Leg press: This is the most basic training content in basic dance training, including pressing the front, side and hind legs.

Leg press's exercises help to open the ligaments of students' leg joints. Leg press should pay attention to the upright leg joints, open the instep outwards, and keep the upper body upright.

Press down until there is no gap between the upper body and the legs. Individual students have too tight ligaments. Leg press process, don't be demanding, be sure to press down and keep the correct posture. After a long time, you can lengthen the ligament and meet the requirements.

Pay special attention to keeping the crotch straight. When students press down their side legs and hind legs, they are most likely to have hips and hips tilted, which needs to be corrected in time.

When the side leg is pressed down, hold the handle with the same hand, and the other arm is close to the ear, and stretch as far as possible near the leg to lengthen the side waist. When the hind legs are pressed down, pay attention to flat shoulders, don't shrink your neck, support your head and don't fall down, and stretch backwards.

Accompaniment band: Choose music with strong sense of rhythm and press your shoulders twice. This is an exercise to open the shoulder ligament. When pressing the shoulder, put your arm straight on the handle.

The distance between the legs is slightly equal to the shoulder width. The head and spine should be relaxed, and you can feel the shoulder ligament being stretched when you press it down.

Accompaniment band: medium-speed, slow-paced, 2/4 three-push instep combination, the quality of instep varies from person to person, most of which depends on congenital factors, but we can't ignore the acquired training. Before training, move from toes to the whole instep; When training, hold the handle with both hands, hold your chest, lift your hips, and stand with your feet together, starting with an instep training.

1-2 clap one foot heel up, five toes close to the ground, 3-4 clap toes straight and push them into the wall, so that the whole instep stretches into a crescent shape, 5-8 clap the other foot, the action is the same, and so is the practice of double instep. When doing this kind of training, young students are not focused, so they often look down at their own and others' actions. When pushing the instep, their feet are easy to open and the instep can't be pushed up, so they need to be reminded and standardized at all times.

There is a great difference between children's dance training and professional dance training. When doing the action combination on the handle, it is impossible to be as intense and difficult as a professional student.

Only after several years of amateur training can I reach the professional level and achieve the combination of difficulty and intensity. Children are lively and like interesting movements, which requires teachers to pay attention to the simple and easy-to-learn structure and students' practical ability when arranging such movements on the handle.

Interesting and eager to learn will naturally stimulate students' interest in learning. If appropriate encouragement and praise are given in teaching, students will accept it quickly. Basic combinations of handle movements: 1 (two-handed/one-handed) handle, one-legged scrubbing combination 2 (two-handed/one-handed) handle, one-legged squatting combination 3 (two-handed/one-handed) handle, one-legged circle combination 4 five-legged, one-handed small kick combination 5 five-legged, and one-handed handle transfer center of gravity combination 6 (two-handed/one-handed) waist rotation.

Kick, step back, stand with your hands on your hands, straighten your knees, and look straight ahead. During the back kick, keep your upper body still, don't lean on your back, don't loosen your hips, and keep your instep and knees straight.

Never lean forward. If, after repeated emphasis, the students still can't do it, they can first touch the hind legs, that is, hold the handrail with both hands, lift one leg backwards, correct the posture of the students, and then kick backwards.

