By Kevin Stith
Hip hop dancing is an urban ethnic dance form that has gained popularity in recent days. It is more common than the break dance of modern days. Hip hop dancing marked its beginning as part of the hip hop culture in the early 1900's, when the youth in and around Bronx, New York started dancing on the streets. Hip hop dancing is an ideal way to express one's creativeness. It features self impressions and the dances come from the soul. The dancing represents body movements that go with the beat and rhythm of hip hop music. There is breaking, popping, locking, and free styling in hip hop dances. The jumps, breakages, and rotations in the movements are combined in such a way that the dance style becomes an informal and explosive one. Hip hop dancing is considered a good exercise for those persons who perform these dances. It helps the dancers to improve flexibility, to develop body balance, and to coordinate the muscles. This dance allows the dancers to improve their own style and to remain in good body shape. It also leads the dancers to a state of spiritual wholeness. Hip hop dancing includes many steps and movements that are not present in ballet and ballroom dancing. Dancers should have is to become familiar with the dancing technique. Hip hop dancing can be learned by all those who are interested in dancing. There is no age limitation or restriction for learners and dancers. It is also not necessary that the instructor should be a professional dancer. However, this kind of dance is slightly difficult to learn because of the various body movements. Article Source: http://EzineArticles.com/?expert=Kevin_Stith Keep Dancing
by Harold & Meredith Sears
Do you ever find yourself in the middle of a dance with no idea of what figure you're doing and no idea of what figure is coming up, either? Surely, the cuer has told you, but the words just flew on by. Then, he cues, "Lunge and Roll"? I heard that, but do we both lunge, or does one lunge and the other roll? Where? How far? She's rolling down line. What should I do? |
You should keep dancing. If this is a foxtrot, dance slow, quick, quick — keep moving to the rhythm. You are really marking time, waiting for a cue that will sink in, but, until it comes, you are dancing and enjoying your partner and moving to the music. Do a little box in place, maybe a vine. If your partner appears to know what's going on, aim your steps in that direction. Go with the flow. If you are able to do this, by the time the next meaningful cue comes along, you will be able to blend smoothly from your primitive choreography into the intended choreography, like merging into traffic on the interstate. If one of the missed cues was a transition or a chasse, then you have the wrong foot free — just do a subtle close/point — now you can blend and merge, and off you go. The ability to "fudge" is sometimes not given the respect it deserves. No one doubts the value of our ability to keep time to the music, to execute the hundreds of different figures in our round dance repertoire, and to lead and follow and so dance with our partners. But sometimes we will lose it, and the ability to fake it can go a long way toward making our round dancing smooth, comfortable, and fun. "Man chasse, woman roll left to shadow." There are lots of opportunities for problems in that little cue. First, the man might hear the first part but not the second, so he leads a thru chasse for both. He does this with a little extra tone, a little extra lift in his frame, causing her to add the "skip," the syncopation, to her steps. But now you're in semi-closed, rather than shadow, with trail feet free. Or, you might both hear the cue, but the woman (if only subliminally) registers the "chasse" too. So he raises lead hands, and she rolls, but she syncopates her roll. Now you're in shadow, but again, trail feet are free, rather than right feet for both. Or the man realizes he must raise lead...