance
What is the ‘Thotiana’ dance? And other dance crazes kids are doing these days
Rasha Ali USA TODAY Published 9:22 AM EDT Jul 12, 2019
Who is Thotiana, and why is she bustin’ it down?
What is a shiggy?
If you find your kids, or even just people younger than you, doing the same dance moves and making you feel like you missed out on a mass memo, do not fret.
We’re here to help.
Check out our guide so you’re hip to all the latest dance crazes. (If you’re just getting the hang of the dab; it’s so 2017 by the way.)
Disclaimer: Just because you know what these dances are now, doesn’t mean you should do them with your kids. It’s probably best you don’t.
Beyonce did the Milly Rock at her iconic Coachella performance in 2018. Kevin Winter, Getty Images for Coachella
A Los Angeles rapper who goes by Blueface Bleedem and is known for rapping off beat, has a popular single titled “Thotiana” that’s on Billboard’s Top Ten Hot Rap Songs chart.
The dance originated from Blueface’s move of grabbing his pants in the groin area. He did it in the “Thotiana” music video and now whenever the song is played, people default to that same dance move.
MORE: Get hip to all the slang words and phrases your kids are using and what they mean, okurrr
‘In My Feelings’ Challenge (The Shiggy)
“Kiki, do you love me?” Raise your hand if you cringe at hearing those five words because you know as soon as that line is uttered someone is going to hop out of nowhere and start dancing?
Instagram comedian Shiggy (real name: Shaquille Mitchell) created a dance to Drake’s single “In My Feelings,” and it took off, earning dual hashtags: #InMyFeelingsChallenge and #DoTheShiggy.
It involves doing hand motions that are in line with the lyrics of “In My Feelings.” For example, when Drake sings “Kiki, do you love me?” you form a heart with your hands and put it over your own heart. The “Are you riding?” lyric warrants hand motions similar to driving a car.
Even celebrities have taken up the dance challenge, from New York Giants wide receiver Odell Beckham Jr. to “This is Us” stars Sterling K. Brown and Susan Kelechi Watson. Will Smith even took the challenge to the top of a bridge in Budapest.
Although the original Shiggy dance didn’t involve hopping out of a slow-moving car, many people are doing that.
Camila Cabello and Pharrell Williams made up this dance to go with their song “Sangria Wine,” which they debuted during their Billboard Music Awards performance in May 2018.
Basically the dance involves swirling your finger around a pretend glass of sangria that you’re holding. You have to add some hip movements, twirling and side steps.
Some people think this dance originated from the popular video game Fortnite Battle Royale, but it was created by Blocboy JB, a Memphis, Tennessee rapper.
The dance came to be seen as an accompaniment to the rapper’s “Shoot” song. The dance is done by pumping one’s arm and leg at the same time and is done to the chorus of the song which — you guessed it — goes “shoot, shoot, shoot.”
More: Rapper BlocBoy JB sues ‘Fortnite’ for using his ‘Shoot’ dance
No, your kids haven’t improved their dental hygiene; they’ve just picked up a new dance.
This one looks fairly simple but takes some coordination, kind of like trying to tap your head and rub your stomach at the same time. It involves swinging your arms from side to side and then swinging your hips in the opposing direction all while keeping your feet still.
It was created by a kid named Russell Horning who’s been dubbed the “Backpack Kid.” He posted a video of himself dancing to Instagram, and the dance blew up when Rihanna reposted it. He even appeared on an episode of “Saturday Night Live” with Katy Perry.
If you’re not Milly Rocking on any block, you’re tardy to the party.
This is another one that Fortnite used in their games and is getting some heat for, but the dance was created by Brooklyn, New York, rapper 2 Milly to his single “Milly Rock.” The dance consists of a two step with circular arm motions in a smooth rhythm.
The dance has gotten so popular that even Beyoncé hit the Milly Rock for her iconic Coachella performance in 2018.
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The sixties were a fun and high-spirited decade, and the famous dances in the sixties demonstrated this energy.
The Dances of the Era
Compared to many dances of the previous decades, partners were no longer needed to join in on the fun. Famous dances in the sixties were often associated with a song. In some cases, the lyrics instructed listeners in how to perform the dance. However, often the singers just implored dancers to “do the .” It was up to friends, DJs, and television programs such as American Bandstand to spread the moves to the latest dance craze. Many famous dances from this era were actually short-lived fads. Yet they remain in our consciousness today thanks to nostalgia.
A Few Famous Dances in the Sixties
Lift your right arm and leg Lift your left arm and leg. It sounds simple, but at high speeds, it can result in a crazy dance.
