The House Dance Masterclass

1. 1 Welcome: What's up, guys? Eritrea's A k ever styles here just want to welcome you to the house dance master class course. This course is for not only beginners, but also people who already have an understanding of house but just want toe get better as a dance. They want a break past their plateaus and corn dynamic or interesting, and just create their own style within it. Not only are you gonna learn the basics, but you're also going to learn how to use those basics in different ways. You know, it's gonna teach you to grow from the ground up. We're gonna build levels were first learn, groove, basic foundation of the dance. Then we're going to add some steps onto that. And after that, you're gonna add dynamics, which will be seen Module three dynamic, then finally creation. That's where things get a little fun. You could start, uh, create your own style a lot of times on your dancing very overwhelming. And you don't know where to start displaying the groundwork. You understand how stances laid out and how you dance for hours on end about doing anything fancy. Then you can start building on that steps technique, no expanding vocabulary 2. 2 Stretching tension: stretching is a very important thing. Okay, Obviously, you're gonna be using a lot of physicality using a lot of muscles. Probably muscles you never thought you could use before you gonna be You're gonna be, uh, putting your body through rigorous motions. You know, so stretching is very, very important. So make sure that you stretch your entire body because dances just full body. They know. But I do want to emphasize the Cavs and the squats because I remember, you know, not stretching after house dancing at a club for three hours straight and not be able to walk afterwards. It was a nightmare. It was like my cards were all fire. So stretching is very important. Remember, you got to stretch your neck, shut your shoulders, stretch of chest, your hips and especially your legs. Now that you're getting all warmed up and stuff, here's another way to loosen up. Have you ever heard of somebody say, Oh, you're too stiff when you dance? Oh, you need to loosen up. I never liked the one people said that because it was like, Oh, relax. Nothing makes me more tense than when somebody says relax. Okay, So how you actually supposed to do it? So you do look like your relax. Is this method called attention? Relaxation? And I do this all the time. This actually helps you get body control. And it actually prime is your muscles. So you know how it feels. You know how each muscle feels and you can start and stop and go fast and slow with self awareness. It teaches you how to be aware of your own body. Okay, So what you're really gonna do is tense your body as hard as you can. Your entire body, your neck, your face, your arms, your chest, your butt, your legs. Everything needs to be tense, like so tense that you're shaking, right? Gonna hold that for good? Eat, count. Okay, So count to eight. Put on a music, put on a track, and then you just count to eight and then release at the end of that account. So you're just gonna be slumped over no attention at all. Very, very relaxed without falling over. He's going to release all that muscle tension, and then you're gonna release it for another eight count. Okay, so you got tense for account. You gonna release for eight counts. Okay. Trying to do it for on entire song. That's the whole three minutes. Okay, that's that's good enough for you to I feel all the muscles in your body dance requires you to have a lot of awareness with your body, you have to feel every single muscle, even the little ones, right. And this will help you not only look relaxed when you dance to help you feel all your muscles. Okay, Now, when you Now that you're getting really good at that, it counts attention, Accounts of relaxation. Now you can cut it in half and make it four counts of attention for accounts of relaxation . Now that you've done that, that you're gonna turn it up a little bit and you can do to accounts of relaxation and two counts of tension, so vary up the timing, but you're doing it. You can do eight counts, four counts on two counts back to four counts like to eight counts. The point is that you're focusing on tensing all your muscles and relaxing everything. That way, you're gonna be tensing your shoulders and then just relaxing it 3. 3 Explaining the modules: now that your little bit warmed up, Let's explain the modules. Okay, so we have four modules going on here. The 1st 1 is the very basics. It's the dance and the groove, like laying the groundwork. It's building our base. We're going to be learning about the prove that makes house dance. House stands were also be learning some of the steps that are very groove heavy in house things such as the farmer and Jack in the box module. Two. Now module to is a little bit more technical. There's a lot of steps involved in a module to, so it's like you can best forward it where you can slow it down or you deposited any time to drill it. Jill The movement, some of it is, is Ah, a little bit more advance, but it can all be done. All you have to do is take a little bit of time, a little bit of patience and a little bit of practice, so that one has a lot to do with drilling your movements. That's very technical. You want to do all the fancy footwork, then module to for you. Module three Module three is a dynamic module. Now the dynamic module is like the sheet that you put over the 1st 2 modules, the groove and steps. So you want to think of the 1st 2 modules as your base. Now you're adding something over that base, you're adding a little bit of aesthetics. Dynamic module will teach you how to take one of the moves from previous modules and then flip it or remix it so that you can create your own move. So it's never going to be the same every time. Last but not least, the creation module, the most fun module that, in my opinion, that's the one where you're really going to be focusing on your mindset and performing and , you know, getting out there. And that's my favorite part of sharing, so it's gonna teach you how to keep it simple and not confused. The audience is going to teach you how to freestyle with all the stuff that you learned in the previous modules. So remember, you have access to the course forever, so you can always go back and review everything you take your time, a little bit of patience and, you know, a little bit of patients and drilling really go a long way. Do you really want to get in green into your body? 4. 