Six-point jump is a jump combination that holds the handle to prepare for the middle jump. When doing this jump, you should pay attention to spreading your feet in front and back at the same time. In the process of opening, straighten your instep and knees. The higher you jump, the better your legs will be. When landing, your feet will be quickly closed and your feet will land together. Kicking seven times is to exercise your leg strength and openness. Keep your upper body regardless of your front or side legs. Keep your eyes on the front In the process of kicking, we should also pay attention to the straightness of the instep and knees. Many students try to move forward when kicking their legs so that their legs can touch their bodies. In doing so, their necks will shrink back, their heads will lean forward and their knees will bend, which is very ugly. So warn them before kicking, it doesn't matter if you kick high, the most important thing is to keep the correct posture. On this premise, after hard training. Ligaments are getting longer and longer. When students make slight progress, they should be praised and encouraged in time. Some students often practice by themselves when they go home. When the teacher can obviously feel her change and improvement in class, she should praise her appropriately, otherwise it will dampen the students' enthusiasm for learning. Besides paying attention to your body and legs, your arms can't be ignored. In the process of kicking, make sure that your arms are flat. You can't relax. Students who are less than eight waist are flexible, but they have no strength in their hands and feet and cannot support their bodies. They often put their heads on the ground and lower their waists. Teachers should give students appropriate help, protect them, correct their posture of bending down, and tell them where to exert their strength and how to bend down. When they lower their waist, their feet are shoulder-width, their arms are straight, their fingers are open and their palms are forward. When they bend down, their upper body leans back. Lift your head and look for your heels. Keep your body and hands aligned with your heels and roll inward. After coming down, try to keep your arms and knees straight and keep your eyes on your heels. For older students with a certain foundation, let them do waist twisting training to increase the training intensity. Pay attention to doing back exercises after the end: squat with your feet together, tuck your knees in your hands and bury your head. The teacher will make * * * for the students along the spine. Protect their spine from injury. Nine-step cheating helps to stretch the ligaments of students' legs. Pay attention to the instep when training. We can train in this order: 1, split your left foot in front, hold your left foot with both hands, hold it for 1-2 minutes, then keep your legs still and lean back. Basic students can support the ground with their right hand and support their hind legs with their left hand. 2. Turn your body to the right and turn your hips. Don't put your feet on the ground. Stand up your upper body and instep, then put your upper body on the ground and stretch your arms forward. Lie flat on your hips 1-2 minutes. Turn right, with your right foot in front, and turn into a vertical fork. Repeat the action 1 to train the students' jumping ability. . .

2. How do you dance square dance? It looks too light.

How to grasp and realize lightness and nails in Latin dance? When dancing Latin dance, you should have strength under your feet, just like nails, but when you have strength, it is easy to cause stiffness. So, how to practice to make your feet lighter and have strength under your feet? Before answering this question, I want to explain the concepts of "main leg/foot" and "strength leg/foot". Simply put, "main leg/foot" is the leg/foot that supports the weight of the body; A "powered leg/foot" is a leg/foot that does not support the weight of the body. They are used to do various actions, such as stepping and lifting legs.

In the process of Latin dance, the "main leg/foot" and "strength leg/foot" are constantly changing, so it is reasonable to think that dance is a dynamic process, involving "current main leg/foot" and "current strength leg". At a certain moment in the process of dancing, the leg/foot supporting the body weight is called "current main leg/foot"; Another kind of leg/foot that does not support weight is called "current strength leg/foot".

Generally speaking, in the process of dancing, there are two movements at the same time: the rolling/moving of the center of gravity at different parts of the "current main leg/foot" and the stepping/moving of the "current power leg/foot". Because the rolling/moving of the center of gravity of different parts of the "current main leg/foot" is usually invisible or not so intuitive, ordinary people, especially beginners, first pay attention to the "current main leg/foot" and shout rhythm on it.

At this point, you may have understood the above problems. "lightness" is aimed at "the current strength legs/feet", and the steps should be flexible and agile. "Feet as strong as nails" refers to "current main legs/feet". The stability and strength of "current main leg/foot" is the premise to ensure the movement quality of "current dynamic leg/foot", which is particularly important in M.

In addition, the duration of music is a continuation of "current main leg/foot", not "current power leg/foot". Many dancers didn't notice this problem. Only by learning to dance with the "current main leg/foot" can we get out of the primary stage and have a deeper understanding of the music rhythm.

3. What do beginners need to know about dance?

Need to master basic skills

1, flexibility: as far as the range of motion of human joints is concerned. People with good flexibility are not stiff, elegant and beautiful.

2. Control power and stability: Control power refers to the control power to maintain the balance of muscle tension in dance and the fixed power to ensure the formation of dance posture; Stability refers to the ability to adjust, control and restore human balance and stable performance.

3. Coordination and flexibility: Coordination means that all muscle groups in the whole body can coordinate with each other; Flexibility refers to the ability to quickly change the position and direction of some parts of the body or limbs.

Extended data

Taboos for learning dance:

Don't be lazy in dancing study.

