The ULTIMATE Guide To Dubstep Popping | RichStylez TV | Skillshare

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The ULTIMATE Guide To Dubstep Popping

teacher avatar RichStylez TV

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

46 Lessons (2h 12m)
    • 1. 1 Intro

    • 2. 2 How To Use This Course

    • 3. 3 What Is Popping

    • 4. 4 Secret to Popping

    • 5. 5 Tension Relax Exercises

    • 6. 6 UpperBody Isolations

    • 7. 7 Chest Isolations

    • 8. 8 Hitting Overview

    • 9. 9 The BIG 3 s

    • 10. 10 Hitting Drills 1

    • 11. 11 Arm Hit Drills

    • 12. 12 Robot Overview

    • 13. 13 Robot Technique

    • 14. 14 Robot Walk

    • 15. 15 Dimestop

    • 16. 16 Car Show

    • 17. 17 The Bop

    • 18. 18 Hit Bounce

    • 19. 19 Waving Overview

    • 20. 20 Waving Technique

    • 21. 21 Waving Tips

    • 22. 22 Wave Body

    • 23. 23 Trace Waves

    • 24. 24 Waving Concepts

    • 25. 25 Tutting Overview

    • 26. 26 Tutting Technique

    • 27. 27 4 Square

    • 28. 28 Tracing

    • 29. 29 Toyman

    • 30. 30 Hand Technique

    • 31. 31 Putting it together

    • 32. 32 Footwork Overview

    • 33. 33 D PAD

    • 34. 34 Side Glide

    • 35. 35 Front Glide

    • 36. 36 Back Glide

    • 37. 37 Rotation Glides

    • 38. 38 Shuffles

    • 39. 39 Combining Glides

    • 40. 40 Miming Fixpoints

    • 41. 41 Slow Motion

    • 42. 42 The Lean

    • 43. 43 Vibrating

    • 44. 44 Freestyle Tips

    • 45. 45 Freestyle

    • 46. Motivation

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About This Class


The Ultimate Guide to Dubstep Popping for Beginners

Learn the Basics of Popping and Animation Dance
Are you someone who loves to dance or just wants to learn and has no idea where to begin? This course is designed to teach you the ins and outs of some of Popping's most popular dance moves.

  • Are you worried about getting on the dance floor because you don't know what to do?
  • Impress your friends and family with some mind blowing dance moves
  • Easily learn the tricks of popping so you learn fast

Popping can be very overwhelming, it contains so many moves and styles that it's often difficult to figure out the intricate movements.
I have traveled the world performing with various artists, dancing on the street, choreographing for movies and television as well as learning from the best in the world.
Now you don't have to take a million classes!
Since 2009, I've taught so many people throughout the years, all who are able to learn popping and TEAR UP the dance floor.

“Erich is an absolute pro! We had both my boys and girls in his course and they loved it. I would absolutely take another class from him."
-Stephanie Weismer

  • When you are at a club or at a party become the center of attention!
  • Be so confident on the dance floor that no one can take their eyes off you
  • Learn intricate moves easily and painlessly
  • Be a BADASS dancer!

The ULTIMATE Guide to Dance to Dubstep: Learn the Basics of Popping and Animation DanceYou will learn
1. The Basics INCLUDING: The Secret to Popping
2. Hitting
3. The Robot
4. Waving
5. Tutting
6. Glides and Footwork
7. More Animation Goodness

How Long Will This Course Take?
The best part about this course is you can go as fast or as slow as you want.
Learn all the moves but continue to go back and master each move so you can destroy the dance floor.
You don't need to practice everything, just take your favorite moves and master those.

"I bought his courses from my kids but I ended up learning them with them, the moves were easy to do and he is a great teacher."
-Erin Stenson

Try Out My Other Courses

The Ultimate Guide To Dubstep Popping

Advanced Waving Dance Style

A Beginners Guide To Hip Hop Dance Moves

The House Dance Masterclass


Subscribe To My Youtube Channel For FREE Tutorials & Tricks

Meet Your Teacher

Hello, I'm RichStylez.

Born and raised in New York City, I have trained with the best dancers NYC has to offer.

I've been dancing for over 13 years. I am a travelling dancer where I learn from the best dancers and teachers I can find.

I have toured around the world and performed for the biggest stages as well as for movies and television shows.

I as a Popper, Breakdancer, House dancer and overall student. I love learning new skills and mastering them using a very basic tool set that allows me to learn in a faster time.

I teach my students how to use this kind of tool set.

I love teaching I love teaching and would like to share my experiences with everyone.