4 Goalsetting: last but not least before we get into those modules. A very important thing. Goal setting. You really wanna assess where you are right now? Whether you're a beginner, intermediate or advanced, you want to know where you are right now and you want to know where you're gonna go. What do you want to do? You want to battle? Do you want to perform? Do you want to just go to parties and dance? The one impressed people, Whatever it is, make sure that you know what it is. Acknowledge it. No. Write it down. You have to know it's annoying to write things down, but it really helps. I do it. I do it like every month. What I want what my goals for every single month and dance are. I always write it down. So what you're gonna do is we're gonna write your beginning where you are right now and you're gonna write your destination. Destination doesn't have to be perfect is just a direction. You're You're gonna go? When I first started, I had no idea what my direction was. And if I was just going all over the place, I think it I could have learned faster if I just went from point A to point B. But it's I went from point a toe over here, a little there, there, and then I ended up a point. Be like three years later, right? So we're trying to cut all that nonsense out. Just go straight and focus. That's how you get better in the shortest amount of time. All right. So take 5 10 minutes just to write down. Dry it, you know, make it, make it look cool. Make it like a its own project. Write it down and create a goal for yourself. 5. 1 Laying The Groundwork: now, the most important part about house dancing or any dance in general is groove. There's a difference between rhythms and groups, and the rhythm is just a repeated pattern. It could be anything, really. You don't even have tohave any connection to the music? It just be any move. It could be one of the moves in this course, but the groove is so important because it gives you a real connection with It stops you from thinking so much, and it just gives you a deeper internalization of the music. You know, in house dancing. It's very much feeling kind of dance. A lot of people say houses of feeling feeling, but what they really mean is finding the proof, really internalizing music. So how do you find that group? Honestly, you could just don't even dance. All you do is just listen to a song that you like. Listen to a house, that song that you like brandy salt and just try not, and you'll just notice yourself just moving to it. If you really like song, you're gonna start moving toe subconsciously without even knowing, and that's already feeling, so you'll feel it from the inside and eventually it will start to come out. One of the reasons that moving is very important, because not only does it keep you on beat, but you can dance forever just by moving. If you ever run out of moves, I always go back to Groove is the simplest part of the dance. Have you ever noticed somebody dancing cipher and you're really feeling what they're feeling? That's called Report. And when you're watching somebody, you're actually just like bobbing your head, just feeling what they're feeling to the music. That's a connection that you feel not only to that person, but you feel the connection that that person has to the music that's like group work. 6. 2 Bounce Groove: Symbolist group that we're gonna work on is just a bounce food that we're going to do on the talent e. So all I'm really doing is just going up and down with me. Not too much. I'm not trying. Teoh do squats here, but I'm just adding this proving comes from the core, and the core is everything in this beach is right here. Everything from your nipples down to your needs. So moving comes from the center and then expands out through arms. Relax. There's also leaning back Booth. Now some snaps can't really use a full body with Jack, so you want us to tone it down and find find upper body weight. Three dialects do other steps. So doing, cleaning back this is a basic fact. Emphasis going. Also, get smaller just by using your head. Get back that only go back. You can also go over. You could do the same thing just when you do this, it's very easy toe. Make it look like, uh, chicken. I don't want you guys to think like guys. They're trying to make a huge movement. Should be great stuff because even if it's small, you're really moving to the music and actually doing it people will wear. The point is that roof shouldn't be so big. Should just be there as an internal attentional so that you can one with music. Now, the moves in the next module are all steps, all technique. Now it's your job. Take those technique to master it. Drill it as much as he hands until it gets ingrained into your body that you don't think on top of that, you're always gonna add to prove with Jack to be the head bob. Some of them are only people to be doing the head bob, like scribble the use of the entire body. Thank the farm before the hell stuff. So when you get a step down, no matter what it is, always have at Booth is the main part of the dance technique is what you have to go through . That makes it house 7. 3 Jacking: jacking basic Jack. And so we're gonna do is we're gonna go down down one level, all right. Bringing hips forward and then comes straight up. Alright, It's only gonna be three moves. We're gonna go down, forward, up, down, forward, Up, down, forward, Up, down, board up. It's down. Forward, down! Forward him Now you're gonna try to make it smooth and then trying to make it go to the rhythm of the music. Okay, Jack, Now you notice that when I come up, actually have this wave happening with my upper body, right? That's gonna happen natural naturally. So don't even think about trying to add that waving. It's going to happen whether you try to or not. Alright, What you really need to focus on is court. Keep your core tight and, you know, just trying compress all that movement so that you can have a harder Jack Jack levels to Jack a little bit more complicated. This one is going to be a syncopated beat when we're going to hit all the one and two and three and four like this. Do that. We're going to start a little differently. We're gonna start forward, go down and lean back and forward back Come up in gold board. So our body is just gonna be doing forward back rocking motion Now we're going to Ford and down back Every time I go forward and back, I'm gonna be changing levels home something goals. 8. 4 Jack In The Box: Jack in the box. All right, Another sort of Jack. We're going to be leaning back. Back, back. Okay, do notice. I'm not leading all the way back. I'm going a little bit to the right to the left, so I'm gonna be leading diagonally. Great. But back, back. Okay. Now for our legs, we're going to be going up and down, right up. Down motion. Try adding those two elements together, it's gonna go back. Back, back, back, back, back. Okay, now with our feet, we're going to China. Spread them out. Bring them back in, out, in, out, in, out, in, out, back. So you're going to put all of your weight on the heels of your feet so that I have enough clearance out out, out at those three elements together? 9. 5 Skate: skate. All right, so the skate is reminiscent of the two step two step. All right. Okay. Now all we're going to do is add that groove to it. Go down, down. Don't. Down, down, down, down. Okay, now we're going to try to make it a little bit more skate light. We're gonna add a little bit of glide to it. Okay, So you're going toe. Put all of your weight on one foot right now. We're going to use that left foot. OK, keep it a little bit. Don't keep it straight. Bend it a little. Putting all your weight. We're gonna try track the other foot board back. Okay, so it looks like it's actually gliding on ice back to the same exact thing. Other like you can add that to that. 10. 