Stand with your feet together and bend your knees slightly. Move your hips to the right, and then move them to the left. The movement should come from the hips rather than your knees. The frug is danced at a fast pace, and a right-left pair of hip movements should take a single count.
While doing the hip motions of the frug, hold you right hand in a fist with thumb extended, as if you are hitch-hiking. Move your thumb to the right for three counts. Clap your hands to the right on the fourth count. Switch hands and move your thumb to the left for three counts. Clap your hands, this time to the left, on the fourth count.
This dance is unique among famous dances in the sixties in being a line dance. Dancers take instruction from the song, performing hip swings and jumps, among other steps.
The Mashed Potato
Stand with your heels together and your toes turned out, much like in ballet first position. Shift your weight to your toes and swing your heels out and back in. From there, you can start lifting your feet with the outward swings.
Shake your shoulders back and forth while holding the rest of your body still. Your arms should be held to the side with elbows slightly bent.
The key to this dance is in the arm movements. While your lower body is doing the frug or the twist, your arms are swimming and diving. For the grand finale, hold your nose and pretend to be sinking under water.
When listening to Chubby Checker’s popular song, the only way to move is to twist your body back and forth to the beat. The key to performing the Twist properly is that you must use both your legs and your torso, often in opposite directions.
Stand with feet shoulder-width apart, knees slightly bent. Raise one arm up in front of you, then raise the other arm as the first arm drops down, and repeat. The feet generally stay in place, although you may also take small steps throughout your dancing. Some dancers choose to bob their heads or bend their knees to accompany the arm movements. This dance was popular in surfer culture, so it was prominently featured in beach-themed movies.
Other Popular Sixties Dances
A few other dances from this time period include:
- The Boogaloo
- The Bristol Stomp
- The Chicken
- The Drag
- The Flick
- The Hully Gully
- The Jerk
- The Limbo
- The Monkey
- The Strut
- The Tighten Up
You don’t have to go completely retro to enjoy the dances of the sixties. The next time you hear the music, why not bear witness to the evolution of dance and try a little twisting or frugging?
Dance With Your Hands
Dance! Movement! Big band jazz! We’ve combined all of these elements into one very exciting piece of music. (And we’ve managed to include a bit of oboe work to coincide with your study of the oboe, which just happens to be featured in this issue on pages 60-61.) You could pick any or all of these things as your focus(es), depending on what you prefer.
We traditionally include a bit of jazz in our March/April issue each year (not sure why – it just sort of happened and turned out to be very, very popular). You could certainly put the spotlight on the jazz ensemble, especially if you are using the Performance/Accompaniment CD or Cassette that corresponds with this issue. For the best use of the recording in this way, let your students listen to the performance of the ensemble in the instrumental only version. They will hear:
- hythmic hand claps
- soprano saxophone
- 2 alto saxophones
- 2 tenor saxophones
- 4 trumpets
- 2 horns
- 3 tenor trombones
- 2 bass trombones
This is not exactly the same instrumentation a jazz ensemble might have, though there are a variety of options. A more traditional approach might include 5 trumpets and a baritone saxophone. The horns and oboe are also unusual for most jazz ensembles, as are the two bass trombones. (Most groups only have one, if any.)
We are particularly pleased with this Paul Jennings’ arrangement and have no modesty when we tell you that Paul is one of the finest jazz arrangers anywhere. (Point of interest for you and your students: Paul produced a Grammy-winning big band jazz album: “All In Good Time” with Rob McConnell and The Boss Brass during the 1980s. It also wouldn’t surprise us to hear that your school’s jazz library includes a number of classic jazz arrangements written by Paul. He’s been writing for jazz bands – among other things – and published internationally for nearly 20 years. He is definitely world class, as you can easily hear.)
If you are not using the recording with this song, you will discover that the piano/vocal in this issue is not exactly designed for a pianist. It is meant to be more of a condensed score, indicating the lines that the winds and rhythm section play. You will need to go through the music and figure out what and how you can play live if that is how you wish to use it. If you could at least get a rhythm section and a couple of wind players involved, it would make a big difference in your performance. Piano alone isn’t impossible, but it is certainly difficult and loses a bit of the punch in the translation.
For most of you, the true focus of this song will be the dance and movement. Obviously, the song provides the opportunity to include movement using hands, exclusively or otherwise.
While we provide a section in the song labeled specifically for movement (measure 54), it can be used in other places as well. We will discuss these later. For now, we would like to point out to you that the 8 measure phrases (over which the soprano saxophone is soloing) are ideal for performing the movements of the dance known as the “macarena.”