Before you learn to dance, you should be mentally prepared. Whether it is the difficulty of dancing or the degree of standardization required, it will be beyond imagination. Split, bend over, press your hips, etc. It is torture to the body and exercise to the body. If you want to learn dance well, there is no better way than not being afraid of hard work and insisting on answering, so practice makes perfect. This is also a process of tempering the will. Hard and boring basic dance training requires enough will to persist.

Dance learning should not unilaterally pursue dance movements and ignore emotional expression. Dance is the art of sports. Although it can also be called exercise, it is obviously different from exercise. First of all, the aesthetic requirements of dance for action have risen to the artistic level; Secondly, dance performance needs to express unique emotions through beautiful dance movements.

4. Ask for some dancing skills or basic knowledge.

Dance skills-longitudinal traction skills, also known as posture requirements. That is, when the whole body is relaxed, look for the straight feeling of the ceiling on the top of the head. A longitudinal traction effect goes straight to the top of the head along the lumbar vertebrae and cervical vertebrae, expanding the abdomen, flattening the back, pulling the waist and buttocks up, sinking the shoulders, knees inward and perpendicular to the ground. For modern dance, there are two special requirements: one is to hold your arms tightly, and the surrounding frame will never deform; the other is to turn your head slightly to the left. The upper body leans back slightly. Biplanar traction technology is the key to realize the center of gravity transfer. The most important point is that the legs and feet are all driven by the waist and buttocks, whether front, back, left or right: the feet move with you, the body moves with your hips, and the hips move with you. Even if the feet arrive at the same time, different consciousness of moving with you or moving with your feet will bring absolutely different effects. Only when your feet follow you will there be a dragon (snake) swing. Why are you still "stepping on your feet" and "afraid of stepping on your feet"? This is because your body moves with your feet. This is a high-level shift of focus. Mainly put the center of gravity on the inside of the foot to avoid both feet bearing weight at the same time, and try to shorten the time when both feet share the center of gravity, so that people can't see the traces of alternating centers of gravity from one foot to two feet and from two feet to one foot. Even if we meet step by step, it is the last moment (waltz) after our feet are together. Or the first moment (tango). Four-legged rolling skills. The so-called rolling refers to the movement process of the center of gravity of the human body at the position of the sole of the foot. Whether the toe rolls to the heel or the heel rolls to the toe, it should be smooth and smooth, and it is not allowed to use only the sole of the foot. This tumbling consciousness should also be combined with the flexibility of the knee joint, showing a state in which the center of gravity does not alternate only when the human body flows. The ups and downs caused by this rolling are not the same as the artificial stiffness and bumps. Five reflexive skills. The so-called reflexivity means that the consciousness of waist axis rotation drives the upper body to rotate (incompletely), just like yangko, "the left leg is forward (backward) and the body is left (right); The right leg moves forward (backward) and rotates to the right (left). " Its function is to help the human body push out the center of gravity. Once the center of gravity is in place, reflexivity disappears in the natural tendency. Reflexion is not only a prelude to rotating dance steps, but also a transition between other dance steps. Without reflexive skills, the body will appear stiff; With reflexivity, the shift of focus will be icing on the cake. 6. Tilting skills. The tilt mentioned here is characterized by the deviation of the longitudinal axis of the human body from the longitudinal axis. Its function is to promote the flow of the human body through the strength of the waist axis, showing a reflexive curve and beautiful form. Like reflexivity, we need to pay attention to the twisting of shoulders and the bending of waist. 7. Swing skills. The swing feeling realized by the waist and buttocks is to increase the stride and enhance the flow of the body. In order to get the swing, it is necessary to use the thrust of the sole of the foot and the cooperation of the knee joint to realize the movement of the body in the air while exerting force on the waist and buttocks. Eight promotion skills. Promote the shift of the center of gravity, and realize the lift for the purpose of plane traction, that is, with the sole of the foot as the center, the heel is slightly off the ground first, and the knee is gradually straightened during the heel rise, so that the body rises to the highest. Then with the knee bending, the heel gradually falls to the ground. Nine-head-neck dance and dance skills should be a kind of whole-body information transmission and feedback. The waist exerts its strength to command all these information of the whole body. Holding it with an arm that will never change shape, it can be transmitted and fed back to each other. Modern dances such as waltz should also be transmitted and fed back more effectively with the help of waist-hip contact points. At the same time, both sides must maintain a stable center of gravity and relative independence. You can't have the slightest motivation to rely on each other. The leader of the dance must be accurate and decisive, and can't make their own decisions with the dancers. Ten rhythm processing skills. Dancers should not only step on the basic requirements of dance steps, but also process the original beat to make it colorful. For example, when two weak beats of a waltz are combined together, an incidental variation of Peng is formed, which rises to the highest level at the last moment, dripping with elegance and hearty. As for the bullfighting dance, the cowboy dance cha-cha, the traditional four-hop foxtrot and the traditional four-hop rumba may have a different flavor. The purpose of shifting the center of gravity is to make the transition of every detail of body dance as smooth as possible without sudden change.