6 Farmer: farmer. All right, jump land on one foot. Keep this one up, and then you're going to stop. Okay? Each step should be should not happen at the same time. Make sure that they're all segmented land. Then put your foot right up. Land land put down. Should only be three steps. 123 123 Show the other side. 123 123 Okay, now we're gonna add them together. - Now , take this move very slowly, because when you first start to learn it, you're gonna look like you're skipping, right? So when that happens, you gotta just stop completely. Start over, take your time. 11. 7 Shuffles: We're gonna start by jumping on one foot, keeping this one straight out, jump to the other side, and then you're gonna tell behind. Okay, Yeah. One to and one to three. A studio. The side one to right, one to three. Good. Let's add both sides together. One and to and three against. One to three, 46 Things move. So you want to stay on the balls of your feet? Heels warrior, Flat feet on the floor. Call this sticky foot syndrome. You'll never be able to get off the floor of you sitting in the booth, Yeah. 12. 8 Stomp: literally. All we're gonna be doing is marching. Okay? Stop it. Now we're gonna add the jack every time we bring your knee up. Swingle! Jack Neo! Jack the up. Jack me up. Jack me up. Okay, One into a 3456 and seven and eight. Another variation. Go to breathe. 45678 So it's kind of like the farmer, except only stopping part of Jack. Jack, Jack. 13. 9 How NOT to Fall: How did not trip on yourself? House. That is a lot of footwork, and there's a lot of intricate technique and intricate steps that you need to keep track of . So sometimes you end up falling on yourself. Sometimes you just trip over your own feet. How do you keep yourself from falling easy. There a couple of ways. First, for most the most basic way is deeper abs tight, your core tight the whole time and exercise that I use is you just pretend that somebody's gonna come up to you and just punch you in the stomach while you're dancing and you always wanna be braced. Braced as in keep here core Titus Possible now when I'm dancing, I usually keep my core around 80% Teoh, maybe down to 40% and for everyone is different. So try to find a sweet spot in the middle, and how you find that out is despite doing ab workouts like sit ups and cease its all that stuff. Another way is just to stay on your toes. Don't keep your feet flat footed on the floor way. Call this I think you put syndrome and it's gonna if you plant your feet on the floor. You're going to stay there. It's gonna be very hard to move to the next step. So always stay on your toes. Kind of like your I don't like you're running or you're jogging or something. I just want to stay in your toes. You want to think of like a boxer? You know, the way that Mohammed Ali, like, just jumps around. Kind of like he's doing jump ropes. Just want to stay on your toes all the time so you can catch yourself matter what Now, When you're doing forward, you want to stay centered. You want to say around it and in the next module, we're gonna talk about Deepak, which is a concept that I use a lot and bring in a beach. You had us, they centered, and all your steps should just be outward direction from your home. Study that Deepak video Very well. What you can do is you can add a move called the reset to your dance. Now the reset. It helps you center yourself again and helps you stay bounce, especially when you're trying to move from one Move to the next move 14. 10 What to do with your hand: your hands, General. You want to keep your hands above your elbows right when you're dancing. The thing is, you don't want to keep your wrists so tense. You wanted to be relaxed, but you don't want to be like this. You want to find a happy medium between tension and just being relaxed. All right, so your arms are, like, floating there. Also still engaged with the music. Okay, this is a general rule of thumb. You can always extend and put your arms every which way, but for our purposes of just learning, we're just gonna keep it up here. Okay? Now, we don't want her elbows to be completely by our side. I want you to think there's like a baseball right here in your armpits. So you're never really going to have your arms down here. You kind of want to take space you want. You want Teoh, you know, take up much room is impossible, even at a club. People always dancing like this, you know, because they're just they're spot. This is their spot. So play around. All right. So that way you don't have to worry too much about where your hands go. Let's just keep it up here. Just let it flow again of your way again. Elbows don't have your arms. It's stuck together. Maybe 20% tensions on your wrists. 15. 1 D Pad Concept: deep. It is a concept that I created so that I can play around with the movement and, you know, not think so much about where my feet are gonna go. All I had to do was made sure that I was hitting all the steps that I doesn't get it. So when I'm doing the deep end, I just want you to think about a video game controller. There's a deep at that has up, down, left and right. Or, if you're like me, play DDR Dance, dance, Revolution of the Child. He had a back right and left. So you just want to pretend like you're in the center of that pet. This is home. This is your default position. Okay? You're gonna go right? Come back Left. Come back right back home like that. Okay, Now go forward. You go back. You just used this framework. You can pretty much make up any move If you notice that all the moves that were going to do in this course they all come from this framework of the defense. So, for example, loosely all I'm doing is stepping forward, right? But I'm adding pivot to the steps. Notice I'm always coming back to center, which is my home. What about stepping back? Going back to center crosswalk here, center inside centre. And you don't even have to use any of those house moves for this. You can create your own move just by stepping in different patterns. Now I'm doing completely different moon. - Now you have to do is add grew Jack to steps and dancing without having to think about any of those moves that we're doing so practice Dheepan and, like, try to use in every single dance. 16. 2 Loose Legs: this legs. All right, so right. I started very easily. Or we're going to do is step forward and pivot a body. Right? And then come back to center again. Switch to the other side. Out. Come in out Now . Step two, we're going to hit the one and two and three and four. So each step is going to be account. So you go just like we did before the Lord one with back light and to yeah, again. One way theme with other size one and two. One and two. And put those together 12 and three and four. 17. 3 Train: train. Okay, Train. It's kind of like the front step. Whom said We're gonna have a little tap and it's gonna launch our foot into the air to go lunch. Lunch? It's happened. Lunch. Launch much. Okay, that much. Okay. Now you're gonna tread a switch. Feet and lunge. Switch feet. Okay. Now add those together like this, too. 18. 