See full profile

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1. 1 Intro: Hey, guys, this is Eric. Raise a k A. Rich styles. Welcome to the fundamentals of popping and animation. Course you won't learn how to pop in if you want to learn how to do some animation, especially if you want to dance a dub step or, you know, create really cool patterns with your body and this course for you and this course we're gonna learn about hitting stunning robot my Ming waving you name it. There are a lot of little details in this course and a lot of information that I'm going be throwing at you. So you're ready. Just go to the next video and start popping. 2. 2 How To Use This Course: those courses laid out in a few chapters, which include hitting, cutting, waving and other animation. Goodness, you check out the lecture course, you'll see all of the little moves, and the little details I'm going to be able to teach each section were broken down into basic technique. And that's where the main movements going to come from. And would that I'm also including extra concepts that could make your dance go from ordinary to extraordinary Was going be a lot of information being thrown at you, So you need to go back review and check out little tips and tricks that I'm gonna be going at you because it'll just make your that's so much better and you're gonna accelerate so much faster. And, of course, don't forget to have fun, because that's what this course is about. Try to find ways. Toe practice will make it fun. Don't make it boring. Try to make it interesting for you. If you have fun while you're dancing everyone around, he's gonna have fun as well 3. 3 What Is Popping: popping is a dance that was started in the seventies around 19 seventies in the West Coast is mainly use the deaths Teoh Funk Music State and it was one of the first punk styles now popping really consists of one movement, which is the hit, and the hit comes from testing all of your muscles at once to get this jerky. And, of course, throughout the years it evolved to include such styles, is waving and robot tutting and all these fun tricks that make you look unreal. All these illusions that will make your body look like it's not even part of this certain. Dubstep is a musical genre that came from South London, right? It's really really known for its heavy, heavy bass. Kind of like that sums that walk, walk type of music that you hear. It's also very loud and has a lot of points that you could hit, which makes it perfect for popping. And you can use all the animation styles and robot and kidding. Teoh really accent all the little sound effects that come in dubstep music, and you guys want to learn more about popping history. I added a Lincoln description below, so you guys get you learned on 4. 4 Secret to Popping: What is the secret to stopping you? Ready? That's very, very simple. It's all about tension and relaxation of your muscles, thinking it can't be that simple. Yeah, it's that simple. A lot of people don't really teach this in, especially in their popping classes. Dancing really occurs when you squeeze all of your muscles at the same time to create a very rigid and a tense affect your body. When you add the steer dance, it's going toe. Create insane illusions I'm going to teach you about in the next couple of chapters. When you test all of your muscles, it gives you a sense of control. Your your movement become cleaner and sharper, and you create this vibrating effect if you add enough attention to it, which equates to the animation style because the Latin animation style comes from stop motion films and Playmation and looking like a car, too, when you have your arms or your legs had really, really tensed while you're dancing, it makes your dance look a little bit different in terms of quality of texture, of your movement becomes bravery different when you do a relaxed movement when you do it 5. 5 Tension Relax Exercises: way. Okay. Now, with these tension and relaxation exercises, we're gonna dio I want you to first practice being as relaxes puss, which means shaking all your muscles out. Not really doing anything, just hanging off, trying not to put any attention, to be aware that you're not doing any tension. Okay, so the exercise goes like this, we're going to relax for an eight count, and then we're gonna tense for any count. When you were gonna relax on, then we're going to tense. Relax. Intense way. - Now , you can choose different positions when you tense all your muscles. So china choose different positions every time tense your muscles. It doesn't really matter anywhere that you can think of anyplace that you're trying to move . And then you end up there, hold for eight counts and then release. Well, this next part involves you tensing all your muscles, but you're just gonna be moving around. It doesn't really matter what you do. There is no set movement. There's no for aggravated. An old team. I just want you to tense all your muscles as hard as you can. You just need to tense all of your muscles and tried Teoh, move in any direction. Anywhere you want to do anything, you want to pick something up. But I know that your body is completely tense and be aware of how your muscles feel at that moment. So you're going toe, move with tension for a whole account, and then you're just going to relax and move without tension for another recount, and you're gonna complete that. 6. 6 UpperBody Isolations: e o hit this movement were doing before. Except instead of bringing our ears to our shoulders, we're gonna try to bring our chin to a shoulder we're gonna do that is we're gonna go. It's not gonna be very big movement. Okay, so you're just going to try toe, bring your chin a little bit close to your shoulder, but 10 like, there's a glass of water on top of your head and you don't want any of the water spill out , so it's close to your shoulders possible. And then you gotta compensate by bringing your shoulder a little bit closer to your chin. So you're gonna also try to not your shoulder, and then you're gonna add those two together, so they're going to try to meet in the middle, so it looks like a bigger movement on the other side. Well, well, well, well, 7. 7 Chest Isolations: e o. Just like when you bring our head to our shoulder. Last time that we did it, show that clip again. This time we're gonna try to not move ahead. And we're going to just move our upper body, our entire chest area, beside the sides. It's gonna look like this. Okay, so now how we're doing that is we're just going to do the same thing, but in the complete opposite sense of one year doing chin to her shoulders this time we're going to bring our shoulder well stated a small also. You're going to bring differences. Her shoulder is doing a majority off the way. 8. 8 Hitting Overview: way hitting is the actual pop in the popping dance when you hit your actually tensing all of your muscles just like when you're doing the tension and relaxation exercises. Which is why I wanted you guys to learn that first. Because really, that is what we're going to use every single one of our dances. Attention Now hitting involves using all of your muscles and have going from relaxation like 0% tension all the way to 100% tension in like half of a second. Essentially, what you're doing is you're relaxing your hand and then your snap it. You're gonna test everything and then relax. That's where that balance comes from, or that reverb that comes from your body. See that shake? That shit comes from being relaxed, tense, relax, tense, relaxed vice. If I just stay test, then there would be less of a balance or a shake. But because I'm relaxing right after the attention, there's going to be more of a shake, and that creates that pop. And I use hitting from multiple things, really. To show that you're doing popping technique and to be on beat, you can often use hitting as a metro? No. Or to keep you on time. And with the music, it's often times you're going to hear the music. Oh, whom? Yeah, Yeah. And on the snare you want. Oh, hit on this way. So we're gonna do some exercises and some drills toe, get you familiar with this movement? 