In order to achieve a seamless state, it is required to "bend the knees, exert force on the inside of the sole, and walk in the inner arc". This "three-in-one" can effectively prevent both feet from bearing weight at the same time, and at the same time share the center of gravity, leaving no traces of alternating centers of gravity from one foot to both feet and from both feet to one foot, thus better realizing foot movement, promoting linear flow of the body and enhancing the fluency of body dance.

It feels best to roll all feet. Full sole rolling means that the sole of the foot contacts the ground step by step from front to back like a wheel. From front to back: along toes, soles to heels; From back to front: along the heel, sole to toe.

Full-foot rolling Purpose: To achieve high-quality foot movement. The so-called high-quality foot movement means that the body is on the verge of falling all the time; It is shown in the movement track of the sole, that is, it gradually contacts the ground to form the rolling of the sole.

Feet move with you is the simplest feeling of "feet move with you" in the advanced stage of dance: when your body is going to fall down (forward or backward), your feet will follow you out immediately; How much to dump, how much to follow; Dump 1mm, followed by1mm. Always keep this feeling of dumping and danger.

With this feeling, you will get everything. Without this feeling, nothing is possible.

There is a metaphor for the feeling that your feet move with you: in front of a ditch about 1 m wide, the process you cross is the process of "your feet move with you". And the way of "moving with your feet" can't go past.

In the advanced stage of modern dance, the body is used to express the characteristics and connotation of music, and the movements are like flowing water in one go. The characteristic is: 1. Dantian is lucky. Inhale directly into the abdomen, and the air in the abdomen supports your upper body. When exhaling, your upper body exhales gas through your nose.

The whole body floats on the ground like a "hovercraft", naturally floating when inhaling and slowly descending when exhaling. 2. 100% dance with your body. It seems that your body doesn't need to touch the ground, it just bounces slightly with the help of the ground. Your upper body speed is even and meticulous, and your rhythm is clear.

3. Use the luck of Dantian to drive the contraction and extension of joints, tendons and muscles. Make the flexion and extension of joints such as waist, abdomen, hip and knee and the contraction and extension of muscles and ligaments more stable and free.

4. Male and female partners can be compared to two objects, and when they are combined, they can be counted as a single object.

5. What are the basic steps of street dance?

(1) Slide in place: Preparation posture: Stand with your feet side by side and your arms droop naturally.

Action process: lift the heel, left foot, and the center of gravity of the body falls on the palm of the front foot. After the left foot presses the heel, the right foot straightens and slides backwards. Then, after the toes leave the ground, bend the leg forward to the original position, lift the heel right foot and heel the right foot at the same time, and then complete the action that the right foot is the supporting foot and the left foot slides backwards. Two * * * are used for in-situ sliding.

Practice tip: practice one-arm in-situ sliding, two-arm forward wave, up and down wave. At ordinary times, we should strengthen the lift heel training when walking or carrying loads, and improve the strength of beating ankles and toes.

(2) Slide forward: Preparation posture: Same as above: first straighten your left leg, slide forward one step in the toe direction, then lift your heel with your left foot, straighten your right foot and slide forward one step in the toe direction. At this time, the left foot presses the heel, the right foot lifts the heel, and the two * * * slide forward.