4 Swirl: smooth front step that we were doing front step and hold on the train. Except this time we're gonna go diagonal instead of four. Twist my foot around. It's using my tips as torque twist. It was here someone told to bring it back to Senate. Other side twist with twist twist. 234567 four 19. 5 Pas De Bourre: So when you go step, it's that back. Step again. Okay. One and to and one and two. Let's try the other side. Go one and to and yeah, okay, let's add those sides together. One, two, and three and four and one to And for now you're gonna add the ball change, which is Ah, a kind of a rhythm change. So we're gonna go that ball, change that again. Ball change step. Let's do the other side step. We'll change. Step change. That's at both sides together. Do. What you want to do is you want to fall into the movie. You don't want to fall. Would you want to fall into the move? What I mean by that is I'm actually going to lean toward the scythe into the move. It gives it a little bit more of a style to it, and it actually adds to that group in that balance 20. 6 Setup: said Okay, so first you're gonna do is we're gonna step back any foot right now, and then you're going to try to replace that foot with the front foot. See, this foot is forward already back. Replace that. Replace if you notice switch. So you're gonna add the upper body. I'm leaning forward from our body and I'm going to lean back as I kick my foot forward again. Forward, Forward, back! We're 21. 7 Crosswalk: way Crosswalk is kind of like the shuffle. Except instead of having a tilt to the back tapper Phil in the front kind like a crossfit, all we're doing is topping other side way. 22. 8 Side Walk: another move. That's kind of like the shuffle. Except we're going to and in this all right, we're gonna replace back tap with, so I think side, huh? - Fine . 23. 9 Salsa Step: way we're gonna step forward inside. He'll change. Right? Change my foot healed change together. 24. 10 Salsa Hop: we owe, huh? Right? Yes. That you? Huh? Replacing that ball change again. 12 inside you. Now you want to make it a little bit more stylish. Gonna add a little bit of the salsa into it. And it's also involves a lot of the hips. Right. So when you're on your teal, you're going to use your hips, turn it, turning my field, then you're gonna job. Is that that turn? Jump? Is that jump? Turn now? You don't turn all the way. I just want to add a little bit of ah, maybe less than nine degrees. 45 degrees. Turn again. You want to do something? 25. 11 Scribble Foot: scribble foot is kind of like the possible rate every doing before. Except it's a different rhythm with that. Is that a that a galloping kind of rhythm? The Harvard and can do that is we're gonna go that pine. Yes, that is fine on the other side. That's that. Behind that, that time both sides together and try not stunts again. Start slow and then gradually speed up. Now, the hard part about doing that scribble Foot is trying to fall into the rhythm. What I'm doing is this. I'm actually jumping into it. I'm gonna replace what I'm doing my feet with actual smooth. Okay, This requires you to be around it and not jump too high. I'm actually staying at this level the entire time. This is a little bit more advanced, so you really need to take time with it and keep resetting Every time you mess up. Step just set. Start over and you're trying 26. 12 Spins Turns: way to turn, but we're gonna go through some of the basics from the easiest way across, and then you're gonna go. Okay, so my right foot is over my left. I'm going to spin towards my left shoulder. Come back. What else did the spin is if I use my arms punch through? I mean by that is cross punched through on, then reset. Okay. Same thing with through. We're gonna spend toward the right I spent on my left keeping my right foot, other side spin on, right. But whatever side we start on, I'm going on my right side and it's okay to hop. Sometimes you can't spend as well. That's perfectly. Now we're gonna do spot. My spot turn is you're just turning and you're gonna keep looking ahead until the last possible second on. Then you're gonna turn on. Then you're gonna keep trying to look forward, right? Wherever you're looking for your spotting an object something on the wall for your opponent or somebody that you're dancing with And it was gonna turn You can do this with any Turn that or see how I turned my head at the last possible second spot 27. 13 Criss Cross: very simple. It's just like doing jumping jacks. Except when we bring our feet in, cross one over the other, you switch one over the other. 28. 14 Happy Feet: So you want to think of it like we're doing a jumping right? His legs out exam legs out, legs it. Alright? The only difference now is one leg is gonna go. It's you and the other going toe. Ok? And how in? Okay again, No out! Now that you've got that down, you can add heels only and toes Same way that we did the first heels coz, have you 29. 15 Dolphin: I think this one is kind of like a reverse worm. This one takes a little bit more upper body strength. You want to get it all for us, right? Give me a little weird. But this is exactly how I believe the legs that you're going toe trail is gonna go up and you wanna look like a dog and you're trying to take a leak. Put it like here. I'm here. Lift our need off the floor, bring a chest into, like, lack behind again here for which needs chest. Let's like, like against. It's all about different ways to get into the dolphins. Okay, You can do it, B boy. Away where way and do a knee drop and then go into standing position. You're gonna get onto leg that you're gonna drop with. Bring this foot behind the knee. Now you don't want to actually dropping me onto the floor. You wanna fall onto toe to my knee is nowhere near the floor. You don't want any injuries down. All right. Here, your hands down on the floor, dog. Just before, All right? You don't want to fall forward. You want to fall straight down. So I'm going straight like this way . Zulu spin. Now we're getting into B boy territory. Right? Zulu spin is gonna put one leg straight out. All of your weight on the opposite leg. One Just turn. Turn on the street leg. Do you want to end up in the same exact position? Position. Turn pivoting on the street back in the starting position From here, that looks like it is. Take your time with this movement. Takes a little bit more finesse and upper body strength, so go really slow. 30. 16 Heel Toe: just like the name says You're gonna go unfilled and you're gonna go on your toe. So first, he'll So he'll side across step. So you feel told he'll decide you. So you So you feel you So you. So he'll So he'll want to think of it like a swirl when you're doing across that except killed. So he'll he'll tell you. Told you. Told you? No, Jack. That way. 31. 17 Sponge Bob: switch. Do you? You want to stay on the balls of your feet so that you don't lose balance? All right, there's always a double Hop on each leg. One and other side. Okay, double hopping. 32. 18 Tip Tap Toe: very simple over doing his. We're forward. Glowered. Back, back, forward, forward, back, back Now, when we go forward, we're gonna go. Hell, he'll go back toe. He'll he'll So so he'll feel so. 33. 