9. 9 The BIG 3 s: when you want to hit your arms as you want to do a rotating motion. Okay, so you want to an external rotation wondering is twisting my arm outwards. I remember using a shoulder. I'm really using my elbow and my palms bottom of my. So now we're gonna do is we're gonna go from here. We're gonna be relaxed, hit fast and as hard as we can. A lot of tension and then factory relaxation. Okay. 0 101 100 Get yourself in front of the mirror and practice those drills. Really feel the hit when you do it. Hey, it's okay if it's little birds first start, but as you get better, you're going to generate even bigger hit every time. So when you hear a snare, you go boo. Really Hit that snare. I want you to think of your actually trying toe hit something as hard as you can in front of you with your pop. Something was right here. Hard as you can, just like when you're doing the isolation chest movements. In the beginning, it takes the exact same motion. So you really want to try and extend it? Chess is bigas. You can. Now, when your chest is when it's normal and it's here in a relaxed state, you're gonna try to get to the outer. So the outer chest as fast on his hardest possible. Remember, you're gonna start here relaxed blacks almost like you're trying. Teoh, hit something in front of you. Hit a wall in front of you with your chest almost like a chest. But you want to make the recoil as fast as possible. So we're going to use our legs to hit to generate a hit. It's kind of powerful. This is one of the most powerful parts of your body that you can use hit, and that's just using my legs. I'm not even using my arms or my chest. So how do we do that? So what we're gonna do is from the side view, we're just going to relax our knees. Don't bend them too much. Don't straighten them too much, either You want to just have a nice, nice little bend right here. Okay, Now, from here, there are two ways to do it. You can bend and snap backwards where you're knees are bent and then you're going to try toe snap them straight. So all the power is being generated back. Okay? No, it's OK if you're hits aren't as big yet, Remember, you got to keep working on it. It's almost like we're just gonna be standing up from very, very shallow kneeling position right here. Boom. Okay, that's one way to hit. Second way to hit. And this is personally the way I hit is I start from a straight position, and then I bend so my power is generated forward instead of going backwards. It's pretty much the opposite of the 1st 1 that we were doing. So we're going to start there needs not completely, completely, a lot, but in a relaxed, locked position. You're just standing here. What you going to do is you're going to try to bring your knees out. OK, but don't try to drop too much of a level. You don't want to go this way. Don't do that. So you just like to do bravery. Little hits like you're about to meet somebody. Remember your last year? Just here last. Relax, relax. Relax, Relax. Just relax. Relax, relax. 10. 10 Hitting Drills 1: way, way. 11. 11 Arm Hit Drills: 12. 12 Robot Overview: robot is not necessarily a move more of a movement. I want you to think of it like as a concept or character that you're playing, which means that you can do any kind of movement, Really, as long as you put robotic movement in there, so you look like a robot. The technique for the robot really is very simple. It's just a lot of isolated movements and controlling your attention. Now the hardest part about doing the robot is patients. You should be able to not move at all, except for one limb. Only one body part should be moving at a time, and I feel like that's the hardest part. Most people learn is very hard to just sit there and have one body part moving at a time when you want. Keep moving around, especially if you have a lot of news. So what you really need to do is be patient with the movement, just practice a lot 13. 13 Robot Technique: way. So technique wise, it involves a lot of you're gonna be very, very rigid. So first, we're gonna try to keep our spine completely neutral. Right back. Should be flat all the time. Bending over if I was to bend over my back. Should not be call caving four vexing to be flexed or just try to keep extreme possible. You wanna have your legs just a little bit better just to give it a little bit like this, you're gonna start moving up, and now you're gonna start becoming too jerky of a robot. What you need to do is then you niece, so that you can smooth everything else if you buy having the knees become the shop. Once you get the posture down, if you really want to try isolating each movement but staying completely still while you're doing it. So you're going to use each joint movement as its own separate movement. And by joint, I mean shoulder joint elbow joint, rece joint head joints, hip joints. Okay, those air that joins that you're going Teoh use when you're doing the robot. So they do is we're gonna try to work on our shoulders only so we're doing is not moving anything else about her shoulders. Now, you start using your elbow. Now you're gonna start to use your risk. 14. 14 Robot Walk: way. Don't want to stay in one place the whole time. You wanna walk around, take up space way Don't wanna just dance in a box. We're going to walk is always gonna keep legs that when rollouts ball they don't bounce up and down like normal humans do. So you really want to get into the robot ones? They do. Is they trying to walk a smooth as possible again? If they have, like a glass of water on their head, they never want to drop it About how we're going to do is we're going to bend her knees on when we walk going. Teoh, walk with very study case where we don't have to take the top of our body really houses you over the heel and then roll to your toes. You start by video. Well, also, also notice how my legs are just going in a circular motion Like a bicycle each That is the exact same. I want my left leg goes this high. My right leg has to go the same. So you want to really focus on trying to keep the same exact way? Well, 15. 15 Dimestop: thing is kind of like him. Except instead of relaxing right afterwards, you're gonna stay tense the whole time. So So there's no balance. Really. Effect here is you wanted to be like a stop motion every time I stop tensing all my muscles again. But I'm holding at this time, so releasing it. So let's practice small movements. At first, you can really think of it as poses. So you're just going from one post to the other. It comes more events when you can travel from one post to another. That's a farther distance from here. Remember, keep your core engaged the entire time your course not engaged. Gonna look a little sloppy and your your attention isn't going to be a strong your dime stops won't be a sharp get time. Stops are also used the same way. Hit, use up on the beach. You try to hit them on the snare. So the same way you practice your drills for hitting, you want to do the same thing with time stops 16. 16 Car Show: mixed a mixed They they they The car show is a rotational movement that you see cars do when they're on a turntable, like a auto show or something. And use this to our effect. When we do the robot, it makes us look a little bit more robotic. And it makes us look we're going to do is pick any position that you want anything that feels comfortable to you, right? And hold it, you're gonna hold it. Hence all your muscles and just hold this position. Now you're going to bend your knees again slightly. Bend your knees only be shoulder with part, and you're going to try to put all your weight on the heels of your feet. And then you're gonna try to rotate without moving any part of your upper body. So what you really want to do is you want to go from maybe 90 degrees. So the other night or however long you want to keep the rotation going when I'm rotating, I'm not trying to keep my toes off the floor. I'm just putting my weight on my heels. I'm using my legs and my hips to create a torque, allows me to routine. It also helps if you practice on a slippery surface or in socks on wood floor. It was great about this. Move is you can use it. Teoh, break up your movements like if you're getting very, very repetitive with your arm movements and you don't know what to do to stop and you can rotate, you know, toe buying more time or to write something out in the music that is slow, and it really gives more dynamic to your dance. 