With the continuous improvement of Latin dance technology and the difficulty of arrangement, the sports load of Latin dance is gradually increasing, and the important position of Latin dance physical training is highlighted. For Latin dance, basic skills are the most important. What are the basic training methods of Latin dance? The following is the relevant information about the basic training methods of Latin dance for your reference!

Basic training methods of Latin dance

1. Stairs for calf training

One-leg support movement, the so-called one-leg support movement, is that one leg steps on the stairs to support the whole center of gravity, the back of the sole is suspended, and both hands support the wall or handrail. When supporting the whole person, the speed should be fast. When descending, control the descending speed, lengthen the calf line as far as possible, and don't touch the heel down the stairs. When propping up, the hips are pushed forward and the groin is flat. This high-quality exercise is about 30× 3 = 90 for each leg.

Lying on the frog

This is a pictographic statement, and the function of this action is to open the span. Key points of breaststroke prone position: legs and heels together, knees relaxed and feet bent. Touch the ground, cross your legs not far away, and try to stick your upper body to the ground. At this time, the straddle will tilt upward, pay attention to keep breathing smoothly, let people press their hips vertically downward when exhaling, and relax when inhaling. This exercise is dominated by people who help open the stride.

Step 3 practice on the instep

Kneel on the floor first, sit your hips on your knees, and wait for the instep to slowly open. Lie down again, be careful not to lift your whole body with your head, but try to make your upper body touch the floor, cross your back, and lift your knees off the ground and keep them.

Step 4 enlarge the calf

When sitting on the ground, first pull your thumb with both hands, and pull it into a circle with your back, and try to lengthen the back line. Then put your hands behind your hips and hook the soles of your feet so that your heels are off the ground, but your calves still have to stick to the ground and then turn to your ankles. This action can exercise the calf and thigh.

5. girls practice the lower fork and boys practice the abdominal muscles.

Girls open their bows left and right, keep them for a while, and try to stick to the ground. Boys put their forearms on the ground, clench their fists with both hands, make a 90-degree angle with their big arms, and support the whole body with the soles of their feet and forearms. Try to keep your body parallel to the ground, don't collapse, don't tilt PP, and keep your body flat.

6. The boy helped the girl leave the fork.

This action is helpful to the cooperation of two people, the improvement of girls' downward fork ability, and the improvement of boys' abdominal muscles and control ability. The girl stands in front of the boy at a 90-degree angle. The girl puts a hand on the boy's shoulder and presses it down, tightening her body, so that her focus is on the boy's shoulder. The boy holds the girl's waist with one hand and stands with his feet slightly wider than his shoulders. Lift the girl with the rhythm of 1 and let her feet off the ground. At this point, the girl's whole body is tight and her feet are close together. Rhythm two, boys put down girls, girls fork. At this time, the boy's body is stretched out, resisting the girl and not being pulled by the girl.

7. The root of one leg controls the thigh

The center of gravity is completely on the palm of the front foot, the hips are pushed forward, and the groin is flat. Take root, let the center of gravity stand vertically on the palm of your front foot, and feel your thighs inserted into your body. Pay attention to the practice of exchanging feet, and control 1-2 minutes each time, with 2 groups in each group.

8. Control the inside, and the belt will descend.

Legs apart, shoulder width apart. Starting from the shoulder, move the chest and waist to the cross position, jack up across this position, level the groin, pay attention to the outside of the foot leaving the ground, support it with the inside of the foot, buckle your knees and keep your body vertical to the floor. After holding 10 seconds, it began to descend to half of its original height. After holding for half a minute, kneel down slowly, be careful not to make a loud noise, and control the speed of descent and landing.

9. Stretching exercise

In the side step, your knees touch the ground. You can choose to sit your hips on your calves, or just support them with your calves and instep. Be careful not to hook your foot on the other foot. You also need to lengthen your instep. Pull one side of your body and twist it (for example, twist your body to the right, and support your left hip to the right with your left hand).

10. Main leg and knee strength exercises

The main leg is straight, the outer side of the strength leg is opened, the center of gravity is pushed to the forefoot of the main leg, the groin is flat, and the feet are opened in an outer figure. The rhythm twists in the body like a towel, driving the strength leg to rotate at a 45-degree angle; When the rhythm is 3, straddle back to the right position, and the power leg is also brought back to the position when the rhythm is 1; Rhythm 4, the strength leg is straight, back to the outside, showing the starting state. Start with continuous 10 slow legs, and then gradually speed up, paying attention to practicing only one leg at a time. If we can achieve the above five points, our physical fitness will make a qualitative leap.