1 Why Do You Need Dynamics: So why do you need these dynamics? Well, first of all, it changes the feel of the booth. Not only that, you can take one move and then just flip it 1000 times so you can do one set with just one move, and it'll look completely different. First, you're gonna learn speed, different speeds of the moves. They can learn direction. You learn how to use your body tension and relaxation methods like we're doing in the beginning. We're going to use checkpoints, toe travel around the floor. You're gonna change the movement too big, and you're gonna change it too small. Now you can take any movement and then make it into a spin. We're gonna use levels to our advantage so that you can go from high. Hello. Every move that you do standing up can be done on the floor. We're going to be playing with different rhythms. Now you don't have to use all of these, but maybe one or two of these will make you dance, you know, Skyrocket Teoh. Next level already so 34. 2 Speed: now be changed the speed of any movement. You can make it like fast, slow, You know, uh, changed the tempo and you'll just make it look completely different. So watch, for example, if I use the loose Like what? Or if I was doing a farmer, Okay, So try and play out. Playing around with different speeds in the music. Make sure that it fits the music when you do it. 35. 3 Direction: direction. This one is very simple. All you have to do is pick different directions. So you don't wanna stay facing forward the whole time because then it's gonna get a little bit, you know, boring or monotonous. You want to change where you're looking when you do the move, so I'm doing the hell step change. Here. Here, change here. No. So try that with different movements and see which direction is you can pick and just, like, mix and match. 36. 4 Tension Methodology: attention just like we were doing in the beginning. With the tension and relaxation exercises, we're going to start using them here with all of the other moves. OK, so again, we're gonna try with the loose, like, right now, I'm being very, very relaxed. Very little attention is happening in my body right now. And if I change it, I've become a little bit more rigid. And then I could go back to relax. This changes the feel of the movie, and it really tells the story with your dance. If the song is really hard hitting house beat, you wanna make it a little bit more tests. But if the songs will lofty or softer, be a little bit more relaxed, play around with that. 37. 5 Checkpoints: check point. This one's easy. So you never want to stay in the same spot when you're dancing, you always want to move around. Right? So if I was just gonna start here and I was dancing, Yeah, I'm doing the loose leg. I'm going toe create a checkpoint spot on this side right here. All I'm gonna do is loose leg, and I'm gonna find a way to travel there and then back to the back here. You can really go anywhere. You go forward back. It's really up to you this again. You're gonna be using your imagination. You're just picking spots on the floor. And then you're just gonna try to dance on spend some time. Here we go. Here doesn't. I'm here. I'm here. Spend some time here. Really? You can do this with every move. Every side 38. 6 BIG small: big and small taking the base movement if you expand it so that it's really, really exaggerated. Very exaggerated. That can make big space for you Right now you're making big Stinks. And then you can tone it down a small or I'm using former Big, smooth, swirled and swirled. Very small extended. So it's big. Okay, Small, big. Okay, way. 39. 7 Spins: spins, take any move and add a spin to it a little bit different than the actual spin and turns that we were doing in the previous module. We're going to be using the move turnings with it again. Use no, loosely. As an example, I'm doing it a little bit different from directions where direction is. You're actually facing different sides, right? With spin. I'm actually going to be spinning and landing in a different directions. Okay, so doing Swirl, swirl or the shuffle Shuffle. 40. 8 Levels: Here we go, Levels. Now we're going to be using different levels from the floor to standing to jumping. Teoh make our moves a little bit more dynamic. OK, so we're only gonna do three levels. Do jumping standing or mid level and floor. Okay? No. So Farmer is a normal farmer. You can jump really high. You do? Okay. Loose leg. Normal jump. No. Okay, Trade. 41. 9 Change Rhythms: changing the rhythms so we don't want to always be in the 12345678 You know you can do one . And 2345 and 67841 and two and three and 4567 And so you wanna very how you play with the music It. So I could be like one in 23456781 in two in 345678123 and 4678 No. So you can cut the movement in half or you can add more steps to the movement. Really? You're just playing around with whatever move you're trying to do, just play with it and then you cut in half. Thank So pick a song, try to listen to the rhythm and just try to hit it with 42. 10 Dynamic Recap: dynamics and all these speed changes and big, small tension, it really helps to externalize the music that you're feeling. All this stuff is external, but it shouldn't cover the fact that house music is coming from the inside. You know, it should come from here. It's a little cliche by should be coming from the heart. You should feel it. You should feel it first before, you know, trying to externalize it. Which is why there's a groove to it. Okay, so remember, use this as a framework, you know, as ah style style choice when you're trying toe, create moves and create sets. And I know that if you use at least three of these in each of your sets, it's gonna make your dancing look a whole lot better and a whole lot more interesting. 43. 1 Creation Method: creation method. This is a little bit more events than the dynamic method, because this is more theory, then it is technique. So remember that a good dancer is the sum of all of its parts. That could be technique. Field grew theory. No concepts, just that aren't it's how you come up with the product. So it's really the process of, and this is more of, ah, mental and a mindset module. Even though we've had all those technique and dynamic, sometimes you still get a little bit stuck. You get stale in the dance, so that doesn't even have to do with your body or the move. It's really appear, you know, mental. 44. 