17. 17 The Bop: Bob is basically just three bounces. That happened when you're stopping your movie. Okay, so the first thing we're going to do is we're going to move. That sounds, bounce, bounce. So it's three bounce all the time. Whatever you want to do, whatever movement you plan on doing, you go here. 12 different side to side. 123 Stuff down. 12 greased up. Now, once you get really good at those three bounces, you wanna make it smaller. So what, you're gonna do the same? Exactly. Make it small, Trying to have really good control over it. Okay, Now that you have that down, you can work on making the tough go from big to small in terms of size. What I mean by that is going to side. It gets smaller as the bob dissipates. So you're gonna go 12 see how bob or wobble got smaller, almost like a way before. So you're gonna go? And it all depends on how far or how fast moving that determines how big your bump is going to be. If I go faster and I stop, Bob is obviously gonna be a little bit bigger, okay? so each pop is gonna be a little bit different in terms of size and quality in terms. How big the movement ISS. So if I'm doing small movements, the mob is gonna be small, but it's there. That's what gives it a little bit more texture, Theo. 18. 18 Hit Bounce: mixed, mixed hit bounds involves us combining two moves together, which is hit and Bob okay, or the dime stop, whichever one you prefer. But what it's going to do is we're going to hit and then bounce off into the next move. So the hit really just starts the movement. It initiates where you're gonna go so I can hit here and then dime. Stop here. Hit here and then Bob here. Okay, So once you get really good with it and the done stop or the bob you can and does to your personal remember to refer back to the hitting videos. The power of your hit determines how far you gonna go or how big your bump is going to be. Your hit a smaller. It feels like you're going tohave a smaller movement state. But if it is big, it, like launches you toe longer moved just like this. Small. Okay, 19. 19 Waving Overview: way, one of the most fun part of popping because it gives you the most freedom. There's so many different ways to wave, and there's so many different concepts that you could make waving now waving. Usually when you think waving, they only think of just arm, way or a body weight. But there's so many more concepts that go into waving, such as energy balls, for you can become the way waken spiral your body. It can come out of your body and then you catch it and then you can bring it back into your body. Trace your waves. There's so many different possibilities. It's one of the most creative parts off and one of the most fun. When you wait, you really want to focus on the energy that's going through your body kind of one. Isolate every single movement so that the way it is clearly seen. Sometimes people will stop and then wave and then continue moving just so that you can see the tiny ways that goes by or you could be big with your ways. Really, The possibilities. All of Teoh 20. 20 Waving Technique: way to break it down, Teoh. Simple steps. There's gonna be 11 steps and we're gonna try to isolate each part hand, arm, shoulder, chest. So what you want to do is you want it reached out as far as you can write. Don't down here. Don't be too high. One of just reach reach for something. First we're going to do fingers, go up and down, and then I'm gonna come up, bring a wrist up, shaking our hands, elbow off, straightening out our hand here, we're gonna bring shoulder out and chest were gonna repeat on the other side shoulder, elbow, wrist knuckles, fingers Do that one more time. I'm gonna go fingers, knuckles, wrists, shoulder, chest. When you practice that a couple of times, you want to try to smooth it out. You're gonna smooth transition between each. Okay, remember, don't drop your arm when you doing to reach out to keep your arm their time, like there's a table right here and you're just resting arm helps it be cleaner and helps. When you're doing your drills, it's gonna get really tiring. But that's conditioning, your shoulder, elbow and chest. Everything helps you with your conditioning so you can practice doing one side that you do the other side going back. So refer to the drills in the lecture description for how to practice them. 21. 21 Waving Tips: I remember the most important tip. When you're doing the arm wave and you're trying to make it clean, keep it up to reach out Number two. When you're doing the elbow park, the elbow part seems to be the most, using some people. So we're going to do it when you're doing the elbow. I'm actually rotating it forward, rotating my shoulder forward and bring my elbow off. See, when I rotate my shoulder forward, it gives my elbow room to go up. That way. When I bring it back to my shoulder, I can just bring it back up. Okay, go shoulder forward. Rotate your shoulder forward. Bring your elbow. Tip number three. Your fingers should always be doing something. Don't leave her fingers up even if you're going. If you're going to bringing the wave out trying to get your fingers involved. A little bit of dexterity. Ray helps if you do this through the others. Thes air, just finger waves. It really helps. Give it a little bit more of ah, accent to your weights 22. 22 Wave Body: ways and just the ways that are going through your entire body. Just like when you're doing our way. When the way was going through the arm, just like when you're doing the arm. Wait, We're going to start little by little break down each section, so we're gonna start with their head. Besides, you know, down and up chess Hips are out on our knees are bent. Sit and keep our foot on the top. We're gonna go head just kiss. Sit foot. Okay. Time, way, diversity chest. So try to bring it from your head. All that, your feet back to your head a couple of times. When you get really good at that, you get smoothed out as well. Way now, we're getting work on site body with just like the forward and back body weights were going to do is we're just going to take the same movement, But just have it doesn't made to this one side do it. Head goes up, chest goes to side. Let's go down. But of all change, which would be that right? Well, right. Left, depending where you are and then we're going to reverse it will change again. chest, practicing it on both sides. When you get good at doing the segmented version of it, you can move it out. 23. 23 Trace Waves: - Now it gets a little bit more fun and a little bit more creative. When you're waiting, trace weight is used one hand. Follow the way with your other hand. So what we're doing here is we're just going to create a path with our are following hand. Follow it. Just gonna make a little path here and then bring it back out. All that bring it here. Bring it up. Now you can add the weight to wave bringing your chest. Remember the body weight bringing down your hips to the other side. Now you could hold on to it, or you can just have it a little bit far apart from your hands. It doesn't have to be touching. It just has to be following now trace with me. You can go any path you want. Really? Just use your imagination, your creativity, and just play with it. So I'm gonna create a way that goes from here to here to here to the other side state, and I'm gonna create another wave goes here, stayed here. So the transition between this hand is in the chest chest area. Switch it on and then bring it out. Yeah, so they're free hand that's following the way. You can actually use different effects with your fingers. One would be disappointing. It this other one you could do is I like to call it a finger magic. You do this and then you can let it follow, and it makes it seem like you're the energy that's going through. Your body is actually being manipulated by your fingers. So you try that so you can go around your head to circle it around your head and then bring it to the other side. So practice those trace waves and you know this guy's limits so you can just keep going anywhere you want, you can go down to your feet, you can go anywhere. 