Exercise tip: the toe direction of forward sliding can be straight ahead or outside. (3) Backward slip: 1. Slip back after heel pressing: the preparation posture is the same as above.

Action process: when lifting the heel and pressing the heel, the right foot is straight and the whole sole is smooth backwards; When the toe of the right foot slides to the heel of the left foot, the toe points to the ground, the heel is raised, and the instep is vertical to the ground; Then the right foot presses the heel, the left foot straightens the whole sole and slides backwards, so that the toes slide to the heel of the right foot, the toes point to the ground, the heel of the left foot is lifted, and the instep is vertical to the ground, and the backward sliding action is alternately completed left and right. Exercise tip: The main point of action is to follow the ground with one foot and lift the other heel, and repeat alternately.

When the rear slipper stops sliding, the toe points to the ground and the instep is vertical to the ground. If you are skilled, you can increase the stride of backward sliding.

Pay attention to control the center of gravity when practicing. 2. Raise the heel and prepare for the backward slide: stand side by side with your feet and your arms naturally droop.

Action process: the left foot is the supporting foot, the knee joint of the right leg is straight, the whole sole slides back to the heel of the left foot, and the left foot lifts the heel. The left knee joint extends to the sole of the foot and then slides to the right foot, and the right foot lifts the heel.

Left and right * * * are used for sliding at the back. Exercise tip: When gliding, lift heel's ipsilateral shoulder should be lifted upward and transmitted reversely with unilateral joint.

(4) Lateral sliding step: 1. Heel-pressing and cross-sliding preparation posture: open your feet left and right, with your toes in front and your feet apart. Action process: the toes point to the left, and the heel of the foot is lifted and close to the heel of the right foot. When the left foot presses the heel, the right foot is straight, the whole sole is smooth to the right, and the toe is stepped forward, so that the horizontal sliding action can be continuously completed to the right.

Exercise tip: The number of horizontal slides left and right can be freely slid according to the needs of the action. 2. The preparation posture of double heel-lifting horizontal sliding step: the feet are left and right, the toes are abduction, and the arms naturally droop.

Action process; (Take sliding horizontally to the right as an example) The center of gravity of human body moves to the right. When the legs stand upright to the right, lift the two heels, and the right foot drives the left foot to move one foot to the right, so that the lifted heels of the two heels are close together, and the right foot moves one step to the right to restore the preparation posture. Exercise tip: The main point of action is that the waist and buttocks drive the body's center of gravity to move.

3. Cross-sliding preparation posture: the feet are left and right, the left toe is left, and the arms naturally droop. Action process: (Take sliding horizontally to the right as an example) Lift the heel with the left foot, and the heel is close to the right heel.

When the left foot presses the heel, the right leg is straight and the whole sole slides one step to the right. Then the forefoot of both feet quickly makes the toes exceed the inside.

When the left foot crosses the previous step of the right foot (the toe crosses the right), the forefoot of both feet continues to grind the ground, so that the left toe crosses the left and the heel is raised at the same time. At this point, the tip of the right foot has turned straight ahead. Prepare to start the second cross slide.

Exercise tip: The key point of this slide is the grinding action of the forefoot. To make the movement route of two feet on two parallel lines, beginners should slide in one direction first, and then complete the cross-sliding steps on the left and right sides after they are proficient. 4. Turn around and cross-slide. Preparatory action: Same as above: lift the heel of your left foot and make your toes super left. When the heel of the left foot is close to the arch of the right foot, press the heel of the left foot and slide the right leg one step to the left.

At this time, the left foot touches the ground, the right foot lifts the heel, the left foot straightens and rotates to the tip of the right foot, and the body rotates to the right and back 180 degrees, then the right foot touches the ground, the left foot lifts the heel, and the right leg straightens and slides one step to the right. Repeat the action like this.

Exercise tip: The key to the action is to press the heel while sliding the other leg. (5) prismatic sliding: prismatic sliding is carried out according to the essentials of horizontal sliding combined with turning action. Exercise tip: 1. Flexible steering.

The prism sliding step can be completed clockwise. 2. When turning and sliding, you can combine the movements of your body and arms.

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