2 Create your own freestyle Mentality: Now it's fun stuff. Get to make your own style house the fun stuff. Get to make your own style and use all the moves in the previous modules and you can mix and match to make you know your own type of movements. It doesn't have to look like everybody else. Everybody moves completely different. So if you take the moves that you did in the previous module, if you take the dynamics as well and then fix match and then you add the groove to it, I can guarantee you're gonna make up your own kind of style. Gonna make your own kind of movements and make your own. You're gonna create something that probably no one really does. And no one you're not even gonna look like anybody else and no one's gonna look like you. You keep challenging yourself and trying toe, Get yourself better Trying different things. I don't know about you guys, but I don't like looking like everybody else. I want to look like my own individual. Danced Stop. I don't know about you guys, but I don't like looking like everybody else I want Oh, I have my own individual style. I want to stand out what? There's like a 1,000,000 dancers in the world. Everyone can dance, but what makes you unique? And that's what's going toe set you apart just by thinking differently, you know, using the dynamics and groove and just exploring different ways to move. One of the easiest ways to create a freestyle set is have focus, toe, have a direction that you're trying to go toward toe, have a goal like, what's the point of view? Freestyling. Now, if you have no point to why you're dancing or what you're trying to show or share to another person, the other person is not going to really care, or they're most likely not going. Teoh, You know, notice anything that you're doing, you gotta have a point you want to think of You're set as a story. You wanna have a beginning, gonna have a middle and you want to have an end, or you can also think of it like a sentence. Each sentence shouldn't have its own point. Now your focus could be anything, really. It could be a certain move that you're trying to dio like you can just have your whole focus on just doing the Jack. You can have your whole focus on doing the hell step or a farmer that could be your main focus. Or you can you can think about a certain dynamic that you want to do. That could be your focus. Also, that could be your story. Tell it right. That's the beauty of this. You can do whatever you want, but if you don't really have a focus and you're gonna be all over the place and you won't even know where to end or where to begin, right. And a lot of people, when they freestyle for the first time or when they start freestyling, they just go on for way too long. Hurry up already, you know. So if you have a clear focus and a clear goal in mind, you will actually have a good beginning. People understand what you're trying to do. You're gonna have a middle. You know, people know where you're going with it, and you'll have a clear ending where people will be like, Oh, I get it now. What you want to do is you want to take everything that you've learned and package it into something clear that everyone can understand. That's the point, you know, to be understood because that is its own language. 45. 3 RULE of 3 s: Hey, rule of threes rule trees is not just the rule of threes. Breweries. You can find the rules reason everything. Really, It's just a much easier number for your brain to understand. So if you go into the mindset of just using three things at a time, it's gonna be so much easier. You want to keep things simple, you know, like that. Saying that says keep things simple, stupid. You want to keep everything simple and understandable to you and to whoever's watching. So rule that I like to go with is at least in the beginning, is just take three things. Three moves that you're going to do in your whole set. And don't even think of doing any other moves for now. Three dynamics that you can use each movement. So pick three things. Just three random things and just use those in your sets. Challenger sold by mixing and matching different kinds of contrasts, different kinds of dynamics. So you're gonna have through the groove is always gonna be there. Shouldn't even have to think about Booth. When you do the steps, you could pick three different steps. Whichever steps you want, you can mix and match. You're gonna go from one step to the other, alternating between three steps. And once you get really good at that way, can pick three dynamics dynamic money and insert that into those steps. It's kind of like a, you know, a choose your own adventure, and I think there's no one set, so just choose, see what you come up with. 46. 4 Cutting Moves: cutting moves in half and fake outs. Does he noticed that all the moves were done? Left and right side. Okay. Now, if you just cut a move in half like changes, the dynamic as well. So, for instance, doing half of a farmer and then I'm stopping and then grooming. Okay, so take any move, cut it in half, so you only do one side and then going, so it's not going to be a smooth left and right direction. It's gonna be boom, boom, stop. It's kind of like the comma in a sentence make. So it's not necessarily so repetitive and doubles, so you can also do double, so you could do single single double doubles in any move. Also, so former double dumb, single double. Don't I see? I just emphasized everything. Those on my right side so you can pick a side and emphasize just that big outs I like to do fake out. This is ah, kind of like China. Lead other people into thinking you're gonna do one move and then fake out and do a completely different move it like shocks, whoever's watching and and it just makes it wake up and like, makes it more interesting. So, for example, I could be, like, a part of a rake up and then turn like you think that I'm gonna do, huh, Toray? But I just stopped it, and then I just did a turn instead. So how you can do that as pick two moves, and then within any one of the steps, you can just stop it and then add the second move. So I'm gonna do one. And 23 turn. I knew finished that farmer, or that was like, I didn't finish that looseness. One to turn. You didn't even expect that for one. Okay, so when you are very aware of each step of the move that you're trying to do, you can replace any one of the steps with another move pickups. 47. 5 Power: power. Now power is kind of like the speed dynamic that we were doing. Except there's one certain different texture of now when power I want you to think of explosive movements we ever do plyometrics, which is, let's say, jumping, jumping up and down There is a, uh, initial load where all your muscle fibers are working together to make, like, fast, explosive movement, and then it cools down. So there's going to be like, a a fraction Eri period. If I was gonna jump, I'm using all the power in my legs, actually jump right. It actually gives it a completely different feel than if I was just jumping really high and like, letting go, you know, adding more energy into the movement. Okay, but it's more contained. Energy. It's not like just going nuts. I'm actually containing that energy into the move itself, and it's gonna make movement look a little bit more dynamic, simpler terms. I mean, you want to pick certain part off the move, make that explosive, and then for the other half of the movement, you're going to do it normal. There's like a rest. Power goes strong, so you're gonna go strong with the movement, and then it's gonna go down. Relax. Strong down. Strong down. Okay. When you are doing power in the movement, you're actually accent that part of the move. Yeah. Okay. The power of that was in the Jack. Jack. Okay. What I'm doing with this is I'm actually using a lot of core my core. I mean, everything from your knees to your nipples. I'm tensing that, keeping it tight, as if somebody was actually gonna punch me in the stomach. Okay, I'm not doing Jack a lot of power keeping my whole core tight. So try just keeping your core tight and exploding with each movement. 