24. 24 Waving Concepts: Here's a more fun cause waving Here's concept that's called small, big or many ways bigger ways. So what you want to do is you want you want to try to vary your waist size. The example be going small way into a big way back to a small wave to a big way small. What that does is when you do big waves, it draws the eyes attention, and then you stop and then people already paying attention. So you're gonna do small ways, and then they're going, We're going to see it, and they're going to be attention to each wave because you're a grab your attention. Giant ways. Try doing different size of your waist, stopping and doing small ways and then stopping and then doing big wings and play around with trying different patterns and directions. Waste emanating ways, as I like to call them. They start from your chest, kind of like when you're doing the arm weight, except we're cutting it in half. We're only doing the latter half starting from your chest all the way to your fingers from both sides. So do always is just like when you're doing our chest isolation exercises. We're going to use that power our ways. So energy is coming from the chest. My arm comes out way and stay person with the others. It also depends on which direction your chest goes. I'm going this way and you really want to think of your arms kind of suspended in water so they don't drop. They just stay there just loaded and then use your chest. Pull, push, play around those ways and see what kind of creative things you come up with. Directions. Remember, ways aren't just from left to right or up to down. There are so many different directions that you can do. You can go up here. You can go diagonal. Three d Wait, where you going? Forward. Forward that play around with their space. There's really unlimited amount of the Russians. Go down low, you know, high. So work around your space 25. 25 Tutting Overview: is a style that involves a lot of ecstasy and precision. It involves creating a lot of geometric shapes using your arms, your legs, your head. Really, whatever you think of this is a fun style, dio, and it's one of my favorite styles. This is really a contrast to the waving style that we were doing before, because the way was more of a free style free type of dance right weightings, intricate in the fact that you can create a wave and you could have to make it as isolated as possible. But tutting requires a lot of precision and intricacy in that you know, you have to show perfect angles so that people will understand what kind of shape you're trying to make or where to follow. And that's really the point. It's story telling. How can you story tell through different shapes and, you know, create a picture, So the first thing I need you to do is stretch out your wrists. You want to do that by trying to get your risks flat as possible, trying to make a perfect 90 degrees full here when you do the same thing, perfect 90 degrees. Here I'm stretching on my wrists, and I'm trying to get flexible as possible. That's what's gonna create that perfect shape. Do the other side as well. Shake it off, get loose. You have a wall in front of you. Put your hand on that wall and then put a little bit pressure down. Well, on the other side. Okay. Now for the elbows, I need you to try to make this perfect angle. Right? Remember we're doing before in isolation is in stretches. Bring your shoulder a little bit forward. Just a little bit. A little bit forward. We're doing it. Yeah. Get off! Get off! 26. 26 Tutting Technique: state. Now I want you guys to think of three things. Three points of rotation. I want you to think of three points of rotation, so we're gonna go shoulder. Elbow, wrist. Okay. For shoulders, elbows. I want you to out Thanks. Now for the wrist do you want to do is you want to try to flex your wrist as far as you can go. You want to create this perfect angle. So for the rest, there's only two ways you can go. You can change it this way, in or out and out. Okay. Those are the basic basic movement. Now, what's cool about this is you can mix and match and then create subtle changes. And that's what makes insane tutting combinations. - Okay , Teoh, one arm. So the way you practice that is just gonna go here straight. Neutral position, one arm at a time. And then this is going back and read this Pete Pete. Now you can go to the bottom. Okay to Okay, Same days. State. Now Practice that from the mirror and try to get really good, making those angles as perfect as possible. Remember, it's not just out. You can also go forward. Do it down here. Okay, So here's the exercise. Take one of your joints. Maybe your shoulder joint first. Put it in any position you want right now. Then what you're going to do is you take your elbow joint, put in any positions here. Here. Just keep your shoulder in line, keep your elbow in line wherever and then you could finish by fixing the wrist. So I don't like this position you just put this year ago or to be here right now. Try to mix and match these angles. Here, Here, here. Your wrist. I see. Okay. Now start off slow trying to make some really cool angles with it. And those are the basics of study, Full Francie. 27. 27 4 Square: do next do. 64 square is we're square. All right, So we're gonna have us. We're gonna have one square square, one square, so they're gonna be lined up. So what we're gonna do is we're gonna create this angle right here many degrees. Take the other hand, put it in front of it, create this shape right here. Yeah, about that. It's just this 90 degree angle on this thing. Great. Great. Next box that we're gonna make square. Is this all right? I did there. Waas. I just took this hand, brought it a little closer, Didn't even do anything. Just moved this hand, on the other hand, flips over. Okay, so we're doing is moving and flipping and try to make it so that the fingers are kind of touching. Don't touch, but they're following each other, right? Great. Now we're gonna go to the other side. Same thing creating the same box on this side. So this hand from here to here in this hand did the reverse mixed. Now we're gonna make that other box, fourth bus, anything on the other side. Okay. Now the one that's across always trying to be in front this arm should try to go in the front again. This arm didn't even move or do anything. Just move over to shift it over and this arm just flipped the rest. Try that together. Combine it. 04 squares. Practice that slowly and then try to work your way up to being on B with. 28. 