If you or your students are familiar with this dance, you should be able to plug it right in as soon as you get to measure 54. What we learned when we recorded this song with our kids was that they all knew it already, despite the fact that they came from different towns and schools. The only variation we noted was the last few beats. You will see in the music that the claps for the end of the macarena are indicated over the vocal lines as they occur, such as in the first and second endings after 54. You can use these or ignore them, depending on your needs.
You will also see that there is an extended number of measures between the second ending of the movement section and measure 66. We recommend that you have your students freeze in some predetermined position for those few bars, assuming that you will have them resume the dance at 66. This will work nicely. One of the features of the macarena we learned was that during the last beat (the clap), the dancers turned to the side to perform further. You can let your students turn if you have the space to do so, but we don’t think it’s necessary. In fact, if you are performing on risers, you should not let them turn. Another consideration is that at 66 they are singing while they move, and if they have turned, they won’t be singing to the audience anymore. This presumes you are presenting the song in a performance situation, of course. If it is used in the classroom only, you can pretty much do whatever you and your students like.
The 8 measure phrases at measures 66, 74, and 82 will take your dancers all the way to the last measure perfectly if they are using the macarena or any other 8 measure dance/movement.
If you find that moving and singing is challenging for your students, consider selecting a few individuals who will do the movements while the rest of your performers do the singing. If you have students who are particularly good dancers, they could even do their own choreography.
Remember that the song is in cut-time, so the beats will be two-based. A simple listen to the recording will clarify any concerns you might have by looking at the music only.
To Dance Or Not To Dance?
Other places movement could be added include most of the song, if you think about it. The song begins with two measures of conga roll and ascending winds, so there is a great set-up for movement to start at measure 3. However, there is not enough time at this point in the song (meas. 3 to 9) to get through the entire macarena, if that is your dance of choice. You can either eliminate movement from this section, or adapt it so that it will fit in those 6 measures.
The segment from measure 9 to measure 17 will work for the macarena as it includes 8 measures. Same thing with measures 17 to 25. At 25, there are comfortably 8 measures, but the same extended ending occurs as the second ending after 54 (mentioned earlier). This would be another place where a predetermined freeze would be effective as a transition.
Movement can be resumed at measure 36 and continue through 44. This will take you right back to 17 after the first ending with no difficulty, and on into 54 after the second ending.
The only question about using the macarena for all of these sections is whether or not you really want to do it that much, that often. Ask your students. They may prefer to use it more sparingly, which would certainly highlight its use when it does finally occur. Or they may want to do different movements in different sections. On the other hand, they may enjoy the constant activity.
By the way, this song will also work very well for line dancing, though it is supposed to be focusing on the hands. Consider writing a line dance (ask your students for input!) that is heavily concentrated on hand usage. Claps are especially good elements to include.
The Clapping (Don’t Panic!)
Speaking of claps – on the score and on the recording, you will see and hear a difficult rhythm being clapped out by our extraordinary percussionist, Kevin Kaiser. No, these rhythms are not intended to be clapped by students. That is why they occur on the instrumental only version as well. We know that it is just too hard, unless you’ve got some students who are undaunted by the challenge and insist on clapping along. No problem. Let them if they can. We included it as a part of the rhythm section because we thought it was really cool and lent itself to the flavor of the piece beautifully. It is also an element reminiscent of the rhythm in a song on the radio these days that your kids are no doubt familiar with: “The Macarena.”
The Song vs. the Dance
Okay. We admit it. One of our many inspirations for this song was the popularity of the dance. Fortunately for us, the dance steps are universal and cannot be copyrighted. The song, however, from which the dance became so popular is another story. We do not own, nor have access to the rights to use this song. And while obtaining the rights may not be impossible, we daresay they would, at the least, be quite expensive. So, we did the next best thing. We created our own vehicle for dancing. Frankly, we think we did a good job. (And we haven’t gotten sick of “Dance With Your Hands” yet, despite the repeated playings. We can’t quite say that for that infamous song on the radio…) We are happy to report that so far we have had very few requests to publish a version of the song, “The Macarena.” We hope sincerely that the ability to use the dance in a completely new and different format will be of interest to you and your students.
But like we said before, use the macarena or don’t use it. Change it, adapt it, alter it, leave it out. It’s completely up to you.
One final note on movement: as we said earlier, there were some differences in the last few beats of the macarena that our vocalists demonstrated in the recording session. The differences were in the hip movement. Apparently, the last four beats of the dance are interpreted in a variety of ways, all of them using the hips. In our version, we have decided to keep it simple by having dancers do a simple “bump” to the left, then the right, then the left. If having your dancers use their hips doesn’t set well with you (or your administration, parents, etc.), you will probably need to come up with an alternative action.