48. 6 Why you aren t getting better: all right, Why aren't you getting the moves? Sometimes you could be drilling the move, and you can be, you know, doing all the stuff in the previous modules, and you still feel a little bit frustrated. And you probably aren't getting where you need to go or you're not doing the move the way you want to. And there's certain reasons for that. One of the reasons really is weight distribution. If you're not catching up to your forward fast enough, it's most likely because of weight. You should. You don't have a certain balance to your body. So how you fixed that is you want to know where your center is all the time, where your center of gravity is at all again. Stay on your toes. Uh, know where all of your weight is going. When you do a move, try to balance yourself. Another reason is tension. You really need Teoh. Focus on the tensing your but in certain ways to do. Like certain kind of move. Each move has own levels of tension, so you need to play around, watch yourself, film yourself on camera and then see what you're doing and then fix it the fastest way to get a move is get camera, get your phone, just film yourself doing the move, and then you get immediate feedback and you can see what you're doing wrong. Fix it. Do it again until you get it the way you want it. Usually when I'm doing a move, all of my weight it's pretty much loaded onto one leg could be left or the right. That's how I can read my other foot, do all those fast. 49. 7 FACE: Now that you have your lower body in check, you have all your technique and you have all your moves and grooves and stuff. Now face. This should be the last thing that you really work on, but it's also one of the most important things. The main thing about dance or anything in general is you want to make it look easy, right? That's why you have dancers that you look up to or people that you look up. Why? Because they make it look easy and you want to make whatever you're doing looking easiest possible. You want to take something that's really difficult and make it look like it's easy, like it's nothing like you've been doing this forever. Best the point again, Really good as fast possible. How you do that is you want to look like you know what you're doing right, and how you work on that is face. You can also use your face. It's like a cherry on top Sunday I can do that is instead of looking down when people free stop, they always look down. Lord right? What happens when you look down is you actually attend toe close yourself up you don't and abusing all the space around you because you're down here. When you look up, you're actually going Teoh, utilize all the space appear because it opens you up. It opens your chest up. So you're looking out here, You're actually gonna be dancing bigger? No. When you dance, you don't want to dance down here in a tiny box, you wanna take up a lot of space and looking around really helps that. And it also stops you from thinking too much about what you're going to do next. Just let's your body go into autopilot. Lets you gotta take over. And, you know, let your trust that your body knows what it's doing from all the drills that you were doing . And you know all the dynamics that you've been practicing. So when you're actually dancing with people trying not to look down, don't look at other people. You wanna be like communicating. You can communicate with your eyes just by looking around and enjoying the scenery wherever whatever it is you're looking at, right, because you know, dancing is not supposed to be a solo act. It's supposed to be like with other people is a community. That's what we're trying to build here. You're not supposed to be looking down all the time. There's nothing down there, really. I just want to look up. 50. 8 Lofting Style: no lofting style. We did a lot of jacking style, and we did a lot of footwork. So now we're gonna explain. The third style of house, which is lofting, lofting, is very, very chill. It's a very chill movement. It doesn't have as many dynamic that you can add to it. But it's a very flowy kind of movement like this. So thanks, Lefty. Nothing is. There's not so many stops and it's just smooth transitions from one another. And this works really well during parts of the music where there's no beat or the beat isn't so hard. It's a little, you know, it's a little flow here and you can just ride the music. You don't have to worry about hitting anything. You just ride through the music. 51. 9 Flow: okay, mental flow. Now, mental flow is like the complete opposite of physical flow with mental flow, you're very aware of everything, and you're very present in the moment you're not in your head. Thinking about the move and where that really comes from is drilling. You have to drill your moves and trust that your body and it's muscle memory remembers everything that you just practice. That way you can focus on other things. You can focus on the person you're dancing with, the person you're dancing against, the people that you're trying to entertain, whoever it is. So drilling and trying to get it really ingrained in your body is probably the first way that you can leave mental space for other things breathing. This goes along with mental flow because a lot of people hold their breath when they dance . I know I used to hold my breath a lot when I dance, and that was a telltale sign that I was in my head and I was thinking too much. So when I started doing was not thinking about any of the moves. The move should already be. There you are. You should know it because you're drilling. I just want to breathe. Focus on breathing. So what you want to try when you're first starting out is you just pick one move night are just groove. So you're just gonna do the group? Just gonna jack something very simple and just breathe in and breathe out. Read into your nose and breathe after your mouth. Okay? This is actually very hard to do. Especially if you're performing or in front of a lot of people. You still have a tendency to think too much. So the more you sit in that meditative state just breathing the, you know, easier will be. It's still practiced. Breathing is still practice. 