28 Tracing: stay tracing. Also like the way we traced with waving can be applied to accept a little bit different. Think about it a little bit different. This is a waving trace. This is a stunning chase. Kind of like that. So you're really just following the angles. So you're creating more geometric shapes with the other hand. So are we gonna do that? IHS, pick an angle. See this angle here? It's semi box, but we're gonna complete this box. We're gonna take this movement. Never take this arm, Trace it, tracing it with my palm. So now you've got that tracing. You can use the other hand to do it. So you would be like Okay, And then when you get good at that, you can start combining kind of traces that you're here and then you go here, down here, here, notice that the whole time I was just making boxes. I can't even make a box here if I wanted to. So when you're tracing, it doesn't even have to be touching the other hand or following. You just have toe create a shape, right? So combine that with different arm movements as well. You clip it back you. So really, what you need to do is you gotta imagine a grid that's here. And you just need to trace those lines so you can create different patterns. Remember, start off. Very simple. Trace, trace, trace. Trace the other side trace. Experiment with different ones, face trace trace tricks, follow different lines and use your imagination and tried a picture. Actual lines that you can trace. There's another one trace. These are traces that involved hinges. So we're going to try to do is we're gonna start here like we're doing a toy man. It's almost like we're doing a toy men. But Tracy, bring this open back out here. Here. I think we're doing a top things like this, okay? 29. 29 Toyman: It's kind of like touching that we were doing previous video. Except we're not really going to be using a wrist as much. They're using a lot of just this 90 degree angle. This'll this'll Okay. That's why you need to get used to doing this and this. First we're gonna start up like this, kind of like a genie pose, and then just it doesn't matter which arm is on top. We're just gonna open it. Yeah. Closed open from here. Take one arm, bring it up. One arm, bring it down. And then from here, we're going to go. That on top goes over the head. The ones on the one that's on the bottom goes underneath, and then you just close it again, and then you end up in the same position right again, starting here, uh, down bringing above it below, and then close it. So now let's try to reverse that here. Oh, okay. That movement. That's the basic toy man. Now, let's add on to that time. So we have a lot of this going on. What you can do is you could make a shape like this like a fox. Here go. You're gonna bring it over to the other side, create the same bus or shape on the other side, and then you're gonna bring it down. Way just created four boxes. Now, we have a good box here. So you really need to get used to all these different angles because you're gonna use them a lot when you're touching, So just get usedto how feels where to put it so that when you're not in front of a mirror, you know exactly how it feels like, and you can create a perfect angle every time. 30. 30 Hand Technique: There's so many different ways to use your hands while you're touching. It creates a different feel, a different texture. Kind of like when you're doing tension, actually, So one way that you could do it ISS When you flip your hand, just hinge it over That's the easy one. This original one we're doing but you can also do is called peel Off We were worth is all here. This one is a more robotic way of of, uh, flipping your wrist so you can go from here. Bring it up, twist it, bring it down. So now it's facing me, you know, twist it. Bring to the other side here room. So play with those three different kinds of hand techniques. When you're doing your study the prayer, they start with your hands like this. Like doing a prayer. Remember of your elbows. Should be straight. Forearms should be straight in line. Okay. What you gonna do here is we're gonna create that box that we were doing before again. You bring it back over people 31. 31 Putting it together: well stay. I know it's a lot of information, a lot of technique, and it's a lot of precision. So what you need to do is work on one hand at a time. Get really good at isolating each hand, and then when you do that, try to do it on the other side. Try to make your arms, think independently of each other so that when you do it, they don't have to do the same thing all the time. They could be doing own movements, so practice one arm at a time and then try combining the technique that we were doing in all of these videos. 32. 32 Footwork Overview: way focus a lot on the upper body. Now we're gonna try to focus on the lower, but what you need to do when you're doing these upper body movements you're feeding to be doing something to Because dance involves your entire body, not just one part of your body. Even if you're isolating some parts, you got to start adding your feet into it. So what we're gonna do is we're gonna work on some concepts that I came up with and some easy ways to think about footwork so you can focus on the harder stuff front lives and decide realizing back glides or the moon walk. And we're gonna do some shuffles at all these movements into the robot tutting waving you name it. 33. 33 D PAD: Theo Deep at is a concept that I came up with. Teoh, help me understand where to move my feet so I don't have to think about All right. So you know what a deep at is? If you play video games and you have a game controller, there's a D pad that helps you move around. Kind of like this. Now what I want you to think about is that you're standing in the middle of a deep We're standing right in the middle. Besides, that you gotta do is you just got to step on the but just forward first, right? And besides, hi. That that notice how I'm always going back sent. Makes it easier for me to stay. I don't like shit on myself. We're gonna go forward side all right. That right now, remember, tragic Benjani's Don't be straight going tryingto be straight when you step on these. But what? You give something nice, then, just like when you have a robot, all the other movements Benjani's you could extend a smart back. And now now, when you get really good at that, you can start mixing up Move. You can do one leg at a time. I just take one leg and I go inside back that across that we also do a couple at a time. Single. Good. All right. So you can mix and match. Just know that your weight distribution you should always be on the lake. So you don't follow practice doing that, Really? That you start burying it up a TV, so create your own for patterns. 34. 34 Side Glide: state. Big moving makes you look like you are The first is that we're going to child Teoh this week. First forward. Go on our So Okay, Yeah, slide it over toe first and bring it up from here. You're going to put all your weight on the foot. That's honest. Hope slide less for you and then switch Switch dragging in. Go in yourself, drag the other foot switch and then drag one toe weight on foot. Slide the other leg switch. Wait. Switch. Wait On this drag switch way. Practice it step by step. You get good at it. You could start to smooth it out. 35. 35 Front Glide: spread lights. I'm glad that the same thing as side lives back. Lights. We're just gonna go channeling forward we're gonna do is wait on this foot slide forward, going through our toes, put a weight on this point slide forward switch. Okay? Same thing again. Bring forward slide switch. Really? Take your time. Yeah. Putting all my weight on the flip on its dragging. Switching. So right, the other one forward, the other one forward. So the other one forward. 36. 36 Back Glide: back or moonwalk. This move was made famous by Michael Jackson. You know, very, very similar to cycle. We're going to be putting on weight on one of our feet, everyone you want to do, and then you're going to take the other foot, drag it back, and then go on your toe and then you switch. Wait onto yours. Hope on drag your foot, That's which. Booth drive the others way. Drag Which right switch? Real secret. Here is the transition between putting the week when the other foot to the other China switch way Get that smooth way. 37. 37 Rotation Glides: rotational glides. It's kind of like we're doing a bus on the floor now. It should be a box on the floor. What we're going to do is we're just going to all of this pattern racing. We're just activity the name. So those are our four basic directions that were based. Now we're gonna have the blood. Yeah, for all your weight on the foot festivity gonna drag to this site. Switch feet, drag, drag. Such right. I'll continue doing that on both sides. Remember? Should be facing this way. Back this way. This way into the back. In this way. Now try smoothing out transitions. 