1 1. The main leg pushes the knee to exercise.

This is a combination of exercise 6 and exercise 9. Use your heel, pay attention to your body sitting on your leg and flatten your groin. Kick out the strength leg, push it with the main leg, land the strength leg, and immediately press your knees and pull up your hind legs. Kick your leg in exchange.

12. One leg 180 degree turn

Open your feet back and forth, land your feet, focus more on your hind legs, and open your body. Lift the heel slightly, turn the heel to reveal the line of the hind leg, push the center of gravity to the inside of the heel of the forefoot, push the heel of the hindfoot more, push it forward, and keep the groin flat. Be careful not to move the upper body, and push the center of gravity to the middle of the inside of the forefoot. At the moment of rotation, push the center of gravity completely to the forefoot of the forefoot, with the thigh in front of the body and sandwiched between the legs, to drive the body to rotate 180 degrees and keep it vertical.

The main leg stands with the center of gravity on the whole sole of the foot, the strength leg stretches forward and the outside of the sole touches the ground. This is the natural posture of the body. Many people, including me, take the natural standing distance as the standard in rumba, cha-cha and samba movements. This has the advantages of short moving distance, quick positioning and great labor saving. However, due to the short distance, the center of gravity exchange between the two soles of the feet has not been completed, and the action can be completed only by slightly turning over. Results The upper body movement is small and the lower body explanation is not sufficient, so the external effect of "stop" control is good, but the content of "change" is very empty.

The pace standard when moving is also produced under such circumstances. (This standard is for myself, hehe! As mentioned above, in the state of natural standing force, the center of gravity is pushed more to the forefoot. At this time, you will find that the distance of the strength leg extending outward has increased, and the front foot has support, but there is no center of gravity. When standing naturally, the distance between the legs is more than half of the sole of the foot. This is the distance required for the half center of gravity, that is, the distance of the moving pace. At this time, stepping on the forefoot moves part of the center of gravity to the heel of the forefoot, and the groin is pressed down, and the center of gravity sits on the hind leg, pushing the hind foot to reduce the span of the hind foot side, flattening the groin of the forefoot, so there is a longitudinal movement of straddle riding. After flattening the groin, lengthen the front foot on the same side as the body to show the lines on one side of the body. After these tasks are completed, you can move forward with your whole body.

Analysis on Basic Skills of Latin Dance

First, 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, along the longitudinal traction from the lumbar vertebrae and cervical vertebrae to the top of the head, abdominal distension and chest expansion, flat back, waist and buttocks pulling up, shoulders sinking, knees adducted and perpendicular to the ground.

Second, the aircraft traction skills. This is the key to realize the shift of center of gravity. The point is, no matter front, back, left and right, the legs and feet are driven by the waist and hip: the feet move with you, the body moves with the hips, and the hips move to the body. Even if the body and feet arrive at the same time, does the foot follow you or does the body follow the foot? Different consciousness will bring completely different effects. Only when the feet follow you can the dragon (snake) wag its tail and flow like water. Some people have been dancing for many years, why are they still "stepping on their feet" and "afraid of stepping on their feet"? This is because their bodies move with their feet.

Third, reflexive skills. The so-called reflexivity is to use the rotation consciousness of the waist axis to drive the (incomplete) rotation of the upper body. 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 inclination. Reflection is not only a prelude to the rotating dance step, 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.

Fourth, tilt 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, and to show the beautiful shape of the curve with reflexive action. Like reflexivity, you need to pay attention to shoulder distortion and waist bending.

Fifth, swing skills. The swing movement realized by waist and hip strength is to increase the walking stride and enhance the flow of the body. In order to get a sense of swing, it is necessary to draw the joints with the thrust of the soles of the feet while exerting force on the waist and buttocks, so as to realize the movement of the body in the air.

Sixth, lifting skills. Lifting for the purpose of promoting the center of gravity transfer and realizing plane traction, that is, taking the sole of the foot as the center, first make the heel slightly off the ground, gradually straighten the paint cover during the heel rising process, so that the body rises to the highest level, and then make the heel gradually fall to the ground with the bending of the paint joint.

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