52. BONUS: feeling the music within your body. Okay, Now, you discuss this a lot before and the other modules, especially in the beginning, where you just don't dance, Try not to dance. All right? I just want to listen to the music. Just listen to the music and see what happened. Just like close your eyes and see where the music takes you. All right. That's probably one of the most important things, because it has to do it listening to the music, feeling the music and doing the movement to the music. So it's really important. Just listen, you want to think of music is actually telling you what to do and you're responding. So it's almost like you're reacting to the music. So a lot of people tend toe rush and what makes a dancer look really, really confident is nation Be patient with music. Don't try to shove so many dance moves. One set. You're gonna put your brain into overload, you're gonna put the other people. So just try to be very, very patient with music. Okay, When you first start, you can just that's it. And then when you get more events, snares or the little high hat. So if song goes, hit those two or you can hit the lyrics. A lot of people like the lyrics. It's, you know, the most obvious one of the most obvious part of it. So you can go in between rhythms you can do on eight counts of just base and then doing a count of lyrics. And then you're gonna do a little bit of base, just the riff going on. So really, just listen to the music C what parts of the song like or find different parts of the song that you never heard the floor like different instruments. So use your body to express those certain inch almost like there's, ah, instrument in the background that you never really hear. But if you dance to it, suddenly everyone starts to hear what you're dancing. So you want to really, just. But whatever is in the background into So here's an exercise for you guys. Just try and listening to music and picking out little parts of Assam. Start five parts Better burger, you know, like drones and then but listening for subtle, this little little things that you never heard a sound effects, anything that you can that's way. Make it more interesting, right? Confidence? Okay, Confidence. Confidence has a lot to do with how much you practice how much your drill right confidence is has to do with, you know, the kinds of feedback that you get. Like you already know what's gonna happen. You know, if you're confident when something you're confident because you've done it and you know you have a certain understanding what's about to happen and how you can know make it better. So you have control, even if what you're, you know, confident about is unknown. A lot of times we're not confident because we're afraid. What are we afraid of the unknown. So you already have an understanding that you already know what the unknown is going to be way more confident. And this has to do with drilling all your moves. So you have something in your back pocket you could always pull out, right? So you always have something that you can show that it goes to. It goes for grooving. You're gonna prove then be confident in your group B. Like this is my group and own it. Okay, This is my step. This is my shuffle. This is my you know, scribble foot is how I do it. And this is how I'm going to show you, right? So you gotta have that mindset now. There also other ways that you can trick your mind in tow being like standing up straight. I know. You know, when your parents say no, you got to stand up straight stuff slouching. It goes the same way when you're dancing. So if you're looking down, that's like a form of slouch. You're going to stay in your going, Teoh start dancing in a box and you don't want that because then it looks like you're not confident when you're moved. If you finish your movements, finished all of your moves and you don't you know, short cut things. You're gonna look more so just even opening yourself up. It's having your chest out, standing up, dancing straight up. You're going to look for company. Nah, goes with base, practice everything. I'm here chest going to make it look more cops and it's gonna be more confident when you're dancing. I've met so many dancers. Food are like you have to do it a certain way. You know when you have a mindset as a dancer, you should always have a beginner's mindset. As in, you're always learning something no matter what it is, even if it's from the beginning. From the basics, Often times, you know, I always go back to my basics, and I still study this because that's how you you know, you take the moves and then you make it better. That's why this whole horse came about because I was studying the simplest form of it. And then I was seeing what was going on, like, How was that person moving like that? Why is that person moving like that? What was the purpose of all this? So I'm always asking questions, like in my mind, I'm like, How does he? How does that answer do that? No, I always have a beginner's mindset. I'm always going back to my basics because the basics are the most powerful thing. It's like, you know, you can learn it, but it takes a lifetime to master. It's often the most simplest things that take the most patients most time and, you know, most practice, so really keep going back to your basics and always have a beginner's mindset and, you know, throw your ego out the window because ego doesn't really help anybody. It just hurts you and it stops you from growing. Because once you have that ego like I'm the best stuff like that, you're just gonna stop growing. You're gonna stop learning from other people because you're gonna think that your way is the right way. Right now, there are certain exceptions, like if you're gonna balance somebody saying I'm the best, it really helps, You know, with confidence stuff. A lot of people like to have that arrogant battle attitude, and that's perfectly fine. But just know that that's more than that. Because you should have your moves so down, pat that whatever your opponent throws at you like you get top it no matter what, But then know that when you're practicing, when your session ing or ciphering with other people outside of a battle or a competition, gotta have that learners mindset, always learning. And that's what I think you humble and getting stale always keep getting better and better . All right, this is a little bit more advanced. A lot of times think when your pregnancy actually people you're not practicing or you're just doing what you do is what you to is. Stop Think no more thinking shouldn't be thinking about a move that you're gonna do. You should be taken about all these dynamics. Don't think should. Your body should be able to do it in your sleep now. So there's practice and then there's performance. What do you hope by yourself? Or, you know, with other people if you're practicing other people, but you're forming for showing your actually doing the dance, you know, just you don't have to thinking leave practice at home or the studio or wherever it is, and then stop people. The best way that I found that helps me stop thinking is really know. I just listen to the music and just breathe and just start moving around. Whatever. Wherever that takes me, that's where it takes me. I like to think of it as it's like you're creating history, you know, it might sound a little, uh, weird and silly, but if you think about it in a way that when you're dancing your creating history, you'll never do that set at freestyle set again, ever. Never do it the exact same way, you know? So you're leaving some sort of history and you know you're leaving your mark. It's almost like you're leaving a legacy, even though it's just 11 set. But treat each set like you're leaving your mark, and when you're actually dancing with other people trying to think so much, just listen to the music. Try to feel it in your body, Let your body go.