We did say we had more than one inspiration for this song. Another one was the fact that we wanted to have a pronounced oboe motif to tie into our oboe feature in this issue. (Refer to pages 60-61.)
There is another famous jazz piece from long ago called “Caravan” (written by Duke Ellington and Juan Tizol) which you may know. We used it as a reference when working with this song because it shares some common elements. It uses a similar combination of styles: latin, middle eastern, and jazz.
The recognition of the middle eastern element led us to the idea of using the oboe, which plays a distinctly middle eastern motif during the introduction and verses. Most students would recognize the oboe as the classic “snake charmer” sound and make the connection to the style. (Though “Caravan” does not include the oboe, it hints at similar motifs. If you can put your hands on a recording of this old tune, your students might enjoy listening to it and comparing it to the song they are learning and singing.)
Hip hop styles
Hip Hop culture originated in New York amongst young Hispanic and African American communities during the late 1960’s. Synonymous with rap, scratch music and graffiti art, the style encompasses the movements of break-dancing and body-popping, and has been internationally recognized since the 1970’s.
The 1980’s saw the emergence of a new style of hip hop into rap videos, distinguished from original break dancing styles by its concentration on footwork as opposed to acrobatics. Hereafter, the emergence of house music saw hip hop re-invent itself again with a broader range of influences and freer expression.
Old School / New School, General History
The Old School Hip Hop Styles such as Locking, Popping and Break dancing or B-boying emerged from the USA in the 1970’s, and were a result of improvisational steps and moves from the streets and clubs. Old-school music had fast beats which matched the breaking moves.
Music videos of artists such as Bobby Brown, Bell Biv Devoe, Heavy D, and M.C. Hammer proved that a new way of dance was coming alive and young dancers were ready to explore this new form. New moves were and are continually being invented by creative and innovative versions and mixing of the Old School Styles. Current trends, cultures and disciplines such as Martial Arts, Reggae and Soul Train also had an effect and resulted in New School Hip Hop styles evolving in the late 1980’s. Moves were very simple with steps such as Running man, Roger Rabbit, and Robocop were popular in this era. These were moves that everybody could do unlike the Old School Styles. However, new school dance in present time is much more evolved and complex. Many dancers have ‘twisted’ popping or electric boogie and put in their own moves.
Today, Funk and Hip Hop have many individualized styles but the roots are still in Old School Hip Hop and in New School Hip Hop. The blending of music styles and dance moves influenced by many factors which are then personalized by a choreographer, makes it impossible to define Funk and Hip Hop styles unambiguously.
General – Locking & Popping
Both locking and popping, or ticking, originally came from Los Angeles. Popping was created by street dance crew Electric Boogaloo. Locking was created by The Lockers. Both locking and popping existed a long time before breaking was born. During the breaking era, b-boys started to put popping and locking into their dance. Nowadays, so-called “Breakdance” consists of breaking, locking, and electric boogie or popping.
Locking (originally Campbellocking) can be traced back to the late 1960’s and was created by Don Campbell. It is a style of funk and street dance and originally danced to traditional funk music such as James Brown.
The name is based on the concept of locking which means freezing from a fast movement and “locking” in a certain position, holding that position for a short while and then continuing in the same speed as before. It relies on fast and distinct arm and hand Hip Hop Manual movements combined with more relaxed hips and legs. The movements are generally large and exaggerated, and often very rhythmic and tightly synced with the music.
Locking includes quite a lot of acrobatics and physically demanding moves, such as landing on one’s knees and the split. These moves often require knee protection of some sort. Other important stylistic features are waving of arms, pointing, walking stationary and grabbing and rotating the cap or hat. Don Campbell created the original freezes, incorporating his unique rhythm and adding gestures such as points and handclaps.
In the early 1970s this set off a movement of Locking dance groups, notably Campbell’s group The Lockers. Another locker called Greggery ‘Campbell Jr.’ Pope and others set the foundation for locking dance and clothes style. Lockers commonly use a distinctive dress style, such as colorful clothing with stripes, suspenders, pegged knee length pants, hats and gloves.
Locking is quite performance oriented, often interacting with the audience by smiling or giving them a high five, and some moves are quite comical in nature.
The best way to describe the movement of popping would be to imagine a force of energy going through the body causing it to move like a wave. This style is difficult to manage at the technical level as it requiring command of isolations, a perfect knowledge of the body, and a good sense of the rhythm with major use of counter-tempo. The style demands continuous contraction of the muscles to the beat to give a jerky/snapping effect – a bouncy style.