38. 38 Shuffles: samples are great for a robot, and it gives you like a very robotic kind of movement inside the side. It almost gives you the illusion that you are on a conveyor belt. So what you're going to try to do is we're gonna make these with your feet, do you start toe and the other foot is gonna be on its heels. Okay, So make sure that when you're on your be right here, creating a V shape, one foot is on. So what is on its deal now? You're gonna go switch. Move over. Switch over. Switch, switch. Yeah. You go switch. When the doctor told Should be on a teal when it's on, its hero should go on. So you're switching. Give it your toes touching together now and then you're gonna switch toes and heels again. Heels together, tolls together. So switch switch. You know, now you're going to go. Now we can start to make it smaller A little bit. Yeah. Bend your knees. Shuffle smaller. A little bit quicker. Don't take your heels. You could make it even smaller. 39. 39 Combining Glides: combining glides. Now you don't want to just do side glides four lives and back lives. That's a little bit particularly. You want to start combining your glides to you, So what you can do is just like when you're doing Tunney waving. You can go from side glide four live to back live side glide, whichever thank them shake up. Okay, so you really want to trick the audience or whoever you're performing floor So you want. We don't want it to be predictable all the time, so go over. It's a rotational practice, different kinds of lives and shot a mix and match and put them together. 40. 40 Miming Fixpoints: so mine. Mine for when we have fixed way want you to find a point in space anywhere way. Just want to put her hand on right. And we want the illusion that there is an actual object there. So we're going to do is we're gonna start with the wall. Okay? Now, when we put our hands on a wall, it doesn't look like this. It doesn't look as realistic. We're going to try to do it, killer hand into it and then you all. So how that works is going to just like we're doing a study, feeling under this concept, stealing on the wall and then get off. We're gonna go starting with Tom, that leaving your hand here. So the illusion is there's a wall here, and your hand is staying holding on, holding on to a point in space. This is your fixed point. You're gonna hold it. What you're going to try to do is when you walk away from it, you're going to Coppin State by making your heart go out. So what you want to do is really focus on leaving this and in the same position in the same spot you should know how much I'm extending my arms so that it stays in the same spot wherever you go even here. So practice that extras holes. You want to pretend like you're actually holding pool, just like when you're appealing on and off, going to peel, going to really try to hold it by doing this. So we're going on going down the line. I'm really, really trying to imagine a whole Which way to practice leaving this way? 41. 41 Slow Motion: slow motion. Slow motion is a technique that requires a lot of patients on a lot of core strength. A lot of attention. So when I'm doing slow motion, I'm really blessing everything. Just like our attention exercises. Always refer back to that. I hope you don't have your attention exercises. Please go back. Work on those. So what? I'm doing any kind of slow motion. My hands are really just a test. Anything that you do you need to commit, remember, use your core as much as you can, especially when you're on one leg, even when you're gonna do way. Now, this is really helpful because there are a lot of parts in a dubstep song where the beat drops and there is no be And what you gonna ride? You're going to ride the melody, The rip Usually it's slow motion. This is where Snow Motion comes in During the song we walk, You can do waves, you roll by. It really depends on how you interpret the music. Remember, this technique imparts a lot of patients Don't rush and just keep working. Not a drill that you do for motion is you walk around your room or in space, and you just keep walking for an entire song. It might sound a little bit boring, but that's how you get the control so that you don't want when you do slow motion. So you just walk around your room for an entire song. That's the drill. So practice doing everything in Slow Mo. Anything you can think of picking up a piece of paper, talk to somebody eating food, Think of everyday movements that you do and practice them. This slow motion that's the best way to get comfortable. 42. 42 The Lean: leaves Make things, Michael Jax. Just like the moonwalk Where the illusion waas He was here, and it would look like he was in space or he could defy gravity. But of course, we can defy gravity. We can try. So the lean when I really need you guys to do is keep your feet on a nice 90 degree angle. Yeah, just like when you're doing Tunney making a box here. Okay, so this time we're gonna take a back leg, we're gonna use it as a counterweight. So we're gonna put that just right behind us, okay? You don't have to be touching. They're just gonna be here for a counterweight, so we'll be leaning towards this way. Now, when you do that, you need to flex this foot and push it into the ground as far as you can. Okay? And that was this foot. Use it. Counterbalances yourself, trying to reach for four. I'm going to be reaching for the floor when I do. And we gotta keep your back straight. It is possible flat as possible so that you can counter about yourself so you don't fall. Now with your hands, you can pretend like There's a wall in front of you just holding. Okay, push it back. Just like my This is a mining technique here, Bush. Now, sometimes you will fall forward. It's very easy to save yourself or to recover Any time you accidentally fall forward, what you gotta do is due June, and then you can just wait up into it. Yeah, Go down, forward, back to go forward. I just do finding ways like you meant to do it. So it's very, very easy on. Just practice your feet muscles and try to get stronger by pushing Florence, Try to keep the control and flex everything. Remember attention. 43. 43 Vibrating: on illusion that you can use in the dance when you hear the vibration. All you have to do is be very comfortable with your legs, hips and all of your attention. Hope you been practicing. So we're gonna start from this side of you. We're gonna go down straight down, straight down, straight downstream. Very simple. Straight down straight. Now, if you're practicing like it's, this would be no problem. Now, this time we want to do is have about's the bounce. When it happens very fast, it turns into a vibration effect. So just our legs we're gonna go almost like dropping love. Now you want to make it smaller and smaller. What is done for me not for your upper body really helps use your hands toe, increase the vibrations. So I'm going to do a forward and back motion or an upward and down motion whichever one you prefer forward and back. And now we're going to do is tense our body so that this morning back motion actually affects the entire upper body. We're gonna go or down enough. We're going to make the vibration very small, and we're gonna increase the speed we're gonna piece it all together well at the legs and upper body. Something like this. Cool. Now practice doing a big and slow and then learn. Just make it smaller and speed it up. Now backs that and playing around with music, especially during dubstep drops, there's always a vibration is going to be happy. 44. 