Electric boogie is a style of popping (ticking) but the major difference is that Popping creates a soft wave whereas Electric Boogie creates more jerky waves with micro wave moves, executed with a high velocity more difficult than classical popping. The Robot, and the more smooth and controlled movements of mime are characteristic. Instead of throwing the body in and out of control like locking, or in total hydraulic control like The Robot, energy is passed through the body popping and snapping elbows, wrists, necks, hips and just about all the body joints along the way. Electric Boogaloo is more like mime in the sense that it imitates a live wire of electrical current or rippling river, but it still needs the control of The Robot to give it style.
Breakdance / B-Boying
Breaking or b-boying, commonly called breakdancing, is a style of dance that evolved as part of hip-hop culture among Black and Latino American youths in the South Bronx during the 1970s. It is danced to both hip-hop and other genres of music that are often remixed to prolong the musical breaks.
Four basic elements form the foundation of breaking. The first is Toprock, a term referring to the upright dancing and shuffles. The second element is Downrock which refers to footwork dancing performed on the floor. The third element is the Freeze, the poses that breakers throw into their dance sets to add punctuation to certain beats and end their routines. The fourth element is the Power Moves. These are the most impressive acrobatic moves normally made up of circular motions where the dancer will spin on the floor or in the air.
The term breakdancing, though commonly used, is frowned upon by those immersed in hip-hop culture because the term created by the media to describe what was called breaking or b-boying in the street. The majority of the art form’s pioneers and most notable practitioners refer to the dance as b-boying.
Uprock is a soulful, competitive street dance using the rhythms of Soul, and Funk music. The dance consists of foot shuffles, spins, turns, freestyle movements, sudden body movements called “jerks” and hand gestures called “burns”. Uprock is said to be mastered with discipline, patience, heart, soul, and knowledge.
Funk dancing originated on the West coast of the United States, where it developed in the late 60’s as a reaction to the fusion of Soul and Disco, as well as early R’n’B and Hip Hop music.
It is a highly choreographed dance form, similar to dances seen on commercial video clips. It features a mixture of sharp and fluid movements, popping & locking and animated expression.
Streetdance is very physical and incorporates dance moves from all over the world. Various dance styles are mixed with a multi-cultural influence and funky tunes. Generally a Streetdance routine can include locking and popping, street style and funk. Streetdance is a FUSION of styles from the Hip Hop genre.
Tutting or Tetris is a dance style that mimics the angular poses common to ancient Egyptian art. Whoever coined the term probably imagined that this was how King Tut danced. The style is rapidly evolving but there are some constant rules that define it.
The most important stylistic convention is that limbs form 90 degree angles. While this constraint is fundamental, and for the most part is not violated, other aspects of the dance are in flux. Dancers used to utilize a limited set of static hiero-inspired poses, but they now have begun to create more complex geometric patterns involving interaction between multiple limbs.
A battle is a freestyle where dancers ‘fight’ against each other on the dance floor without contact. They form a circle and take turns trying to show each other up by using either a better style, more complex combinations, or harder moves.
Liquid dancing (or liquiding) is a form of gestural dance that sometimes involves pantomime. The term invokes the word liquid to describe the fluid-like motion of the dancers’ body and limbs. It is primarily the dancers’ arms and hands which are the focus, though more advanced dancers work in a full range of body movements. Liquid dancing is similar to the styles of popping or locking.
A fluid style, that uses every part of the body and involves using angles and smooth movements to make everything flow together. It often uses rolling of the hips, knees, and the head and is often used as a transition.
This is a dance style originating (in the late 70’s) from street dance by Afrojamaïcans, Afrocarabians, which uses music which evolved from classical Reggae with a hip hop influence. The style used is a combination between hip hop moves, afro moves with latin influences with sensuality. It requires very good physical condition, as many muscles are involved in the Raggajam, particularly in the lower part of the body. Correct execution requires good technique.
House is a group of dance styles primarily danced to house music that have roots in the clubs of Chicago in the late 70’s and early 80’s. The main styles include Footwork, Jacking and Lofting. Like hip hop dance it was created by black and latino Americans and is often improvisational in nature. It emphasizes fast and complex foot oriented steps combined with fluid movements in the torso.
House dance incorporates movements from many other sources such as Capoeira, tap, jazz, bebop, and salsa. It includes a variety of techniques and sub-styles that include skating, stomping, and shuffling. One of the primary elements in house dancing is a technique called jacking and involves moving the torso forward and backward in a rippling motion, as if a wave were passing through it. This movement is repeated and sped up to match the beat of a song. This technique is the most important movement in house dancing. All footwork in house dancing is said to initiate from the way the jack moves the center of gravity through space. Other than footwork, jacking, and lofting, house dance has grown to include other related styles such as vogue, wacking and hustle.
Lyrical hip-hop is a fluid and more interpretive version of new style hip-hop most often danced to downtempo rap music or R&B music. Lyrical is “hip-hop with emotion”. It focuses more on choreography and performance and less on freestyles and battles.
The name lyrical comes from the word “lyrics” because dancers use the lyrics of a song or instrumental music to inspire them to do certain movements or show expression. The goal of a lyrical dancer is to use gesture, facial expression, and controlled movements in order to execute their movements and emotions fully. Besides emotional connection to music, lyrical dance typically encourages use of articulation, line, weight, and movement qualities.
Stepping or step-dancing is a form of percussive dance in which the participant’s entire body is used as an instrument to produce complex rhythms and sounds through a mixture of footsteps, spoken word, and hand claps. Though stepping may be performed by an individual, it is generally performed by groups of three or more, often in arrangements that resemble military formations.
Stepping may also draw from elements of gymnastics, tap dance, march, or African and Caribbean dance, or include semi-dangerous stunts as a part of individual routines. Some forms of stepping include the use of props, such as canes, rhythm sticks and/or fire and blindfolds.
The tradition of African stepping is rooted within the competitive schoolyard song and dance rituals practiced by historically African American fraternities and sororities, beginning in the mid-1900s
Free running or freerunning is a form of urban acrobatics in which participants, known as free runners, use the city and rural landscape to perform movements through its structures. It incorporates efficient movements from parkour, adds aesthetic vaults and other acrobatics, such as tricking and street stunts, creating an athletic and aesthetically pleasing way of moving. It is commonly practiced at gymnasiums and in urban areas (such as cities or towns) that are cluttered with obstacles.
The term free running was coined during the filming of Jump London, as a way to present parkour to the English-speaking world. However, the term free running has come to represent a separate, distinct concept to parkour — a distinction which is often missed due to the aesthetic similarities. Parkour as a discipline emphasizes efficiency, whilst free running embodies complete freedom of movement — and includes many acrobatic maneuvers. Although the two are often physically similar, the mindsets of each are vastly different.
The founder and creator of Free running Sébastien Foucan defines free running as a discipline to self development, following your own way, which he developed because he felt that parkour lacked enough creativity and self-expression as a definition of each free-runner to follow your own way.
This style came in 1970s from the West coast, directly Los Angeles, where it was developed in clubs and underground scene. Punking was first spotted in gay clubs in Hollywood. Dancers began to represent it on television and it became well-known thanks to Soul Train. Punking then became a part of many shows from Hollywood to Las Vegas.
Some of the first dancers of punking : Billy Goodson, Tinker, Lanny and Aka Micheal Angelo, Adolfo “Shabba Doo” Quinones, also dancers from the group Dancing Machine, which was founded in 1975 by Jeff Kutachem, who later created the show , called Splash in Las Vegas. Show was danced in the 70s and early 80s. Dance Machine was dancing this show, members were: Stever’ Sugarfoot ‘Notario, Gino, Dino, SugarBop, Fast Freddy, Topaz Lanet, Diane, Flame, Dallas and Ana ‘Lollipop’ Sanchez.
Waacking is a name that some of the Soul Train dancers began to use instead of the initial term punking.
Some say that punking was the correct name for the underground style, while waacking or whacking came later, when the dance became popular.
However, this dance style reacted to changes of music:
• Punking-1970-1974 – at this time the music is moving in more funk direction. Clothing was very colorful, funky. Dancers had a funky feeling. This is why this style mixed with lockin. In fact, these two styles were very close to each other thanks to a funky feeling.
• Waacking-1974 – about this time broke out “Disco Madness”. Music began to take a different direction. Dancers started to wear completely different clothes. Women danced in a dress and heels, men exchanged a funky T-shirts for shirts and jackets. The style began to change more in the direction of jazz. The dance included a lot of lines, poses (which was mostly inspired by movie stars of 1930s’) and other technical design movements of hands that you wouldn’t definitely find in the punking. In particular, the overall attitude of the body has changed thanks to the footwear and clothing. Dancers began to dance everything more in upright stand unlike in punking, which was far more in the knees.
This style was “forgotten” for a while and survived in a small group of dancers who are so devoted. Today waacking and punking is experiencing a “rebirth” in different forms. For example, in NY you will see primarily jazzy form, but more funky in Japan.