44 Freestyle Tips: all right. During the course, we really went through a lot of different techniques. But what I really want you to focus on are the basics. Simple stuff, like this tension and relaxation exercises that we're doing as well. If they hit it. Remember, those are the two most important parts of popping. Everything else is just. But if you really want to pop music, you have to add that it popping is there for a reason. You wanna use it as a metre known to stay on time with the music you want to be on beef. Nothing is worse than a dancer that's a little bit off beat, and it really helps that popping itself already hasn't mentioned home, so you can stay on beat. Now when you get better at listening and having patients with music and hitting, you will be able to vary up the hit and then make it seem like its own kind of dance. Keep it simple. Now I know when you free started, you want to just throw us many moves out there in your cess Possible. What I want you to do is keep it very simple. Stick toe Mass. Three things. Three technique like I would do. I would start with a hit. Then I would wave. Then I wouldn't touch and I would go back to hit. You don't have to throw everything out there. You don't want to throw your entire arsenal. You wanna have a good quality in your movements, so try to pick and choose and focus on certain. And then when you go back out there, you can try a different technique. That way you're not doing the same thing over and over when you freestyle. Sometimes it gets easy to get lost in the music. You start dancing forever and ever. Really. Nobody wants to see that. So keep it short, Keep it sweet. So my advice is, especially when you're beginning and you're dancing with other people. Try to keep it to 30 to 45 seconds, Max. Transitional movements. Now, when you're doing one technique I don't want you guys to do, let's say tutti stop and then do waving. I want you guys to find a really nice transition in and out of the movement. So I was studying and then I would start waiting way. Okay. So really fine. Nice smooth way to get into each move. Really, I don't want you to think so much about dance when you're out there in a cipher or in a circle or a show. That's what the drills are for the drills air there so that your muscle memory will just keep the movement and we'll know exactly what to do. All you have to do is just listen to the music and have fun when you're out there with other people I don't think so much about, Oh, I'm going to do this. I'm going to do that. You already know if you've been doing your drills and you've been practicing the move, your body should be able to do it automatically. Also, remember when you're dancing, trying to use the space around you don't stay in one spot, use your space, travel around and try to stretch your lives when you're reaching, Stretch your limits. Nobody wants to see this thing. Don't try to dance like this. If you If you practice small like this, you're going to end up dancing very small, but you want to do is you want to dance big you want that's outside of yourself. try not to look down sometimes when you're freestyling or if you're nervous going out there . Freestyle people tend to look down because they don't want to see other people. It really they think it distracts that. But what? I want you to practices. Look up, Look at other people, look at look into their eyes, looking to their face. That's if form of communication. So I want you to dance. But I want you to communicate with other people while you're dancing. So you you could be looking while you're dancing. And don't make it like a creepy stare. Just look around, Look around. Be aware of your surroundings. Be aware of what's going on. After all, you're not gonna be dancing alone. And here's a really, really big one. It's so simple. Some people don't even think about it. It's to breathe. A lot of people don't breathe When they dance, they hold their breath and then they feel lightheaded or they can't remember what they want to do because they're not in the moment that thinking too much when I need you to do while you're dancing, freestyling, drilling, doing whatever, just breathe. I swear this is one of the biggest lifesavers, especially when you are trying not to think. And you're just trying toe dance to the music. Just breathe one of the most important days when dancing. Use your core, tighten your muscles, use all your muscles, know how it feels because it will make the difference between you looking lazy and you reacting quickly to the music being on point. So you want to really attack the music. By doing that, I need you. Use your core. Don't look lazy. 45. 45 Freestyle: now who things to the world by someone Big guns alongside Strel Example ways the fire naked from waist octopi star looked appears Next, some phone. Why run, will you just like way just like a Sunday way with wears the fire naked Then we must be next on why run way just like a Sunday way 46. Motivation: now I know sometimes it might seem difficult. I experienced that, too, when I first started. But you gotta keep working at it sometimes when it's the most difficult, sometimes paid, it just got to keep going, so you need to stick to it. You need to really believe in yourself when you do it and try to surround yourself with people who support you. Find the crew just like mine, who's very supportive and pushes you better every single day you will grow very accelerated . Now. Anything worth learning? Taste, time takes practice. Patience. I want you to really understand that you're not going to get everything in one day, maybe two days, maybe a month, but know that you keep practicing a little bit each day you will get better. I want you to have a mindset of just being a student all the time because if you open your mind to new ideas and new technique, you're going to be able to learn and expand your knowledge that much fast, and somebody just says, Oh, this is a perfect way to do it. This is the only way to do it. If you do it any other way. You're wrong. No, There's a world of possibilities out there. Hopping was created because somebody accidentally made the robot was created because somebody didn't know what to do. And then they just saw a robot on TV. And I'm gonna follow that, you know? So keep your mind open and always have student or beginner mentality. The hardest part about dance, at least for me. When I first started with that first time when I got out into the circle or a cyber or when I danced in front of people. Now, the first time I actually did it, I didn't even dance. I was there getting ready, and I was like, I'm gonna go after him. No, I'm going to go after him. Gonna go after him, and I never went out. So what you need to do is really Don't think. Just go for it. If you do, you hesitate. More than five seconds. You're not gonna do it. So I feel urged to just go out there and dance. Just do it now. First couple of times when you go out, I understand how it feels that you might think that people are judging you people like talking about you negatively or positively. Who knows? But I just want you to realize that what you're doing, you're making this. You are sharing your ideas. So when you go out on a cipher or circle for anywhere, you are communicating your share and your this'll One moment I'm doing this move that I never thought I would be able to do with these people. And when you don't think, and you just do it and you just listen to the music and try to react, sometimes you create something new, dances apart and you know art comes from making mistakes and just trying different things. So you make a mistake if somebody goes Wow, that was really, really good. You just created you made your own. I made it just for you. And no one moves exactly like you. So remember that each person has something to share, and you're just a lot of people also, just try toe, take everyone lessons. You know what kind of dancing you on me for? You are. So just take the best stuff that you like and just disregard the rest. If you like some of the stuff that I say, Use it. If you don't, then just this started because you are really the one that's crafting your own style. You don't want to look like me. You don't wanna look like somebody else. You want to look like you, and that's why you dance freestyle, because it's your style.