Some of the biggest pioneers were: Shaba Doo, Ana ‘Lollipop’ Sanchez, Tyrone Proctor, Brian Green and others
• Names of elements: Bowls, Aligan, Cortez, Wall Around the Word, Mamma mia, waack …
Vogue is a form of modern dance, as well as waacking and was created by the gay community. The style is inspired by photos of models in poses in various positions such as posturing hands, feet, body movements in linear, angular and precise, fixed position.
Inspirational material for the dancers were fashion magazines like Vogue, Elle … which often drew inspiration from photos of extravagant models. This style of dance arose from Harlem ballrooms by African Americans and Latino Americans in the early 1960s. It was originally called “presentation” and later “performance”.
Over the years, the dance evolved into the more intricate and illusory form that is now called “vogue.” Voguing is continually developed further as an established dance form that is practiced in the gay ballroom scene and clubs in major cities throughout the United States—mainly New York City, Los Angeles, Atlanta, Philadelphia, Washington D.C., Miami, Detroit, and Chicago.
Currently there are 3 different styles, or we can say “schools” in Voguing.
– Old Way (pre- 1980)
– New Way (1990)
– Vogue Fem (started around 1985)
• Old way-is characterized by the formation of symmetrical and precise lines, creating a wonderful variable action with proper attitude. Egyptian hieroglyphs and fashion poses serve as the original inspirations for old way voguing.
• New way-is characterized by a more precise geometric patterns associated movements called “Click” (arm twisting in the joint) and “arms control” (agility hands and wrist illusions, which usually make “tut” or “tutting” and locking or stopping movement. New Way can also be described as a modified form of mime. Where imaginary geometric shapes such as boxes, are presented during the move, that move progressively around the body of dancer and showing dancers dexterity.
• Vogue Fem-is largest extreme flexibility and fluidity, exaggerated feminine movements, influenced by ballet, modern dance and in the case of “dramatic” Vogue Fem, emphasize jumps and tricks.
Vogue also includes other forms of dance moves such as: Modern jazz, ballet, gymnastics, martial arts, break dancing, yoga … Some dance historians even point out that breakdance and vogue evolved together in a bilateral loan of movement, with artists from both parties interacting one another in Central Park, Christopher Street pier, Harlem and Washington Square Park.
The Godfather and biggest legend of voguing was Willi Ninja.
THERE ARE ENDLESS MOVES AND STYLES, MORE ARE LISTED BELOW
Animation, Bopping, Bodydrum, Centopede, Clowning, Crazy Legs, Cobra,Dime Stopping, Floating/gliding, Filmore, Hitting, Puppet, Robot, Saccin, Scarecrow, Snaking, Spiderman, Sticking, Strobing, Ticking, Classic, Jumping, Techtonic, Waving, Hype, Capoeira, Krumping
Easy Wedding Dance
Here is an easy wedding dance that keeps things simple, and brings a bit of magic to your wedding day.
For the dance of your life, you need a little preparation. Too much and you’ll get overload and will likely forget everything you’ve learnt as soon as you step on the dance floor (when everybody’s looking). Not enough and you just shuffle about looking embarrassed.
This guide assumes that you are here because you have little or no dance training and that you’d like to dance an actual dance at your wedding rather than just shamble around in a self-conscious little circle.
And good wedding dances are now expected by a lot of guests. Why put all that effort into the reception, the dress, the food and then for this infamous rite of passage, make no effort at all?
OK, that doesn’t seem to add up. But unfortunately, people are now going too far in the opposite direction, spending huge sums on courses of private lessons to learn complex and demanding wedding dance routines.
The sad thing is that, in most cases we’ve heard of, this almost always ends in disappointment.
Easy wedding dance
Cheap to learn
Easy to learn
On the big day, you’ll…
probably remember it
Complex, ambitious routine
Potentially (very) expensive to learn
Difficult to learn (unless you are a very experienced dancer)
On the big day, you’ll…
probably forget it
We’ve already established that you’re here because you don’t have much (or any) dance experience. So trying to cram in all the training before the wedding (when there’s a million other things to think about) and then trying to execute a perfect dance routine like you’ve been at it for years, and in front of your nearest and dearest, and all on a day which is adrenalin packed already, is often a recipe for disaster.
We’ve heard many, many stories of couples spending up to $600 (yes, really) on private lessons, only to forget the whole routine as soon as they attempt the first step on the dance floor. And what then?
Guests will probably know they’ve been practicing and will have high expectations. And they’ve spent so much money it never occurred to them to have a plan B. So they just shuffle around, not doing much, and begging everybody else to join them on the dance floor to hide their awkwardness.
That’s just disappointing all round.
So what do you do?
Take things a step at a time and we’ll show the simple, fail-safe solution that delivers an easy wedding dance that anybody can master.
Simplest of all is the ballroom waltz box step. Look out for tracks that have a simple 3/4 beat, that is, 3 beats in a bar. So you should be able to count 1,2,3, 1,2,3, to the music.
Get this DVD today with two whole Ballroom for beginners classes for just $49.98
Things that make a wedding dance different
Well, firstly, you’re going to be the center of a lot of attention.
So keeping it simple is surely the way to go. Adding to the pressure of an already momentous day by trying to remember a complex dance routine just isn’t going to get you good results.
Use the theme and style of your wedding to help determine what sort of dance you should do (if you haven’t already picked your wedding track).
If you are going to wear a very big tiered dress, then doing a Latin routine won’t have much effect as your feet and legs won’t be visible.
Latin is better suited to a more contemporary look, with Ballroom dancing being much better for the traditional style of wedding and the dress that goes with it.
Staying with the dress, the bride will probably be wearing a style of dress that she’s not used to.
If you are the bride, make sure you know what your true range of movement is. Are you likely to catch your heel on the hem of a long dress? If so, make sure you practice keeping your steps very close to the floor. Slide and glide the foot, rather than stepping.
Also, if the dress has a train, make sure you practice holding the train in such a way that you can dance your steps without having to heave yards of fabric around behind you.
Guys, bear in mind that due to the style of the dress, you may not be able to hold your bride in a bone-crushingly close grasp.
A good basic Ballroom or Latin hold shouldn’t be that close anyway, so practice holding your partner in a way that leads her while still allowing her to breathe! That way you’ll neatly avoid stepping on the dress, too. Brian shows two different basic holds here…
Hold your partner properly. Take the time to find the hold that you are both comfortable with and practice going in and out of hold as often as you possibly can, in the kitchen, when you greet each other after a day at work, after you’ve brushed your teeth and are getting ready for bed, really any time. Just go into hold, dance a single step and then out of hold again.
Get used to your partner’s height, and where exactly to place your hands so that you both feel comfortable. This way, when you are actually performing your wedding dance, if you do lose the thread of what you’re doing, you can easily and quickly get back into hold and feel reassured, so you can quickly regroup and carry on.
And talking about holds, try to end your dance in a hold that’s a bit of a pose – this serves a couple of purposes.
Firstly, obviously, it brings the dance to a definite finish – well done, you’ve made it through and can catch your breath a little and enjoy the moment.
Second, it’s nice for your guests to be able to take a photo of you both in a posed dance hold – it’s very romantic.
And lastly it signals to your guests that your dance has ended and that it’s time for them to join you on the dance floor.
Congratulations! You made it through a simple, beautiful, romantic, easy wedding dance that will give you happy memories for years to come.
Get our fail-safe dance programs today and you can have our entire easy wedding dance classes at home…
Wedding dance disasters
Over the years, we have accumulated many learning-to-dance horror stories. But none are more horrific than the things that can and do go wrong during wedding dances. We have simply too many to tell, but there are a few noticeable themes to wedding dance disaster stories.
In no particular order, they are
Losing balance (sky-high wedding heels are usually to blame for this one – please don’t forget to dance your wedding dance through in heels that are the same height as your wedding shoes, so you get used to them. No good only being able to do your wedding dance in sneakers, now is it?)
Heel caught in hem (see above for the heel warning, but this carries the extra indignity of you then have to sweep around in a tattered dress for the rest of the day)
Falling over on the slippery dance floor (Gents, this is usually all you. You’re not going to be in sneakers either, are you? And those lovely, shiny formal shoes probably have incredibly smooth leather soles. Break them in a little by dancing your wedding dance on a smooth floor – the kitchen floor is usually good for this. If you don’t, as soon as you step on that dance floor, it might as well be an ice rink)
Wardrobe malfunctions (in the name of all that is decent, if you don’t want to end up the star of a viral video for all the wrong reasons, do not attempt any dance moves that your dress cannot contain. Strapless dresses combined with energetic movements of the arms above the head – what kind of wedding dance is that anyway??? – spell almost certain catastrophe. Avoid, please)
Forgetting the routine (finally, the most common and already outlined above. Don’t pay a boat-load of money to learn something that Fred Astaire would find challenging and then forget it all on the big day. It is your wedding after all so K.I.S.S. – Keep It Simple, Stupid!)
Get lots more tips and free online class clips from Brian Fortuna here.
We love hearing your wedding dance stories, so let us know how yours went…
The easiest wedding dance to learn is the Waltz – learn it right here
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